Cold Mountain Essay Example | Topics and Well Written Essays - 250 words

Cold Mountain - Essay Example It is worth noting that this two individuals only knew each other for a brief moment but Inman deserted the war troops in a bid to see Ada again. In summation the whole book is filled with flashbacks which give a detailed account of the history of this two separated souls. However, in the subsequent sections of this narrative we are going to discuss three important quotes and there relevance in the novel. First and foremost, â€Å"what have you achieved today? Was always nothing†. On the same point, the author uses this particular phrase to signify that Inman had nothing else going on apart from the fact that he wanted to be reunited with Ada. This is evident from the fact that he embarks on a fatal journey in his bid to reunite with Ada despite his war injuries that have not yet healed properly. Secondly, â€Å"But I had no idea on how to prepare a meal†. Apparently, the author uses this phrase to signify that Ada was helpless before her encounter with Ruby, a young woman who taught her survival techniques before the reunion with her husband Inman while she was hunting wild turkey. Lastly, â€Å"Then red her letter† â€Å"she could speak French and Latin†. It is worth noting that Ada was the ministers daughter thus she was well educated. In actual fact, the author uses this particular statement to support this argument since individuals who spoke both French and Latin at the time were mostly the literate individuals in the society. To this end, the cold mountain is an interesting fictional story thus can be read for leisure

What It Means To Be An Effective Digital Citizen Assignment

What It Means To Be An Effective Digital Citizen - Assignment Example Such an invention will be used till a better alternative is found. One of the best things that have ever been discovered by man apart from fire is electricity and the computer. The potential and use of these discoveries are wide, diverse and can never be overestimated. However, like any other invention it has the capability of harming humanity and the natural order of things. Digital is the general word to describe computers and their various applications. Digitalization has led to the discovery and boom of a number of devices such as mobile phones, smartphones, laptops, desktops, microchips and other numerous gadgets in the digital world. However, just like any other invention, the digital inventions can be used for various mean and malicious purposes. The Term digital citizenship is used to refer to the various means that digital technology can be made available to everyone (Nine Elements, 2015). This is because making it available to everyone will enhance the efficiency in which humanity communicates information, and manipulate information. It is important to be efficient in matters of information and data since information is power. To some of the scholars, gaining equal digital rights and pushing for the access of digital technology is good of Digital Citizenship. It is bound to be difficult to progress as a society if some part of the society is denied digital technology. Commerce in the digital world; consumers in the digital world need to be aware that business is one of the diverse application of the digital technology. Legal and legitimate tradeoffs occur online by use of digital gadgets. However the users in the digital world need to be aware of the issues that are associated with digital commerce. At the same digital commerse, there is exchange of goods and services and money that are against the morals and virtues of some nations. The

Henderson The Rain King Essay Example for Free

Henderson The Rain King Essay The great book ‘Henderson the Rain King’ is a masterpiece creation of an imperative American writer who in addition became the source of inspiration for many other writers in the era of 1950s. The author, Saul Bellow’s triumph has been striking enough for he stirred other writers a new-fangled kind of idol and a new type of expressive fashion (High, 12). Bellow’s lead character lives dynamically within his own intellect. In scripting his hero, Saul Bellow has a few characteristic qualities assembled in his works. In this book he crafts a character who at all times seeks various exposures. In this paper I will discuss how Henderson has some pre-arranged stereotypes about Africa and the people there, what he learns from them in the end, how does Henderson `find` him self in Africa and will support all this with examples from the book. This book begins with a radiant portrayal, the thought of a determined victim, the personality of Henderson, and his declaration of having resolved a trouble. Henderson is actually an American hero probing toward maturity, hesitant between a desire to be loved and abandonment from a world which does not care for him as he needs; he is unripe and a victim of his own thoughts and desires. Bellow has sketched a hero who seems to be disgruntled with the truth of his existence. He is suffocating beneath the accumulative specifics of his life even though he appears to contain what people valor wish for; that is assets and position, wealth and love, as he is described by the people of his times. Many feel that the author has actually carved out a character that is none else but the author himself. Many believe that Saul had a mindset or more specifically stereotypes about Africa and its natives that he inks out through this book. In the book through satire and spoof, Bellow provides ridiculous loads of its banalities. Henderson is a mockery of the bizarre, aggressive, artist-hero of the Stephan Daedalus range. Fiddler and pig grower, he is described as a menopausal social outcast and that is what Bellow had the stereotype about the Africans (High, 33). A straight caricature of the Hemingway narcissist, he is solemn, thoughtful, solipsistic, clumsy, and self-centered. He supposes with his Eliotic fisher king forbears that the land is cursed. As Bellow had stereotyped the Africans, the hero in his book, is in reality Bellows reply to an age group of recent writers who retorted with overstated discontent to the botched assurances of Rousseauistic idealism (Ophdal, 62). It is in addition a notable investigation into the incompatible codes of maleness that bothers the contemporary American gentleman. Henderson merges the idealistic maverick, rich capitalist, rough warrior, schlemiel, unattractive American, and spiritual quester in his character of Henderson which speaks volumes about Bellow’s stereotype of the native Africans. Considerably, we find that once when he has been embraced by African classic mother-goddesses, and has taken training from a lioness, he is competent to suppress his previous aggressiveness to his housekeeper whom he has screamed to demise, his daughter whom he has overlooked, and Lily whom he has disgraced and mistreated for years (Bellow, 59). He is after everything else seen taking pride in his lately attained spiritual balance, taking on an orphan kid on the glacial ice cap of Newfoundland. As a final point, the I desire influence in his heart is at rest. Nevertheless, we are left to ponder whether he can uphold this stability found in the simple loneliness of a glacial ice cap inside the collective circumstances of his family unit. It illustrates the distinct survival wit of the Eastern European shtetl and its stereotypes. Bellow in this book claims that literary innovation has formed novels bursting of the communal disorders of our daytime and urbanized a common sense of catastrophe. Bellow, particularly in ‘Henderson The Rain King’ cultivated for American literature a few of the humorist postures, stereotypes, and mythology of Yiddish literature. His principal work of domestication of Yiddish fable is the utilization of comedy to mutually steal from self-pity and augment the actual existential problem of the hero through the wit shambling pursuit depicted in Henderson’s role (Ophdal, 77). Bowel embarks on a journey to defy racially prejudiced legends and uphold racial synchronization. Henderson commences his pursuit sharing in white prejudices against Africans. Though Bellow believed that they were just prejudices, they were deep-rooted in his opinion and tend to propose lucid ineptitude on the part of Africans (Bellow, 87). They contributed in the primitivist national troops of Africa that was suggested by Conrads Heart of Darkness. Ultimately, nevertheless, Henderson is exposed to his love of Western Civilization and takes a massive fabled jump in time. It is a three-part hunt relating sin, penance, and escape. If we analyze how Henderson evolved throughout the narration, we find that there were till the end some traces of the deep- rooted stereotypes present in his personality but as in the novel when it finally started to rain, it actually depicts that Henderson had freed himself from his thoughts and burdens of the images that he always had. It may well be that he in reality resembles other wastrels who have attempted to flee from themselves on voyages to remote places, but, for all his bristle and self-worth, all his sympathy and humbleness, all his obscure references to fine art, writing and times gone by, Henderson remains only a weary cursed with for the most part uneasy stream of fancy chatter in a store of current fiction. He is finally seen to have found peace within himself. The continuous â€Å"want† â€Å"want† screams within him that lead him to the painful journey, were in the end crushed as he contends with the surroundings and learns to accept things that he cannot change. Many readers though still question, whether a character like Henderson can stay content with the peace he found for long. The conclusion of the movements is the track in the stillness of love and decision, the agitated man, the battered animal, and the stray children who have all accomplished shared comfort and salvation.Prayers for rainfall are responded to, the impatient traveler turns in the direction of abode, and the long nights voyage finally reaches day. Works Cited Bellow, Saul (1976) Henderson the Rain King. New York: Viking Press Publishers. High, Peter (1986) An Outline of American Literature. New York: Longman Inc. Ophdal, Keith Michael (1978) The Novel of Saul Bellow: An Introduction. Pennsylvania: The Pennsylvania University Press. Majdiak, Daniel. (1991). â€Å"The Romantic Self and Henderson the Rain King† in Bucknell Review: A Scholarly Journal of Letters, Arts and Sciences.

Pop Music in Film

Pop Music in Film Music in film is one of those immensely involved but hugely underrated products. It comfortably sits in film going consciously unnoticed while it stimulates our subconscious, flowing freely through the narrative, to aid the emotional impact without overly changing the course of the film An indicator on how we should react in a film Music in films began with traditional scores in the silent film era. The reason it was called silent is because the film itself was silent and the music was made externally of the film, which was principally the piano, to reflect the various moods and emotions of characters and events. In conjunction to this it also covered up the noise emitted from the projector as well as being needed, psychologically, to smooth over natural human fears of darkness and silence (Brown 1994:12). The growing popularity of film lead to changes in the music and musical arrangements and lead to scores being written down to the various cliched typical situations in film. During the 1920s developments in technology saw the capabilities of film and music being broadcast internally and saw the introduction of sound films. Changing relationships between music and cinema has seen the introduction of pop music into the spectrum. It is this relationship between pop music and film and the way they operate in conjunction with each other is what I am going to explore. Diegetic and none diegetic Diegetic relates to the diegesis of the film and the sound source can be observed on screen for example, a band playing or the character listening to the radio. Non-diegetic appears outside of the film world and is used as background music, mood altering music or subconsciously adds to the suspense of the film until the use of sound started to appear in films the majority of music was none diegetic but the introduction of sound synced films added to realism of the film and gave diegetic music a sense of place in films Diegetic and none diegetic Diegesis refers to the fictional, imagined world of film, adverse to this non-diegesis refers to the objective world of the Film is represented by a series of events combined with dialogue, which is aided by actors. Financial and technical interests are taken into account and are concentrated on the actor, to not let anything overshadow the main character/s. The musical scripts are usually indefinite, thus music not being treated in the same way and potentially an outsider. Almost indispensable despite music currently playing a major part in film to make use of the silent scenes, for example a scene where the character is waiting for someone, no dialogue will be used and the only sound we can hear will be diegetic noises of his surrounding. This is a prime example of the use of non-diegetic music. The character could be waiting for a partner (therefore romantic music will be played over the top). Without the use of music the scene would be more realistic (we dont hear music when we are waiting for a partner) but the scene would not captivate the viewer and potentially make the viewer lose interest. On the other hand the music appearing in such situations could also be perceived as naÃÆ' ¯ve or childish and thus further distracting the view from the main focus. This issue is usually resolved by the characters involvement with the music , by singing, whistling, humming or even turning on the radio and the music goes from a transition of diegetic to none diegetic. Mass production of films has lead to a series of over elaborated typical events such as emotional crises that are ever reoccurring and standard methods that are formulated to arouse suspense. These events are aided by music, however the viewer has been made familiar with these events so the emotional response on the viewer is not always as intended. For the viewer the whole thing is ambiguous. If the screen shows a peaceful country side but the music over the top is sinister the viewer will expect something terrible about to happen. Does this intensify or alleviate the suspense? music in cinema has been determined by the practice of everyday life. It is adapted for the increasing needs of the film industry and reflected in clichà ©s and musical ideas that were considered to be in fashion. Subsequently standards have become entrenched through the history of film music into and including the current use of popular music in film. These clichà ©s continue throughout film and have gone from the standard classical score being use to the popular score being used. With the excessive use of such clichà ©s the powerful effect intended is not achieved because the listener has been made aware of such events through overuse by Hollywood. In todays standards popular music is being used in conjunction with classical score to aid in more dramatical scenes, such as the film Notting Hill. Anna Scott (a famous actress played by Julia Roberts) is doing her final press conference before leaving the UK to fly back home after being turned down by a lowly book seller, William Thacker (played by Hugh Grant), whom she fell in love and had a brief fling with. William realises his ways and races to the press conference to win her back. After some initial investigative and almost comical questions from William, who is imitating a journalist to find out if Anna really does love him, Anna announces she would have liked to have been mo re than just friends with William. Anna Scotts on screen agent then asks Dominic (a reporter at the press conference played by Andy De La Tour) Anna, how long where you intending to stay in here in Britain?, after a long suspended pause from Anna, then a transition shot to William, the camera moves back to Anna, she smiles as the camera zooms in on her face. Anna replies indefinitely as the classic cover of She by Elvis Costello (originally by Charles Aznavour). This speaks volumes and makes the viewer relate and feel more involved in the scene through the music and lyrics of the song. Solely from the music there is a sense of love and romance, but also mystery through the lyrics as a name is not mentioned, which indicates the track could have a sense of purpose on any romantic film scene. Upon writing the track in the 1970s Charles Aznavour would not have intended the track to be used in such ways, but with the use of popular music in film becoming more apparent and the increase of the same clichà ©s in film needing to have a sense of place and impact, the use of songs with lyrics are ever increasing. 50s and beyond the soundtrack to our lives The majority of people live with songs in their lives from all kinds of genres, music is neither racial or gender specific. There is something seemingly powerful and inspiring about people being able to fuse music and words together in such a way that songs can be infectious. The music we listen to constantly evolves and songs come and go, but there are songs that make up a soundtrack to our lives and we place value in these songs and seek out permanent versions of them through downloads, CDs and vinyl. The 1950s saw a flourish of soundtracks from films not only as a marketing tool, but as a cromo effect in its own right. Films such as Pulp Fiction, Trainspotting and Waynes World all contain music that could be listened to solely as a source of enjoyment without ever needing to have seen the film, but because the majority of people who have seen the film will remember the songs, its a great reflection of the film or a desire to watch the film again. The industry did not solely target the soundtrack market. When a film is released you can purchase all sorts of novelty, replica or clothing items based on the film and/or the music involved. Since the 1950s a great unification has been seen between the film industry and major record labels, each with their own specific interests but mainly cross-promotion is their sole goal. This interlocking is nothing new, both the film and music industry use each other to sell, which has lead to Hollywood investing countless efforts into the music industry, which is produced economic benefits. Film companies earn millions from the sale of records mainly through theme songs. This is one of the most lucrative cross-promotional tools. Hollywood are using established multi-million selling bands to write or endorse their film by using a song they have written specifically for the film or a previously written song. Linkin park are a prime example of a pre-recorded song and a song written specifically for a film. Transformers 1 saw the use of the Linkin Park track What Ive Done featuring heavily on the film and almost becoming the pinnacle song for the film. This song unofficially became kno wn as The Transformers Song which was a boost for the film companies. As well as getting major airplay because it was the first single off Linkin Parks new album, it was also a 3 minute advertisement for the film. This sparked the film company to hire Linkin Park to write the theme tune to the Transformers sequel, Transformers; Revenge Of The Fallen. After already establishing a mutual appreciation Linkin park agreed, this could only ever be a win-win situation for both parties involved through advertisement alone. With two major names collaborating, either could be mentioned and people would immediately pay more attention to both tracks featured on the soundtracks which in turn became a source of circulating the films title further through imagery and retails displays. popular music and film has had a long standing diverse and exciting relationship. It can give the scene the justification it needs by creating a sense of time or place, established through a few chords and lyrics. Kermode states, More than any other art form, pop music is a disposable, transient product which reflects, mimics and occasionally shapes the zeitgeist, (Kermode 1995:9), but music can help inspire, carry and advertise film, so does music have a greater importance than what we are lead to believe? And can sometimes structure the film to become what it is. Martin Scorsese said that the pop riddled soundtrack to Mean Streets (1973) consists entirely of songs from his New York youth and Which for him still evoke the milieu he was attempting to portray (Kermode 1995:13. In effect without the pop/rock music of Scorseses youth Mean Streets would not be (as time out described) as one of the best American films of the decade,. Did Scorsese make the film it is, because of the music and his youth? Time out also state that it was one of the few to successfully integrate rock music into the structure of film (Timeout n.d.). American Graffiti (1973) is another prime example of pop-laden film and soundtrack and was the first film to capitalise on a pop soundtrack. Up until this point pop songs were only used to give the film a sense of time and place and to give it that modern edge but to no availability in the retail industry. The idea of a modern soundtrack was starting to gain nostalgia and the youth market started to buy into a physical lasting memory of the film via the soundtrack. During the 1980s the relationship between pop music and film became largely symbiotic from a marketing point of view. They were also using classic yesteryear hits to revamp careers and provide titles to films (Stand by me (1986), pretty woman (1990). The marketing of pop songs became very omnipresent which had a profound effect on the market. Artists were beginning to use it to broaden their careers. Film Music the cross over from classical to popular score Without classical Hollywood the pop score used in films today would arguably have no meaning and could be just a random selection of current tracks to reflect the relative trend and used solely as a selling point, however as music in film has evolved so has the use and the function of music in film. American composer Aaron Copeland offers an insight to function of music in film from his perspective and suggest five general areas in which music in film serves its purpose: (I) It conveys a convincing atmosphere of time and place. (II) It underlines underlines the unspoken feeling or psychological states of characters. (III) It serves as a kind of neutral background filler to the action. (IV) It gives sense of continuity to the editing. (V) It accentuates the theatrical build up of a scene and rounds it off with a feeling of finality. (Smith 1998:6) As research by Lauren Anderson (referring to a case study of the British film Sliding Doors 1998 and the New Zealand film Topless women talk about their lives (1997) she concludes pop and rock music does not prohibit the compilation score from successfully fulfilling the functions of classical film score (Anderson:2003 115 (popular music and film book)). This is done in a slightly different way to traditional score as we have other elements to think about. These include: (I) The lyrics (II) The Songs structural independence (III) The wealth of extra-textual meaning The lyrics are the primary focus in these three elements and hold a great understanding of them over classical score, for example we can decipher basic terms, love, hate, happy, sad in both forms of score (aided by the visual elements of film), but only lyrics can convey those meanings on a deeper level Anderson notes (referring to Sliding doors): the songs words frequently reflect Helens thoughts of aspects of her character (Anderson 2003:112). Classical score, although deeply complex and varying, cannot portray such events in a manner than the average viewer would understand. Lyrics also have links to the other two elements but lyrics contribute dominantly to the songs structural independence: smith (1995:348) and Rick Altman (1999) both insist that popular music exhibits greater independence than classical music, in relation to the film as a whole (Anderson 2003:112). The popular score does have drawbacks. One of the drawbacks is that the pop score is not written specifically for the segment of film it features it therefore it is unlikely that its rhythm and its infliction will exactly match the action (Anderson 2003:113) whereas the classical score can be in direct synchronisation and contain unity through musical themes and or leitmotifs. The music chosen can also distract the viewer from the initial response the director is trying to achieve. Hilary Lapedis notes Pop songs in films use pops own emotional conventions and, in so doing, so place those films in a much wider context of popular culture than would be the case with traditional score (Lapedis1999:370) Lapedis points out that music although part of film, it is because they are popular and because the songs trigger familiarity to the members of the audience, by definition they trigger a set of different responses, different to those of the traditional score; Pop music, while having existence separate from the visual system, nevertheless posses its own confided meanings and associations (Lapedis1999: 370) Many others have this theory and have pointed out problems within the pop score. Karthryn Kalinak notes that pop music ignores the fundamentals of film (of which earlier discussed) and that pop music commits the cardinal sin of film scoring it failed to support the story and mood because it was the story and mood, (Kalinak 1992:186-7). Many of the songs chosen were originally pre-recorded and then later chosen for films and not written for the film which can potentially carry emotional baggage for the viewer as Jess smith notes not only was this potentially distracting but these associations might also clash with those established by the narrative (Smith 1998: 164). The other element frequently observed in pop score is extra-textual meanings. Behind each popular song is a sense of socio-historical meaning as well as fulfilling the functions of classical score. This is a two-tiered system which was developed by Noel Caroll, such system a system exists when one device (such as a popular song) can be read on two different levels, according to how much the viewer knows about that device and its associations (Anderson 2003:114). Such method was embraced by directors to give the film hidden depth and meaning to those who were informed as they recognise such things as lyrics, title and or performer and apply the knowledge to the context of the visual. The uninformed viewers however will not be able to access this meaning as they interpret the music as is, thus still being entertained and not distracted by the music itself. ___________________________________________________________________________ These functions can be carried over to pop music in film, as demonstrated in the case study of the film Goodfellas (1990) to which Martin Scorsese uses a soundtrack compiled entirely of pre recorded popular music. H (quote from popping the question). Martin Scorsese explores the thirty year span on the Italian-American mafia, from the adaptation of Nicolas Peleggis best seller Wiseguy , through his film Goodfellas. Martin Scorsese enjoys the use of popular and classical score throughout his films, he appreciated the messages and dynamics of both scores. He is one of the few directors (other being Quentin Tarrentino, William Wellman) who embrace popular music and use it to its full potential popular music has the potential to give movies a forceful, dynamic edge. It doesnt have to serve simply as mood music or be an unimaginative device for establishing a time period. (Scorsese 1995:1). More noticeable the film that has inspired many others has been Goodfellas. The score to the film consist of 40 popular songs, which span the thirty years of the time period of the plot as quoted Scorsese, does not use these songs solely for the purpose of time. The songs also reflect character growth, mood and they are placed intricately into the narrative to provide the informed viewer extra depth, but they also stimulate the un-informed viewer mainly through the range of songs. In some cases the songs act in the way similar to that of classical score, with using synchronisation. The music which chronicles the life of Henry Hill (Ray Liotta) is an eclecti mix of songs from different genres ranging from Jazz to classical rock n roll. The opening credits begins with Tony Bennett singing the song Rags to Riches, as Henry Hill starts the voice-over narration of his life. This is one of the more noticeable uses of depth to the film using popular score. Henry Hill grew up in a poor working class area of New York and had a longing to be part of the organised crime syndicate As far back as I can remember I always wanted to be a gangster (Goodfellas:1990). The title is a great depiction and insight to the story ahead as the scene changes from Henry Hills family and home life to the Mob life across the road, with close up shots of shoes, suits and jewellery. The lyrics to the song hold an even deeper meaning, with expressions of love and romance But in my heart id be king, your love is all that matteres and hold me kiss me tell me that youre mine (Tony Bennett 1953), which is a core theme throughout the film (http://www.timeout.com/film/reviews/72996/mean_streets.html Conclisuon popular music has enjoyed a ever evolving and intimate relationship with cinema. from the 1950s onwards, producers and directors have developed textual strategies for representing and incorporating popular music and its performers in the visual regime (popular music in screen page 222) Popular music on cinema lies closely related to music on all other commercial platforms, such as television and video, in turn these have aided the social consumption of technologies, which are tied closely to such platforms. With great advances in technology advertisers are boasting the cinema experience in your own home, with the advances in LCD/plasma screen technology, surround sound (2.1 all the way up to 7.1) and most recently blu-ray

Weight Problems Related to Problems with Fertility Essay -- Infertilit

Weight Problems Related to Problems with Fertility Infertility is a consequence of eating disorders that is not addressed as often as other consequences. What effect does eating disorders have infertility? Eating disorders can have people overweight, underweight and sometimes a normal weight. Body size has been related to several gynecological disorders. Higher risks of infertility have been found in both overweight and underweight women. To what extent being excessively under or overweight increases a woman’s risk for infertility is unknown. Women who are excessively underweight or overweight may be at increased risk of amenorrhea. Women need to have a certain amount of body fat in order to menstruate and conceive children. Many anorexic girls and women either never get their period or their period stops due to extreme weight loss. The cessation of menstruation, (amenorrhea), can be permanent depending on how long a woman has been suffering from anorexia. But for most women menstruation will start up when they begin to gain weight. Roughly 80% of anorexic women who successfully treat their eating disorder will regain their ability to conceive. When a woman's percentage of body fat falls below a certain minimum her body doesn't produce the levels of hormones necessary to stimulate ovulation. Rapid weight loss and undernourishment leads a woman's body into a state of emergency and she will not menstruate if she is just barely surviving. Low weight and weight loss is also associated with ovulatory dysfunction and thus infertility. Even a moderate weight loss of 10-15% under ideal body weight can result in menstrual irregularity. It does not need to be the weight alteration of 30% or more as seen in women with anorexia n... ...y a baby in a health environment. Works Cited 1.Bulik CM, Sullivan PF, Fear JL, Pickering A, Dawn A, and McCullin M: Fertility and Reproduction in Women With Anorexia Nervosa: A Controlled Study. J Clin Psychiatry 60:2,1999 2.Green BB, Weiss NS, and Daling JR: Risk of ovulatory infertility in relation to body weight. Fertility and Sterility 50:5,1988 3.Grodstein F, Goldman MB, and Cramer DW: Body Mass Index and Ovulatory Infertility. Epidemiology 5:2,1994 4.Lake JK, Power C, and Cole TJ: Women’s reproductive health: the role of the body mass index in early and adult life. International Journal of Obesity 21:6,1997 5.Reid RL, and Van Vugt DA: Weight-related changes in reproductive function. Fertility and Sterility 48:6,1987 6.Stewart DE, Robinson GE, Goldbloom DS, and Wright C: Infertility and eating disorders. Am J Obstet Gynecol 163:4,1990 Weight Problems Related to Problems with Fertility Essay -- Infertilit Weight Problems Related to Problems with Fertility Infertility is a consequence of eating disorders that is not addressed as often as other consequences. What effect does eating disorders have infertility? Eating disorders can have people overweight, underweight and sometimes a normal weight. Body size has been related to several gynecological disorders. Higher risks of infertility have been found in both overweight and underweight women. To what extent being excessively under or overweight increases a woman’s risk for infertility is unknown. Women who are excessively underweight or overweight may be at increased risk of amenorrhea. Women need to have a certain amount of body fat in order to menstruate and conceive children. Many anorexic girls and women either never get their period or their period stops due to extreme weight loss. The cessation of menstruation, (amenorrhea), can be permanent depending on how long a woman has been suffering from anorexia. But for most women menstruation will start up when they begin to gain weight. Roughly 80% of anorexic women who successfully treat their eating disorder will regain their ability to conceive. When a woman's percentage of body fat falls below a certain minimum her body doesn't produce the levels of hormones necessary to stimulate ovulation. Rapid weight loss and undernourishment leads a woman's body into a state of emergency and she will not menstruate if she is just barely surviving. Low weight and weight loss is also associated with ovulatory dysfunction and thus infertility. Even a moderate weight loss of 10-15% under ideal body weight can result in menstrual irregularity. It does not need to be the weight alteration of 30% or more as seen in women with anorexia n... ...y a baby in a health environment. Works Cited 1.Bulik CM, Sullivan PF, Fear JL, Pickering A, Dawn A, and McCullin M: Fertility and Reproduction in Women With Anorexia Nervosa: A Controlled Study. J Clin Psychiatry 60:2,1999 2.Green BB, Weiss NS, and Daling JR: Risk of ovulatory infertility in relation to body weight. Fertility and Sterility 50:5,1988 3.Grodstein F, Goldman MB, and Cramer DW: Body Mass Index and Ovulatory Infertility. Epidemiology 5:2,1994 4.Lake JK, Power C, and Cole TJ: Women’s reproductive health: the role of the body mass index in early and adult life. International Journal of Obesity 21:6,1997 5.Reid RL, and Van Vugt DA: Weight-related changes in reproductive function. Fertility and Sterility 48:6,1987 6.Stewart DE, Robinson GE, Goldbloom DS, and Wright C: Infertility and eating disorders. Am J Obstet Gynecol 163:4,1990

Gender Bias and Domestic Violence Essay -- Violence Against Women Essay

Women have always taken a back seat to men in American society. There has always seemed to be one set of standards that apply to men, and another set of standards that apply to women. This is evident in the home, workplace, and all throughout society. I would like to briefly discuss some of the differences that we learn about our gender, which will enable us to better understand men, women, and domestic violence in society today. Once we understand causation, we can then begin to understand effects and prevention. Our roles as men and women start at the hospital when we are born. Boys get blue blankets while girls get pink blankets. The toys we play with growing up are targeted at either males or females. Toys that are made for little boys include trucks, blocks, guns, soldiers, and action figures. While toys made for little girls include dolls, kitchen utensils, dress-up, and doll houses. Boys are raised to be aggressive, tough, dominant, and daring, while girls are raised to be passive, emotional, sweet, and subordinate. These patterns and thought processes continue on into our adulthood and begin to play out in our relationships with others, which include dating and marriage. With these gender biases and stereotypes in mind, it is easy to see how domestic violence can exist in today's society. More importantly, we begin to understand how these negative messages can effect us personally. Although domestic violence includes sibling abuse, elder abuse, and child abuse, the focus of my essay will be on spousal abuse. Domestic violence has many names such as family violence, battering, wife beating, and domestic abuse. However, as discussed in class, domestic violence is not limited to physical beatings alone. D... ...that society will not tolerate. In my opinion, it is not only the individual abusers, rather, society as a whole which needs great help. Domestic violence is still extensive and this needs to end. Our media and entertainment industries still glamorize and demean the seriousness of domestic violence, and they greatly influence our behavior by showing false examples of how we should act and react to one another. In closing, I do believe that we are on the right track to ending domestic violence but our effort is just not strong enough because our message that domestic violence is a crime is not strong enough. This class has opened my eyes and made me aware of what is going on and what needs to be done. In the future, I will do what is needed to stop this violence around me, and I will accomplish this by simply using my voice and speaking out about what is wrong.

English Translation of Chinese Neologisms from the Perspective

1. Introduction Language is dynamic. Every day there are new words coming into use in languages and there are many others fading away from lexicon. Chinese, one of the oldest languages in the world, still possesses this dynamism. Language serves as a tool of communication and interaction, thus it reflects the social changes, and meanwhile social changes find their expressions in language, which leads to the advent of neologisms. The appearances of new inventions, new technologies, new ideas and new social phenomena are capable of bringing neologisms into languages.In the twentieth century, Chinese neologism has undergone three stages: the first stage was from 1919, after the May 4th Movement; the second stage was from the establishment of People’s Republic of China to 1978; the third stage began with the policy of reform and opening-up. Entering into the new century, the development of society has hasted their paces and the communication between centuries becomes more frequent . Language is witnessing the changes. During recent years, an increasing number of new words has been adopted into Chinese.Therefore, as the translator, he or she shoulders the responsibility of translating the new words properly in order to convey the Chinese culture to other countries, and this has proved to be a great challenge. Though there are many dictionaries and handbooks which study Chinese neologisms and the translation of Chinese neologisms, the study of neologism translation is far from enough. This thesis will discuss the translation strategies in order to accomplish the translation of Chinese neologisms efficiently by adopting the theoretical foundation of Eugene A.Nida’s Functional Equivalence. The thesis is divided into six parts. The first part is introduction; the second part focuses on the origins and characteristics of Chinese neologism; the third part puts its emphasis on the theoretical basis—Functional Equivalence, which was proposed by the famou s American translation theorist Eugene A. Nida; the fourth part discusses the respective translation strategies under the guidance of the translation theory. The fifth part talks about the existing problems in neologism translation and how to solve these problems.Last part is a conclusion of the whole thesis. Neologisms emerged in the new century especially new words of 2008 will be adopted as main examples, because they are endowed with fresher and richer contents and reflect the characteristics of new era more evidently. The examples and their translations are quoted mainly from China Daily, Global Times and official translation versions of political documents. This thesis will not specify the respective source of each neologism.