Problems Faced By The Great Cities Of The Slums - 1683 Words

A â€Å"surplus humanity† is urbanization without industrialization and are informal urbanites in the slum. Globalized capitalism forces, such as Structural Adjustment Programs, were imposed by International Monetary Fund, the World Bank, and the Washington Consensus on the developing countries from 1970. These programs are the major cause of the â€Å"surplus humanity†. In Mike Davis’s â€Å"Planet of the Slums†, he says there is a distinction between urbanization that had root in industrialization in the 19th and 20th century and the urbanization that was mainly caused by Structural Adjustment Programs in the last view decades of the 20th century (Davis 2006). Davis discusses Karl Marx and Webber’s social theory that â€Å"believed that the great cities of†¦show more content†¦The established informal jobs were the new primary mode of survival in the majority of the remaining third world cities (Davis 2006, 178). Upward mobility in an in formal economy is practically a â€Å"myth inspired by wishful thinking† (Davis 2006, 179). Through Davis’s examples, he shows us that moving upwards through different social classes is basically impossible regardless of how hard one works. Davis’s two main points for why the opposite of what he assumed happened instead. He explicitly blames the World Bank and the International Monetary Fund. Former Defense Secretary, Robery McNamara, was the head of the World Bank in the 1970’s. During this time, the world was overflowing with excessive amounts of petrodollars. These petrodollars were just sitting in banks, which were later used as loans to third world areas. However, around the 1980’s, the third world areas that previous accepted those loans went into debt, which caused both the World Bank and the International Monetary Fund to implement new Structural Adjustment Programs. These new programs ultimately forced these third world countries to readjust their economies according to the Washington consensus. Davis demonstrates how â€Å"national market deregulation [under pressure from Structural Adjustment Programs and International Monetary Fund strategies] pushed agricultural

Voice, Imagery, Symbols and Theme in Snows of Kilimanjaro...

Voice, Imagery, Symbols and Theme in Snows of Killamanjaro The Snows of Kilimanjaro, a short story by Ernest Hemingway, is a brilliant study of a mans final hours precluding death. The story centers around Harry and his wife, waiting for a plane to come and take him to a doctor or hospital. Thus begins a stream of passages that takes the reader along with Harry while he drifts in and out of consciousness, moving from one life to the next. The obvious theme is death and dying, but the home theme is Harrys return to his past, and his journey to the present. Hemingway uses animal imagery in the story to reflect the dying theme, and to show two distinct sides of Harry, and his passing from life to death . The story opens with†¦show more content†¦Theyve been there since the day the truck broke down. Todays the first time any have lit on the ground. He then changes direction, as he accepts the dying phases, when he describes the zebra, white against the green of bush. The was a pleasant camp under big trees against a hill, with good water, and close by, a nearly dry water hole where sand grouse flighted in the mornings. In this passage he has become the other side of Harry, the side that is reflecting his passing life. When his wife goes off to kill a piece of meat for dinner, it causes him to think about their life together, a looking back at this present/past that he is just now living. His life with her was a contradiction between lying and love, as are his dying thoughts, and you can see his struggle. Now if this was h ow it ended, and he knew it was, he must not turn like some snake biting itself because its back was broken. It wasnt this womans fault. If it had not been she it would have been another. If he lived by a lie he should try to die by it. Again to describe the creeping of death the hyena enters: While it grew dark they drank and just before it was dark and there was no longer enough light to shoot, a hyena crossed the open on his way around the hill. Hemingway has a lyrical and musical voice. His shifting fromShow MoreRelatedThe Struggle of Life and War in Ernest Hemingway’s Writing 1071 Words   |  5 Pagesreader’s mind with the grievous effects of war and loss. Hemingway uses vivid word choices, simple sentence structure and coherent dialogue, as well as life experiences, to create universal novels, encompassed in epic love stories filled with symbols and themes hidden within his prose, that illustrate the tragic nature of life during the war. In his acclaimed novel, A Farewell to Arms, Hemingway depicts the story of a soldier in World War I, a vicarious parallel to his own experiences, struggling to

Psychologically Viewing Three Plays Essay Example For Students

Psychologically Viewing Three Plays Essay From psychologically viewing the plays, Hamlet, King Lear, and Othello it seems that these three tragedies all connect. Shakespeare has a way of manipulating the audience into feeling compassionate towards acts that the usually wouldn’t be compassionate towards. These acts may include insanity, murder, or betrayal. And Shakespeare also has a way of leaving the audience to ponder what the outcome would have been if one certain event may not have happened. Shakespeare’s tragedies will certainly stick in many people’s minds and hearts for years to come because of the power and reality of Shakespeare’s characters. Shakespeare’s Hamlet is a complex story of revenge, the lack of love, and the â€Å"madness† of Hamlet. This play is fueled by the the people of the Elizabethean and Jacobean period. It is a revenge play that included the elements for a revenge play that the people wanted. They wanted a hero to avenge an evil deed, scenes of death and mutilation, insanity or feigned insanity, sub-plays, and the violent death of the hero. Shakespeare knew what the people of this era wanted and he combined it together to create one of the best plays of that time and all-time: Hamlet. Shakespeare was able to make this play so great because Hamlet was a reat character. Most people could relate to what he did and why he did it. He was a real person; mourning the loss of his father and rejecting the man who was to take his father’s place. This play was maybe the first time that the audience was able to come to understand the insanity of a man. Hamlet is faced with some of the biggest difficulties a man can be faced with. How to handle the situation with his uncle and mother, the loss of his father, and a girlfriend who betrayed him is what drove Hamlet to be crazy. This play enables the audience to feel a pang of sympathy toward Hamlet even when they might not agree with what he is doing. Another key point in Hamlet is that he is very intelligent. Hamlet had many chances to kill his uncle that he did not take. They were too easy and would not completely satisfy Hamlet or the spirit of his father. Hamlet wanted his father’s death avenged; he wanted everybody to know what had happened. This play also gets thrown a twist with the character of Ophelia. Ophelia was used in the play to show the changes happening in Hamlet’s character. We see how a man’s mother can be the ultimate representation of a woman. For Hamlet it became if my mother is a whore then every woman must be. Ophelia furthered proved this fact by obeying the wishes of her father over the Hamlet’s wishes. Hamlet felt Ophelia had let herself be used and she was now dirty. This aspect of the play allows the audience to see that Hamlet is really going insane from the whole situation he is in. The irony behind this play is that if Hamlet was not such a great man he may have lived. If he would have taken the easy way out by stabbing his uncle in the back or poisoning his drink he could have lived on. But Hamlet died because he was a fair man. In Shakespeare’s tragedy, King Lear, a prominent reoccurring theme is vision and its importance. Shakespeare portrays this theme through the characters of Lear and Gloucester. The contrast of vision in these two characters shows the difference between eyesight and enlightenment to a person’s inner feelings. Although Lear can physically see he is blinded in the sense that he lacks insight, understanding, and direction. In contrast, Gloucester becomes physically blind, but gains the type of vision that Lear lacks. It is evident from these two characters that clear vision is not derived solely from physical eyesight. Throughout most of the play, Lear’s vision is clouded by his lack of insight. Since he could not see into other’s personalities he could never identify them for whom they truly were. When his youngest daughter, Cordelia, angers Lear Kent tries to reason with Lear, who is too stubborn to be open-minded to the insight of others. Lear responds to Kent’s opposition with, â€Å"Out of my sight! † to which Kent responds, â€Å"See better Lear, and let me still remain. †(Act I, Scene 1, line 160) Here Lear is saying that he never wants to see Kent again. If he only could see Kent for whom he really was. Kent was only trying to do what was best for Lear, but Lear could not see that Kent’s vision is not clouded, as is Lear’s. Antigone EssayThe crucial moment in the play is the scene where Iago deceives Othello and induces him to fall. He does this by expanding the tactics used in prior scenes. Iago plants the seed of doubt in the Moor’s mind when he says, â€Å"Ha! I like that not â€Å" (Act III, Scene 3, Line 35) as they came upon Cassio and Desdemona talking. He then retreats into a guise as â€Å"honest Iago† as he did in the brawl (Act II, Scene 2). When he was the reluctant truth teller who must have unpleasant news dragged from him by a determined Othello. The honesty by him being reluctant to speak is reinforced by the moralizing tone he takes with his commander. Iago actually lectures Othello about his jealousy â€Å"the green-eyed monster† and insisting that he’ll not speak slander â€Å"he that filches from me my good name / Robs of that which not enriched him / And makes me poor indeed† (Act III, Scene 3, line 158-161). At the same time he is playing upon Othello’s insecurities by lecturing him on how Venetian women are deceitful and treacherous by nature. The seizure of the handkerchief is a great achievement for Iago in his quest to destroy Othello and was aided by his wife, who apparently has no scruples about betraying her mistress in small matters. Shakespeare will eventually transform Emilia into a voice of moral outrage, and by the final scene the audience will applaud her role in Iago’s destruction, but for now she is Iago’s accomplice. It will take a great shock to inspire outrage against him-a shock that comes to late. Othello’s accusations and refusal to accept Desdemona’s denials are brutal and unfair, but his language recovers some of the nobility that it had lost in previous scenes. Iago’s like sorrowful laments for what has been lost replace curses, and the audience is reminded of the heroism and dignity that Othello possessed at the beginning of the play. His cry †o, thou weed, / Who art so lovely fair, and smell’st so sweet, / That the scene aches at thee-would thou hadst ne’er / been born! † (Act IV, Scene 2, line 69-72) is a powerful expression of the love that he still holds for his wife, which has been ruined for ever by Iago’s poisons. Othello is terribly wrong, but Shakespeare demands that we sympathize with his error. Othello’s words as he prepares to murder Desdemona reveal the extent to which he has allowed Iago’s logic to dominate his own thinking. His fury has abated, but he is left with a sense of being an instrument of divine justice. Desdemona must die, because she has betrayed him. Othello’s self-delusion is so strong that he believes himself to be merciful. He will not scar her body and he will allow her to pray because he says, â€Å"I would not kill thy soul† (Act V, Scene 2, line 34). The actual murder is one of the most painful scenes in all of Shakespeare’s plays, because of Desdemona’s manifest innocence, beauty, and purity. She proclaims to continue are love for Othello to the grave and beyond, returning to life only to gasp out exoneration for her husband. He rejects are last gift, but his illumination arrives quickly thereafter, and the audience’s anger at the Moor dissipates as he is completely undone by the realization of his terrible error. There is no need to punish him, his horrible self-awareness (â€Å"O Desdemona! Desdemona! Dead! †) Is punishment enough. Then Othello passes judgment on himself with the courage we would expect from a military hero and loyal general, and he kills himself just as he once killed the enemies of Venice. Shakespeare allows him a final word; too, Othello reaches for Desdemona, reminding the audience of what a great love has been destroyed. Shakespeare’s tragedies will certainly stick in many people’s minds and hearts for years to come because of the power and reality of Shakespeare’s characters. Through these characters we are able to feel emotions inside ourselves that we may have never felt before. Shakespeare’s tragedies give us an ability to connect with an insane person, the ability to know how important insight is, and to know to also trust your own feelings and not just the people’s around you.

Thomas Gainsborough Essay Sample free essay sample

Thomas Gainsborough was born in 1727 and baptized on 14th May of that twelvemonth at the Independent Meeting House in Friar’s Lane in the little market town of Sudbury in Suffolk. Edward III had selected Sudbury as one of the topographic points in which to settle Flemish weavers. and like so many East Anglian towns its prosperity was built on the returns of the cloth trade with which the Gainsborough household was connected for several coevalss. The painters’ male parent. John Gainsborough. was one of the last of the household to prosecute in the industry of woolen goods ; but he is said to hold discovered the secret of woolen shroud devising in Coventry. and to hold introduced it into Sudbury. where. for a clip. he enjoyed a monopoly of the trade. However. he does non look to hold been really successful in the behavior of his personal businesss. and his belongings at the clip of his decease in 1748 was renounced by his married woman and kids in favor of a creditor. We will write a custom essay sample on Thomas Gainsborough Essay Sample or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page He was generous to a mistake and possessed a great sense of temper. both of which were amply inherited by his boy. Gainsborough’s female parent was the sister of the Reverend Humphrey Burroughs. the schoolmaster of the ancient Grammar School at Sudbury. which Thomas and his brothers attended. Thomas had 4 brothers and 4 sisters. The eldest. John. nicknamed â€Å"Scheming Jack† . was an clever. if slightly purposeless discoverer. and on one juncture he attempted to wing from the roof of a gazebo with a brace of wings of his ain industry. but landed in the ditch. deeply humiliated. but fortuitously unharmed. Humphrey. another brother. was a Nonconformist reverend to whom Thomas was ever much attached ; like John. he took a great involvement in mechanics and technology. but had more capacity in using his thoughts. He was awarded a premium by the society of Humanistic disciplines for a factory Big Dipper and a hive factory. When John Constable visited Sudbury many old ages after Gainsborough was working at that place. he said. â€Å"It is a delicious state for a painter. I fancy. I see Gainsborough in every hedge and hollow tree. † and Gainsborough frequently said in ulterior life that Suffolk had made him a painter. In 1740. when he was merely 13. Gainsborough set out for London. and lodged in the house of a silverworker. Through the good offices of the silverworker. Gainsborough made familiarity of the Frenchman. Gravelot. Gravelot was in England for a figure of old ages. and is chiefly remembered for his really capturing sketchs and designs for book illustrations. He was both an accomplished engraver and a sensitive and delicate draftsman and. working with him. Gainsborough did non merely get accomplishment in the usage of the engrave and etching needle. but besides something of that sense of manner and easy polish associated with the Gallic school. Gravelot had considerable standing among the creative persons of the twenty-four hours and was really friendly with Hogarth. He was. like Hogarth. a caricaturist and mocked slightly rebelliously the artistic mottos of the clip. In the little artistic circle in London. Gainsborough no uncertainty met Hogarth. whose independent attitude would be prob ably to appeal to him. and whose fresh attack to the jobs of painting had much influence on Gainsborough’s work. Whilst he lived in London. Gainsborough kept himself by painting little portrayals and landscapes and by doing drawings for the engravers. He besides supplemented his resources by doing theoretical accounts. He made his 1st essays in art by patterning figures of cattles. Equus caballuss and Canis familiariss. in which he attained great excellence. There is a dramatis personae in the plaster stores of an old Equus caballus that he modelled which has peculiar virtues. In ulterior life Gainsborough frequently amused himself by patterning. and on one juncture after a concert at Bath. he was so charmed by Miss Linley’s voice that he sent his retainer for a spot of clay with which he made and coloured her caput. Sometimes he used to wax tapers on the tabular array to do ad-lib theoretical accounts. Gainsborough’s love of landscape painting would of course pull him to Suffolk. and he likely paid many visits to Sudbury while he was analyzing in London. It is possible that it was in Suffolk that Gainsborough met his future married woman. a beautiful miss named Margaret Burr. The nuptials took topographic point in London in 1746 at Dr Keith’s Mayfair Chapel which was used for the jubilation of clandestine matrimonies. Obviously. the immature twosome had non been able to procure the blessing of their seniors. and resorted to a runaway matter. Suffolk portrayals It is non known precisely when Gainsborough returned to Suffolk to populate. but he likely spent a good trade of clip at Sudbury even before he eventually gave up his suites in London. Gainsborough’s 2 girls. Mary and Margaret. were both born in Sudbury. one in 1748 and the other 1752. and judging from the figure of portrayals of them as kids. their male parent frequently prevailed upon them to present for him. Gainsborough had an intimation that the misss were badly fitted for a normal society life. and might non easy happen suited hubbies. His predicting proved all true. It was likely about 1752 that Gainsborough moved from Sudbury to the haven of Ipswich where he lived until he went to Bath in 1759. At Ipswich the painter met his first biographer. Philip Thicknesse. Harmonizing to his ain narrative. Thicknesse was walking with in his pretty town garden and perceived a melancholy faced state adult male with his weaponries together tilting over a garden wall. Thicknesse stepped frontward with purpose to talk to the individual and did non perceive until he was shut up that it was a wooden adult male painted on a molded board. He so learnt the reference of the painter. Gainsborough attracted Thicknesse by the originality of his plants. His originality ballad in the fact that he unconsciously flouted the manners of the twenty-four hours and found his inspiration in the work of the Dutch realistic painters. In the Eighteen century realistic landscapes were called â€Å"those laboring mimics of nature’s most indecent coarseness† . The 1st landscapes were the â€Å"View of the Charterhouse† . the â€Å"Cornard Wood† . â€Å"Landguard Fort† etc. Gainsborough achieved his 1st professional success as a landscape painter. but this line of concern was non profitable at the clip. and he had to paint portrayals to do a life. Some of the most interesting of the Suffolk images are the little portrayals in landscape scenes. in which he could unite his gifts in both subdivisions of his art. These portrayals are in a sense â€Å"conversation pieces† . which were so so popular in England. but Gainsborough succeeded in giving a particular character to that convention. His portrayals. although sometimes instead stiff. demo a acute apprehension of human nature every bit good as of wild nature. linked with a rare grasp of the true relation of the one to the other. He did non utilize landscape as a background to put off the figures. but as an built-in portion of the subject. The most successful of these images is doubtless the portrayal of â€Å"Mr and Mrs Andrews† which is still in the ownership of the Andrews household. They are non sitting on an elegant patio. in a well-dressed landscape. but on an ordinary garden place looking at their harvests. as if Gainsborough caught them unaware of his presence when they were resting during a amble round their belongings. Mr Andrews has merely shot a bird which Mrs Andrews is transporting with no town-bred scruples although she is charmingly dressed in her best frock for the picture. The figures are so of course posed that they seem portion of the landscape. which is painted with a grade of pragmatism unprecedented at the clip. It is much more superb in coloring material than any other of the Suffolk portrayals and the trees and Fieldss are attuned to the homosexual bluish gown Mrs Andrews is have oning. The whole construct in its simpleness and pragmatism is more about related to the plein air picture of the XIX century than to the mannered conversation piece. In most of the other early portrayal groups. the landscape gives pride of topographic point to the figures. but is ever a adjustment and thoughtful concomitant to them. The delicious portrayal of â€Å"The creative person. his married woman and child† was likely painted about 1751. The landscape in this image is less clearly defined than in the Andrews. but the instead aeriform bluish green trees fit the temper of the image and agreement with the moony look on the painter’s face. Among other early portrayals are that of the painter’s brother â€Å"Scheming Jack. â€Å"Mr Kirby† . â€Å"Mrs Kirby† . â€Å"Samuel Kilderbee† . One of the loveliest of the ulterior Suffolk portrayals is â€Å"The Painter’s Daughters Chasing a Butterfly† . certainly one of the most beautiful of all images of kids. so stamp in its feeling for the delicate signifiers and yet so solidly conceived as a pictural design. Gainsborough’s letters to his friends throw some visible radiation on his attitude to his trade. In ulterior life Gainsborough was much concerned about the hanging of his images. It was peculiarly of import to Gainsborough that his images should be hung in a proper visible radiation since he relied for his effects for delicate drawing and lively handling of the pigment instead than on dramatic effects of coloring material or emphasized chiaroscuro. In the Suffolk pictures Gainsborough had non yet to the full plenty developed his mode. but â€Å"the uneven abrasions and marks† were get downing to do their visual aspect. They are apparent in the intervention of the curtain. the picture of the hair and in other inside informations. For the most portion Gainsborough’s Sitters seem to hold been besides his friends. No uncertainty Gainsborough’s early survey of landscape influenced his vision as a portrayal painter. he saw a caput. as he saw a tree. enveloped in visible radiation. and he was deeply interested in the delicate steps of tones. Bath and manner Although Gainsborough obviously had rather a booming trade in Suffolk. he admitted that he was afraid to set people off when they were in a temper to sit. and the possible local patronage must hold been limited. Philip Thicknesse. who was accustomed to winter in Bath. pressed Gainsborough to abandon the quiet Suffolk town and to seek his luck in the West state. Naturally. London was the Centre of the art universe. but there was in England no town than Bath which provided such chances for the portrayal painter. The metropolis was a favorite resort of pleasance searchers from all parts of England and of all ranks of society. On his reaching at Bath. Gainsborough took a house about ? of a stat mi in the Lansdowne Road. Lansdowne Road leads up a hill to the unfastened state and would of course hold attracted Gainsborough the landscape painter. who although he could neer carry himself to abdicate the pleasances of town. ever sighed for the state. What did he look like physically? Portrayals leave a clear feeling of his personality ; the crisp bend of the caput. the shaking anterior nariss. the half-parted lips. the seeking eyes. all these add up to an image of person vibrantly alive — qui vive. observant. excitable. extremely strung. He was inconsistent. unprompted. and. of class. easy touched. However. his fundamental law and nervous system were by no agencies robust. He thought and acted like a gentleman and was non irreligious. although there was a combination of irritability and bohemianism on the one manus and practical good sense on the other manus in him. Gainsborough was impatient and found it difficult to incorporate himself when he was in chase of some new stuff or pigment he had found effectual. Gainsborough cared passionately for the quality of his stuffs. and for the excellence of technique. A visit to Gainsborough’s studio shortly became the manner. It was the usage in Bath to let sing painters to put specimens of their work in the Rump Room with their graduated table of charges. Gainsborough on his reaching followed the usual pattern and his studio rapidly attracted great involvement. He became so popular that a modern-day humor said. â€Å"Fortune seemed to take up her residence with him ; her house became Gainsborough† . The painter must hold known most of the distinguished and elegant common people who visited Bath. but he neer enjoyed polite society and boundlessly preferred the company of fellow creative persons. instrumentalists and histrions. He was non merely â€Å"passionately fond of music† . but himself performed on several instruments — his friends said he â€Å"was excessively conspicuous to analyze music scientifically. but his ear was good and his natural gustatory sensation was refined†¦ he ever played to his feelings† . The phase had an resistless entreaty for Gainsborough who was on first-class footings with the director of the Bath Theatre and had entree to a box on all occasions. He met many of the histrions who visited Bath. including the great Garrick. of whose character and ability he had the really highest sentiment. The creative persons became womb-to-tomb friends ; both had a really nice sense of temper. and it is diverting to read of them sing Mr Christie’s suites in London. when the auctioneer is said to hold remarked that the presence of those two with their lovely raillery greatly added to the involvements in his gross revenues. It was in Bath that Gainsborough painted the best known of his portrayals. the celebrated â€Å"The Blue Boy† ( 1770 ) . It seems that the theoretical account was Jonathan Buttall. The boy’s male parent. an hardwareman in the Greek Street. was an intimate friend of Gainsborough and one of the few people invited to be present at his entombment. Mr Buttall was a adult male of agencies and gustatory sensation. and often entertained creative persons and instrumentalists at his place. It was non a commissioned work at all: X raies have revealed the beginnings of the portrayal of an older adult male under the pigment surface. and. therefore the fact that the â€Å"The Blue Boy† was painted on a cast-off canvas. The image was clearly done for Gainsborough’s ain pleasance. The picture of the bluish suit is brilliant and surely justifies Thicknesse’s contention that â€Å"Mr Gainsborough non merely paints the face. but finishes with his ain custodies every portion of the curtain ; this. nevertheless piddling a affair it may look to some. is of great importance to the image as it is fatigue and labour to the creative person. † Some really all right portrayals of work forces were painted by Gainsborough in the late 60’s. That of â€Å"Viscount Kilmorey† is now in the National Gallery. Gainsborough has seized upon an easy slumping attitude which one feels the Sitter would of course hold adopted. The pigment is applied in those broken direct touches so characteristic of the ulterior work and is more kindred to the craft of Manet or Goya than to any modern-day Eighteen century painter. The elusive drama of motion around the oral cavity is peculiarly characteristic. whilst the vigorous intervention of the tree bole is an admirable foil to the delicate modeling of the caput. An event of the first importance to the artistic universe occurred in 1768 in the foundation of the Royal Academy. Gainsborough sent to the first exhibition a portrayal of Lady Molyneux. which was one of Gainsborough’s most successful plants of the period. The black lacing scarf gracefully draped over her shoulders. shows off the beautiful custodies of great advantage and emphasizes the daintiness of the tones of the cream-coloured satin. The simple compact design and the assurance of the pulling give the image a strength and deepness which are enhanced by the really daintiness of intervention. However. Gainsborough shortly quarreled with the governments of the Royal Academy and sent no images to the exhibitions until 1777. Before he left Bath. Gainsborough had explored that finely elusive scope of tones which he was to develop so efficaciously in the symphonic musics of pearly coloring material which distinguish the best of his ulterior portrayals. He had besides evolved his beautiful brushwork. which makes even his duller portraits a delectation to painters analyzing the enigmas of their trade ; his power of innovation may hold weakened when he became a stylish portrayal painter. but is power of expressive handling increased throughout his life. London Gainsborough who was ambitious. was of course dying to travel to London and put his work to the trial of competition with Sir Joshua Reynolds on his ain land. Gainsborough arrived in London in the early summer of 1774. The household moved into the western wing at Schomberg House in Pall Mall. The house. which was once the belongings of the Dukes of Schomberg. was so owned by the painter. Astley. He lived in the cardinal part and allow the eastern portion to a ill-famed mountebank. Dr Graham. who established there his Temple of Health. With his acute sense of temper. Gainsborough must hold had considerable amusement from the multitudes of visitants go toing the talks next door. His many friends in the musical and theatrical universe welcomed Gainsborough with unfastened weaponries. and one of his first activities in London was to help in the ornament of the new music room. Gainsborough achieved sufficient celebrity at Bath to be elected to the Council of the Royal Academy about instantly he arrived in London. although he characteristically refused to take any portion in the proceedings of that August organic structure. In malice of his disregard of the Royal Academy. Gainsborough obviously acquired considerable concern within a short clip of his reaching in London. It was in 1775 that Gainsborough foremost met the Reverend Henry Bate. afterwards Sir Henry Bate Dudley. who subsequently became his changeless friend and comrade. Bate. the boy of the state reverend. himself took orders before shiping on his calling as a newspaper baron. He helped to establish the â€Å"Morning Post† . of which paper he was editor until he left it in order to set up the â€Å"Morning Herald† . Bate was a passionate supporter of Gainsborough’s picture and he lost no chance of conveying it to the notice of the populace. In 1777 Gainsborough once more exhibited at the Academy. When the exhibition opened two of Gainsborough’s most distinguished images were on position. the portrayal of Mrs Graham and the all right landscape. â€Å"The Watering Place† . Lady Graham seems to hold been something of a idol. since she was non merely elegant and complete but a more than an ordinarily competent homemaker. Her hubby adored her. and when she died immature. in the South of France. went off to seek his luck in the wars. and could neer bear to look at the portrayal. which he sent to the warehouse in Scotland. where it remained until 1859. when it was bequeathed to the National Gallery of Scotland. Gainsborough was obviously dying to do a success of portrayal. and took a considerable clip in working out his thought. A good similitude of Mr Christie. the auctioneer. who was an intimate friend of the painter. was besides exhibited this twelvemonth. His suites were close to Gainsborough’s house. and Gainsborough frequently dropped in with Garrick in order to analyze the images on position for sale. Gainsborough was much interested in the plants of the old Masterss and bought a figure of images. An interesting running light on Gainsborough’s opinion of images was shown when in 1787. he was called upon to give grounds in the instance of selling a false Poussin. Gainsborough said that although he was normally charmed with Poussin’s work. the image in inquiry was in his position deficient in harmoniousness. gustatory sensation. easiness and elegance. and that it produced him no emotion. When he was asked whether something more than a au naturel review by the oculus was necessary for a justice of images. Gainsborough said he conceived â€Å"the oculus of a painter to be equal to th e lingua of the lawyer† . One of Gainsborough’s best-known portrayals was that of Mrs Robinson. known as â€Å"Perdita† . because it was when playing that character in â€Å"A Winter’s Tale† that she foremost attracted the notice of the Prince of Wales. The beautiful immature actress was a adjustment topic for Gainsborough’ coppice and shows him in his most poetic vena. She is sitting on a bank dressed in a white muslin frock with a small white Canis familiaris by her side and holds in her manus a illumination of the Prince of Wales. The symphonic music of white and gray-green is merely relieved by the bluish sash and the extremely colored skin color of the actress. In 1785 Mrs Siddons. an actress. sat to Gainsborough for the well-known portrayal in the National Gallery. Though the painter lavished his painterly accomplishment on the silks and satins and pelts of Mrs Siddons’s frock. attending is steadfastly concentrated on the beautiful and finely modelled caput. which is the chief visible radiation in the image and stands out against the wide ruddy drape that closes the background. Another distinguished portrayal of the same twelvemonth is that of Mrs Sheridan. where the flimsy curtains seem to be every bit much alive with motion as the landscape background is tenderly felt. Gainsborough had such a appreciation of signifier and beat that he did non hold to trust on graphic coloring material contrasts in order to stress the forms and keep his composing together. but insisted. instead. on the general atmospheric consequence. which is conveyed by the subtle and sensitive brushwork. The Morning Walk. a portrayal of Squire Hallet and his married woman. was painted in 1786. and gave Gainsborough’s endowments full range. In the design he combined self-respect with informality in a characteristically English manner ; the brushwork gives the semblance of soft zephyrs blowing through the trees. and the additive beat and coloring material harmoniousnesss are blended in a perfect symphonic music. Gainsborough summed up with extraordinary glare and sympathy the blue life of the Eighteen century. its elegance. polish and assurance ; and although it is a image of a peculiar age it has the digesting qualities of all great art. The ulterior landscapes Gainsborough’s foremost love was for landscape. but he ever considered his head concern to be in the â€Å"face way† . and he did non let his illusion to interfere unduly with his trade in portrayal. which increased so quickly after his move to Bath. However. Gainsborough obviously spent a good trade of clip in painting landscapes. The most celebrated of his landscapes painted before he moved to London are â€Å"The Grand Landscape† . â€Å"Harvest Wagon† . â€Å"Landscape with cattle† etc. The â€Å"Harvest Wagon† was exhibited at the Royal academy in 1771. The image has warm coloring with elusive combination of fall shades and delicate pastel sunglassess. and provincials seem active. lively people. The image is painted really thinly. and the lovely figure of the male child taking the Equus caballuss is barely more than outlined with the coppice with all the energy of a pen and ink study. In the same manner the signifier and motion of the Equus caballuss is conveyed with a few boundlessly stating lines. Gainsborough has immortalized the simple scene conveying its indispensable self-respect. After Gainsborough moved to London he still found clip for landscapes. â€Å"Watering Place† . â€Å"Mountain Landscape† were painted at the clip. Gainsborough used some of his studies of mountain scenery for the small show box which he made in order to demo transparences — images painted on glass and lighted from behind with tapers in order to give moonlight consequence. A modern-day remarked that Gainsborough’s transparences of land and sea were so natural that one stepped back for fright of being splashed. In the spring of 1788 Gainsborough went to Westminster Hall to hear our addresss of his friends Sheridan and Burke and sitting with his dorsum to the window caught a terrible iciness. A few hebdomads subsequently. the swelling in his cervix increased and he died on August 2. 1788. Decision Gainsborough. like Constable. felt profoundly the love affair of the ordinary occurrences of the countryside. but he was born in the age of Reason. when balanced composing and manner counted for more than atmospheric effects. He was ever torn between his natural desire to delight and his inherent aptitude as an creative person. He loved England and English state as few have done before or since. and. at a clip when England had barely been discovered as a field for landscape painters. Gainsborough was painting the Fieldss and lanes of Suffolk. puting these simple scenes with poesy and love affair. At his decease. this modest and loveable adult male was the topic of one of the most thoughtful and attractively written necrologies accorded to an English painter. Such was the generous testimonial of his great rival as a portrait painter. Sir Joshua Reynolds. â€Å"If of all time this state should bring forth mastermind sufficient to get to us the honorable differentiation of an English S chool. the name of Gainsborough will be transmitted to descendants. in the history of the Art among the really first of that lifting name. †

Greek History Essays - Polis, Coin, Roman Currency,

Greek History Classical Studies (OFC304C) Skills Practice Task Short Answers 1) The sources for ancient history are divided into four categories. Name each of them, and briefly describe two of those categories. ?h Archaeology: Archaeology is the science or study of history derived from the evidence of the relics and remains of early human cultures as discovered chiefly by systematic excavations. The Oxford Classical dictionary defines archaeology as the study of the whole material culture. By this definition, archaeology is the study of history through the analysis of tangible evidence. e.g. roads, buildings, sculptures, tools ?h Coins (Numismatics) Numismatics is the science of coins and medals. As a source, coins are of particular importance. A lot can be determined in regards to metal usage, quantity of metals, craftsmanship, identity (in terms of origin) and trade. Coins were generally made of gold, silver, electrum, bronze and copper. Not much has changed in the way of coins. The designs are easily identifiable as to which period and origin they had belonged to. In addition to this, the complexity of the design work shows the relative ability of the people of that time in terms of workmanship. Roman coins can be found all over Europe. In light of this, it is possible to deduce that Romans had contact with other countries. Also the quantity of coins at a certain location could give some idea as to the amount of trade that existed. In addition coins are incredibly durable, thus being an ideal source for archaeological evidence. ?h Inscriptions ?h Literature 2) What was a Greek Polis? The Poleis were a body of cities in an autonomous state. There are many sources that define the Polis in one way or the other as a city-state. In all simplicity, it is a community of citizens (adult males), women, children, slaves and resident foreigners. It was self- sufficient, had its own government, constitution, unique culture (religion, tradition and so forth) and a defined territory. Some poleis were incredibly small and others such as Athens and Sparta have been estimated to have population figures above a hundred thousand. Although they were individual Heles and fought each other frequently over the scarce resources (in regards to arable land, metals etc.), they did unite to fight a common enemy in the Persian Wars. 3) Did the geography of Greece affect the development of the Polis? How? The topography of Greece is mountainous, rocky and there are only small patches of land that are suitable for agriculture. Poleis were intended to be small, it was a fact that the Greeks could not support large populations due to a lack of food resources among other deficiencies. Socrates said that an ideal population for an poleis would be that of 5000 citizens, which taking into consideration of non-citizens came to a figure of roughly 15000 to 20000 people. These lack of resources had forced groups of people to roam and create colonies that could be self supporting and very often those Poleis were situated on the sparse and separated patches of suitable land all over Greece. This later extended to islands and land that was far removed from the Greek peninsula. Not only did the lack of resources affect them, yet the sheer physical divisions, which were the result of mountains and other natural land formations. These physical formations affected the development of Poleis in regards to location. Many Poleis could be found near the coastal areas where the sea was accessible and the land less rugged. 4) What was an Agora and why was it important in a polis? The Oxford History of the Classical World defines the agora to be a place of assembly, a seat of justice and of government. The agora was the focal point for the citys everyday affairs and trade of all kinds. Brothels, foodstuffs, barbers and all levels of commerce took place here. Some Agoras were rather spacious, with dimensions up to the size of 100m by 200m. In addition there was an area known as the colonus agoraeus which was situated by the hill near the marketplace in Athens. Important public buildings and equally important public officials were stationed here. Even of more significance was the Council House where the Boule sat. These were the eldest and richest in the city (council of

Computer Game Narratives

Computer Game Narratives Free Online Research Papers In this paper we investigate if, and then how interaction can define narrative in a computer game. When developing computer games that include stories or story elements it seems natural to use the traditional linear narrative and storytelling methods without emphasizing that the computer is essentially different from any other media because of its interactive capabilities. Therefore it is important to investigate how it is possible to create forms of narratives that utilize the computers interactive capabilities. We approached the problem by investigating how it is possible to structure and objectify narratives so it can be understood by the computer. Through our investigation we propose that the solution to creating interactive narratives is to make procedural models that can be understood by the computer and theoretical models to work with when constructing such systems. Keywords: Narrative, Interactivity, Computer games, Introduction Storytelling is mankind’s tradition of communicating information, whether being educational, inspirational, entertaining or otherwise to get the listeners attention. We tell stories from our daily lives as a form of communicating our or other people’s experiences, ideas, or points of view. Storytelling and the narrative therein has evolved in association with advances in our society and reflects on many of its changes (Mello, 2001,  ¶ 2). As we sometimes observe; storytelling reflects social conditions, popular interests and traditions as in 19th century fairytales where characters dressed and spoke according to conventions of the story’s time and/or reflected the author’s hopes, fears or dreams. This is also true in 21st century narratives which both reflect contemporary and future interests and nostalgic flashbacks to ancient cultures of might and magic. Storytelling also serves the purpose of conserving social history, personal deeds and accomplishments; and through them we are allowed access to a grand spectrum of dramatic personal events, funny happenings and epic tales that changed the world as we know it (Mello, 2001; Latvala, 1999; Denk, 2006)? When the storyteller or author sits down to tell or write a story he is usually doing so from his own point of view, he is presenting his perspective on certain topics, and uses his abilities to lead the reader through events in the story. The storyteller /author try’s to construct causes and effect relationship between events and the characters he creates to act in these events. The method he uses to construct this is generally referred to as a narrative. As a consequence, the author is, wholly or partly, responsible for the intellectual and artistic content of his story and as such has more or less total control over its content (NLC, 2002, p.21). It is that total control that we, in this paper, want to challenge by investigating if established events and characters in a predefined story can be controlled and manipulated. By predefined story we mean, where events and characters have their own state or conditions for existence, and are subject to change when changes happen in their immediate environment, either through direct contact or alteration of objects in that environment. The changes are generated by interacting with the story, navigating and manipulation of elements therein, creating an interactive narrative. In this paper we will describe our approach to interactive narrative and some theoretic models for describing and implementing interactive narrative. We ask the following question: Is it possible to simulate interactive narrative in a computer game? By providing answers to this question we hope to provide alternative methods of experiencing narrative through interaction. Narrative The word Narrator, and its subsequent methodological denominator Narrative, derive from the Latin word â€Å"narrare† which has its Indo-European origin in the word â€Å"gnarus†, which means â€Å"to know.† (Meadows, 2003, p.5) Thus a narrative is a form of knowledge, and a narrator is one who has knowledge of something he is telling us. In their book Film Art: An Introduction, Bordwell and Thompson (2004) conclude that narrative can be described as: â€Å"†¦a chain of events in cause-effect relationship occurring in time and space† (p.69). While Cohn (1999) adds a more human element, when she states that narrative is a: â€Å"†¦series of statements that deal with a causally related sequence of events that concern human (or human-like) beings† (p.12) Other definitions tend to be more towards more current media formats, explaining that a narrative is: â€Å"†¦a message that tells the particulars of an act or occurrence or course of events; presented in writing or drama or cinema or as a radio or television program† (WordNet ® -a, 2006). While others are more specific: â€Å"How the plot or story is told. In a media text, narrative is the coherent sequencing of events across time and space† (Boles, 2006). These definitions are all justifiable and include elements that are of a traditional nature and can be found in traditional storytelling. All underline a causal approach to events in a story, while the some emphasizes events in time and space and human or human-like beings as part of a narrative. It can probably be argued that human or human-like characteristics are a part of countless narratives, since even abstract entities sometimes include recognizable human elements as a means to convey messages through a story. According to these definitions we make sense of a story through narrative by identifying with its elements and linking them by cause and effect, time and space. Whether the time is backward or forward or events are remixed in seemingly random order, with hard established cause and effect relationships the fundamental purpose of narrative is to communicate meaningful messages to audiences or individual persons. With all these combined elements a narrative can be considered the overall method chosen to convey the message within a story to the reader, viewer, or player depending on the media platform (Dansky, 2006, p. 1). Narratives – Paradigm analysis Our approach is that narratives can be analyzed and broken down into, at least, character types and the functions they perform in any given story regardless of demographic or social situation. We further suggest that these categories of character types and functions can be simulated as constants and variables depending on the task at hand. These categories of character types and functions are not necessarily simulated in detail but up to the point where it is perceived to be real. Furthermore, we emphasized that building interactive narrative based on characters or entities is not entirely about building computational algorithms, but also concerns giving these characters and objects their own life by simulating what it means to exist in any given story orientated environment by simulating communication, emotions, and other complexities of human social interactions. We propose, based on the assumption that real life narrative and behavior – as it is with learning and intelligence – can be described precisely enough for it to be simulated by a machine. (McCarthy, Minsky, Rochester Shannon, 1955, p.1) This suggestion contradicts some authoritarian scholars in the field of narrative structure where they state that narrative is fundamentally a cognitive mental process that makes the human experience meaningful (Polkinghorne, 1988, p. 1) (McQuillan, 2000, pp. 7-8) and should, therefore, be at best a vague concept and hard to objectify. We counter-argue that the relationship between narrative and computer technology is at best ambiguous and that further research is needed to determine what happens to narrative when it is presented by a machine. Simulating Interactive Narrative If we are to reach the state of interactive narrative one needs to generate changes at the core of the narrative structure. If through interaction one is able to decide how the plot progresses by starting and stopping actions and events, and in what order events occur while maintaining a comprehensible plot or story he has achieved the state of interactive narrative. Narrative is there to produce meaning and comprehension, if that fails there is no narrative; only confusion. Based on this, we propose that the plot in an interactive narrative scenario be described on two levels: the author level and the player level. Furthermore, we propose that a procedural and theoretical model is needed to describe in detail the elements that are essential for a narrative to be considered interactive. Two-Level Plot By describing the plot at two different levels a form of balance could be achieved between these key elements in the game narrative: 1.High-level plot – predefined elements are under the author’s control 2.Low-level plot – the elements are freely altered by the player At the high-level, the author could retain the freedom to define the key episodes of the story while their actual implementation in the player time-frame is left to the game engine. While at the low-level the player performance can be dynamically analyzed and logically applied to the lower level details of the how and why of a specific episode or game sequence. Figure 1 shows a model describing the two-level plot. We expect that the overall effect will be that the plot becomes more dependent on the player who gains a part of the control on the development of the story. Moreover, the player is provided with a less predictable, more life-like experience with a different selection of the details in each episode and possibly the (involuntary) triggering of different sequences of episodes altogether. Interactive Narrative Model Interactive narrative needs a model of the narrative structure in any given computer game. This model should be based on analysis of traditional narrative structures and include the key elements or principals needed to successfully execute or reach a state of reciprocal course of action that triggers interactivity. The challenge is to find or construct a model that is suited to the interactive nature of computers. This model should be able to describe the procedurals of interactive narrative and not just a list of its elements. We work under the impression that interactive narrative should be based on a realistic simulation. This means that one needs to replace the action of the author statically writing the plot, with dynamic software capable of simulating the writing that is supported by theoretical structure to ensure that the storyline keeps coherent and intriguing. Therefore, it is necessary to develop a form of procedural model or platform for narrative, where the player engages in interactive communication with the gaming world resulting in a state of interactive narrative or as close to interactive narrative as the simulation allows. This platform would naturally be a computer game with an intriguing storyline or a journey through multiple rising actions, main events, and conclusions manipulated through interactive action by the player. Figure 2 shows a conceptual model of one possible structure of the narrative elements and their relationship to other elements and functions within the game framework. 1.Through the game the player makes sense of the gaming world and brings his perception to it through? the story/game mechanics 2.Narrative causality and logic: Here the rules, including all possible NPC actions at any given time in the narrative, are executed. Gaming world includes the narrative causality and logic and is designed and made by the game developer. 3.Narrative sequences and events: Here the player makes a choice in the narrative; these choices are influenced by all possible actions provided by the execution of NPC rules. 4.Player perception: An adaptive process where the player is affecting and being affected by narrative events. Player is able to affect narrative sequences of events and consequently their perception of events changes. 5. The narrative causality and logic is a constant predefined element but still contributing to narrative sequences of events as perceived by the player. Conclusion We suggest that a model of the narrative is needed to provide visual representation and overview of the components needed for an interactive narrative to be comprehensible and support the plot structure provided in the story. Such a model includes physical elements such as: human like characters, environmental objects (houses, cars, and trees etc.) and subjective elements like emotions, textures, light and shadows, character identities and other references to real entities. We furthermore propose that narrative is not only a cognitive process, but can be presented as concrete units and rules that are subject to changes through interaction. As a consequence we propose that the term interactive narrative describes the result of the interaction between – predefined elements in the game formalized and developed by the author – and the subjective perception that the player will form while interacting with them. The problem is that a comprehensive plot is dependant on a successful execution of the narrative and the relationship between events that need to be established in a meaningful way. The danger is that if we leave this relationship to chance or random interactive functions, we risk that no narrative will be established. However, by analyzing traditional narrative functions and elements it is possible to isolate elements within narratives that can be considered action based and subject to active engagement and justifies the implementation of interactivity into narratives within the framework of an event based story. Having established a relationship between interactivity and narrative we conclude that interactive narrative is a real possibility given that all parameters are met. We further conclude that extensive procedural and theoretic models are needed to explain and execute a state of interactive narrative in a computer game. Reference: Bordwell, D., Thompson, K. (2004) Film Art: An Introduction, New York: McGraw Hill, 2004 (7th ed.), p.69 Cohn D. (1999) The Distinction of Fiction, Baltimore: Johns Hopkins Univ. Press, 1999, p.12 Dansky, R. (2006). Introduction to Game Narrative, In Bateman, C. Game writing: Narrative Skills for Videogames. Boston Mass: Charles River Media. Retrieved 10 November, 2007, from charlesriver.com/resrcs/chapters/1584504900_1stChap.pdf Denk, K. M. (2006). Making Connections, Finding Meaning, Engaging the World: Theory and Techniques for Ignatian Reflection on Service for and with Others, p.17. loyola.edu/Justice/documents/Template_for_Ignation_Reflection.doc Latvala, P. (1999) Finnish 20th Century History in Oral Narratives. Folklore vol.12. December 1999. Retrieved 10 November, 2007, from folklore.ee/folklore/vol12/oralnarr.htm McCarthy. J., Minsky, M. L., Rochester, N., Shannon, C.E. (1955) A proposal for the Dartmouth summer research project on Artificial Intelligence. Retrieved December 6th, 2006, from: formal.stanford.edu/jmc/history/dartmouth.pdf Meadows. M.S. (2003). Pause Effect: The Art of Interactive Narrative. Indianapolis USA: New Riders Mello, R. (2001). The power of storytelling: How oral narrative influences childrens relationships in classrooms. International Journal of Education the Arts. 2(1). Retrieved December 6th, 2006, from: ijea.org/v2n1/index.html WordNet ® -a (2006) Cognitive Science Laboratory Princeton University. Retrieved December 6th, 2006, from: http://wordnet.princeton.edu/perl/webwn?s=narrative Research Papers on Computer Game NarrativesMind TravelIncorporating Risk and Uncertainty Factor in CapitalRelationship between Media Coverage and Social andThree Concepts of PsychodynamicInfluences of Socio-Economic Status of Married MalesBionic Assembly System: A New Concept of SelfAnalysis Of A Cosmetics AdvertisementHonest Iagos Truth through DeceptionEffects of Television Violence on ChildrenThe Masque of the Red Death Room meanings

Analyse critically how research and practice developments can be Essay - 1

Analyse critically how research and practice developments can be disseminated to enhance the quality of the student learning exp - Essay Example Various health care stakeholders have been funding research studies on various issues surrounding the nursing practices. All this is meant to achieve the much touted quality healthcare delivery in the society. Such research and practices need to be communicated to the nursing professionals to boost their performance. Acquisition of information is one of the greatest challenges that affect many nurses (Gerrish & Lacey, 2010, 490). It is therefore important that they are given sound theoretical training that is result oriented if translated to practical applications in the field. Dissemination of information during learning among the nurses significantly explain their future performance in the field when assigned duties. It is therefore imperative that the methods of imparting such concepts are taken through critical assessment and all the factors taken into consideration. Information cost is one of the most important aspects of high standard performance of the leaners when they come i nto real life situation (Bergin, 2013, pg 2000). One of the most effective ways of ensuring that there is penetration of the ideas in learners is engaging them in the research study and requesting for observable findings. Learning is more effective when observation is done since pictures and objects seen makes more sense than what is merely said. It is proper that learning is backed up with a lot of drawing diagrams so that it would stick in the brain of the students in such a way that they are able to relate the theoretical work with the real life work (Exley & Dennick, 2009, 221). Nursing requires high accuracy since it deals in human life and therefore should be practice oriented so that not a single concept is missed as this could cost a lot (Power, 2008, 21-5). Creation of a motivating and engaging learning environment is one of the most appropriate approaches that can be applied in improving the nursing students’ mastery of the concepts and how they relate to the real l ife clinical practice. This may be achieved by involving the students in group assignments where they will brainstorm. Group work assignment may also be extended to research study where the students are given a given topic which they breakdown and undertake independent research before presenting as group to share their experiences. It is important for the tutors and nursing instructors to emphasize on the significance, relevance and integration of theoretical work and the knowledge with the professional practice with the aim of developing solutions to real life global health issues. It is advisable by the NMC 2010 nursing students spend more than 50% of their time undertaking practical. This may sink better by giving individual illustration of skills that are applicable in a specific topic so that the learners can create a picture of the possible practical scene and take deeper interest in the discipline (Keele, 2011, 34-56). It is important to ensure that the research covers variou s social problems that pertains to health challenges in the society so that the can begin to understand the directions of what they are studying and relate this with some of the experiences they have had as victims and not as nurses (Masters, 2009, 22). It is advisable that the syllabus structure of the nursing discipline need to put emphasis on periodic field work which will involve interactive session of the students with patients and other clinicians in healthcare facilities (finkelman & kenner, 2013, 135). This is as part of induction to the theory and its

The Career of a Physician Assistant Personal Statement

The Career of a Physician Assistant - Personal Statement Example Technology for Medical and Health Professions, I received the relevant premed school training thanks to their intensive and comprehensive courses in health, science, and chemistry courses. This training included hands-on clinical rotation experience at the Valley Baptist Medical Center as well. I firmly believe that my experience at this particular satellite school helped mold me into the personification of the epitome of the UT Health Science Physician Assistant. As a Med Tech student at the satellite school, I was privileged to have been given an opportunity to be part of weekly department rotations. The rotation schedules allowed me to assist doctors, nurses, and other medical staff. However, it was my stint as an assistant to a physician assistant that helped cement my plans for the future. I took the time to observe these qualified physician assistants go about their tasks with the doctors in charge. I came to realize that I had found my calling as a physician assistant. I would be able to help doctors in the performance of their duties through a range of healthcare procedures and duties that I would be specifically trained for if and when I complete my training as a Physician Assistant. My goal in pursuing this line of education is to be able to return to my community, armed and educated in the medical field of my choice. My return will mark the day that I fulfill my personal pact to contribute to the improvement of the mental, social, and physical well-being of the under-served and vulnerable people of my community. I humbly present myself to the UTHSCA PA admissions board in the hopes of being granted an opportunity to learn about becoming an exemplary Physician Assistant from the best educators in the state.

Critical Analysison a study-Cancer cachexia- omega 3 benefits Essay

Critical Analysison a study-Cancer cachexia- omega 3 benefits - Essay Example he ability to assimilate nutrients for body-building is being compromised at the same time that the underlying disease is causing diminished appetite leading to poor feeding. Unlike primary protein energy malnutrition (which occurs in anorexia nervosa or kwashiorkor/marasmus), cachexia is induced by disease conditions. With primary protein energy malnutrition, the problem is one of inadequate nutritional intake. But in cachexia, the issue is that patients, regardless of the adequacy of nutritional intake, have abnormally accelerated disposition of nutrients, hence a negative balance of metabolism results (Fearon and Moses, 2002). Inflammatory processes are involved in secondary PEM which are absent in primary PEM, and while primary PEM can be reversed by bolstering nutrient intake, the same benefit cannot be obtained in secondary PEM. In primary PEM there is faster loss of adipose tissue than that of lean body mass, but the loss is equally from both compartments in cachexia. Skeletal muscle loss is a feature that is peculiar to the cachexic state (Tisdale, 2003). Previous laboratory and clinical studies have shown that omega-3 fatty acids, especially eicosapentaenoic acid (EPA) and EPA-containing supplements demonstrate molecular anti-inflammatory activity which is relevant to the attenuation of cachexia, in both humans and animal models. However, past results from multiple studies have been equivocal in their findings, and this study aims to elicit independent objective evidence in favour of or against the proposition that EPA confers significant benefit in arresting the progress of cachexia in affected patients. Yes. There was inadequate discussion of the basis for their using the type of EPA preparations they used, as opposed to other available types. The authors could also have done a better job of reviewing the literature on the mechanistic aspects of how cachexia develops and what bearing this information will have on the approach they used for their

Issue of Tuberculosis in Australia

Issue of Tuberculosis in Australia The incidence and prevalence of Tuberculosis in Australia and Peru are of greatly vast differences. This paper will discuss the terms incidence and prevalence; why Tuberculosis remains an issue in Australia; and provide rationales for differences in incidences and prevalences taking into consideration the determinants of health. Incidence and prevalence when describing disease epidemiology are frequently used terms, often intertwined (Advanced Renal Education Program, 2015). Incidence describes the rate of new cases of a disease, generally conveyed as the number of new cases which occur at a given point in time (Advanced Renal Education Program, 2015). The incidence rate is commonly reported as a fraction of a population at risk of developing a disease (ie: per 100 000) (World Health Organization Global Tuberculosis Programme). Whereas prevalence is articulated as a percentage of the number of cases per 100 000 (World Health Organization Global Tuberculosis Programme). Prevalence is the actual number of live cases of the disease during a period (Advanced Renal Education Program, 2015). The association between incidence and prevalence depends on the natural history of the disease being reported (Health, 2017). Tuberculosis (TB) is one of the worlds deadliest diseases, with 1/3 of the worlds population infected (Centre for Disease Control and Prevention, 2017). TB is an infection caused by the bacteria Mycobacterium tuberculosis, and usually affects the lungs (Australia, 2017). However, TB may also involve the kidneys, bones, spine and brain (Australia, 2017). TB is usually spread by breathing in the bacteria after an untreated person has coughed or sneezed (Australia, 2017). Overcrowding is a defining feature of areas of high TB endemicity (Centre for Disease Control and Prevention, 2017). Ongoing close contact between active cases and susceptible individuals is necessary to maintain endemicity in a population, however we will discuss health determinants further into this paper. Australia has maintained a low rate of TB since the mid-1980s, however over the last 20 years TB incidence rates have steadily increased (Teo, Tay, Douglas, Krause, Graham, 2015). Australia has recorded its highest incidence rate since 1985 in 2011 being 6.2 per 100, 000 (Teo et al., 2015). In 2015 Australias TB incidence was 6 per 100, 000 per the World Bank (Trade Economics, 2017). When researching the prevalence of TB in Australia World Health Organisation (WHO) publications noted TB case notifications to the value of 1 254, this being the same rate as per new and relapse cases (World Health Organization, 2015). The incidence of TB in Peru shows a much more alarming story. Perus TB cases were last measured in 2015 with an incidence rate of 119 per 100, 000 (World Health Organization, 2015). Research obtained from World Bank stating these incidences were recorded from new pulmonary, smear positive and extra-pulmonary tuberculosis cases (Economics, 2017). Prevalence information obtained at this time reads TB notification cases of 30 988 (World Health Organization, 2015). Total new and relapse cases registered were reported to be that of 29 833 (World Health Organization, 2015). With Australias TB incidence rate increasing, the question is why is this an issue now? Research shows that many of Australias holiday destinations are teeming with TB that is now becoming resistant to drug treatment (Dunlevey, 2015). Holiday makers such as teachers and childcare workers are reported to be travelling to TB hot-spots and many bringing the bacteria to Australian shores (Dunlevey, 2015). Research has also shown that those living in high TB prevalent countries are migrating to Australia ((AMA), 2008). With the increases in immigrants, overcrowding and malnutrition are common risk factors for the spread of TB (Australian Indigenous Health Info Net, 2015). Australias shoreline is another factor for the increase in TB rates with Western Province of Papua New Guinea and Torres Strait Islands having recorded active strains of Multi-drug resistant strains of TB ((AMA), 2008). TB remains to be a social disease that is inextricably linked to vicious cycles of poverty (Wingfield et al., 2016). Poverty predisposes individuals to TB and hidden costs associated with even free TB treatment can be catastrophic (Wingfield et al., 2015). Other determinants of health that can predispose populations to incidences of TB may include, but are not limited to: Income and social status: research shows that higher income and social status can be linked to better health outcomes. Education: poor health can be linked to lower education levels, increasing stress and lowering self-confidence. Physical environment: safe water and clean air, along with healthy workplaces and safe housing all contribute to good health outcomes. Generally, those people who are employed are healthier. Social support networks: better health outcomes have been linked with communities with greater support from families and friends. Culture and beliefs of family and community can have an overall effect on ones health. Genetics: can play a role in determining lifespan, healthiness and the likelihood of developing certain illnesses. Health services: access and usage of services that prevent and treat diseases influences health. Gender: different types of diseases at different ages can affect both men and women. The determinants of health are typically accountable for health inequities and the unfair and avoidable differences in health status as seen between Australia and Peru (Hargreaves et al., 2011). Social disadvantages such as lower educational attainment, job uncertainties, unemployment and poor access to appropriate housing (Hargreaves et al., 2011). Poor access to communications and environmental challenges also impact on health status (Hargreaves et al., 2011). Research has shown that although Perus malnutrition and school enrolment rates have improved, there is still a majority of poor children who temporarily or permanently drop out of school to help support their families (Agency, 2017). Poverty, malnutrition, and hunger is known to increase the susceptibility to infection leading to significant social and economic barriers that delay their contact with health systems in which an appropriate treatment regime can be commenced (Hargreaves et al., 2011). With this research found, th e author can not state that Australians are better-off than the Peruvians. Non-indigenous Australians living in Metropolitan areas have significantly greater resources at their disposal, housing and schooling is of higher quality, and health and support systems easily accessible (Australian Institute of Health and Welfare, 2012). However, indigenous Australians and those living in rural and remote areas of Australia do not have the same access as their city cousins (Australian Institute of Health and Welfare, 2012). The determinants of health therefore impact on the ability to access, resource, and utilise health care programs (Australian Institute of Health and Welfare, 2012). As discussed, the incidence and prevalence of Tuberculosis in Australia and Peru have been shown to be of great differences. While this paper discussed the terms incidence and prevalence; why Tuberculosis remains an issue in Australia; and provided rationales for the differences in incidences and prevalences while taking into consideration the determinants of health. REFERENCE LIST: (AMA), A. M. A. (2008). Tuberculosis in Australia. Retrieved from https://ama.com.au/media/tuberculosis-australia Advanced Renal Education Program. (2015). Incidence and Prevalence. Retrieved from http://advancedrenaleducation.com/content/incidence-and-prevalence Agency, C. I. (2017). World Fact Book Peru. Retrieved from https://www.cia.gov/library/publications/the-world-factbook/geos/pe.html Australia, D. o. H. W. (2017). Tuberculosis. Retrieved from http://healthywa.wa.gov.au/Articles/S_T/Tuberculosis Australian Indigenous Health Info Net. (2015). Summary of Tuberculosis in Indigenous People. Retrieved from http://www.healthinfonet.ecu.edu.au/infectious-conditions/tuberculosis/reviews/our-review Australian Institute of Health and Welfare. (2012). Australias food nutrition 2012. Canberra: Australian Institute of Health and Welfare. Centre for Disease Control and Prevention. (2017). Tuberculosis (TB). Retrieved from https://www.cdc.gov/tb/statistics/ Dunlevey, S. (2015). Tuberculosis disease explodes in Australians favourite holiday spots, WHO report shows. Health. Economics, T. (2017). Incidence of Tuberculosis Peru. Retrieved from http://www.tradingeconomics.com/peru/incidence-of-tuberculosis-per-100-000-people-wb-data.html Hargreaves, J. R., Boccia, D., Evans, C. A., Adato, M., Petticrew, M., Porter, J. D. (2011). The social determinants of tuberculosis: from evidence to action. Am J Public Health, 101(4), 654-662. doi:10.2105/AJPH.2010.199505 Health, N. I. o. M. (2017). What is Prevalence. Retrieved from https://www.nimh.nih.gov/health/statistics/prevalence/index.shtml Teo, S. S., Tay, E. L., Douglas, P., Krause, V. L., Graham, S. M. (2015). The epidemiology of tuberculosis in children in Australia, 2003-2012. Med J Aust, 203(11), 440. Trade Economics. (2017). Incidence of Tuberculosis Australia. Retrieved from http://www.tradingeconomics.com/australia/incidence-of-tuberculosis-per-100-000-people-wb-data.html Wingfield, T., Boccia, D., Tovar, M. A., Huff, D., Montoya, R., Lewis, J. J., . . . Evans, C. A. (2015). Designing and implementing a socioeconomic intervention to enhance TB control: operational evidence from the CRESIPT project in Peru. BMC Public Health, 15, 810. doi:10.1186/s12889-015-2128-0 Wingfield, T., Tovar, M. A., Huff, D., Boccia, D., Saunders, M. J., Datta, S., . . . Evans, C. (2016). Beyond pills and tests: addressing the social determinants of tuberculosis. Clin Med (Lond), 16(Suppl 6), s79-s91. doi:10.7861/clinmedicine.16-6-s79 World Health Organization Global Tuberculosis Programme, W. G. T. Global tuberculosis control : WHO report (pp. 15 volumes). Geneva: Global Tuberculosis Programme. World Health Organization, W. (2015). Global tuberculosis report. In G. T. Programme. (Ed.), (pp. volumes). Geneva, Switzerland: World Health Organisation.

Affirmative Action is Discrimination Essay -- Critical Thinking Essays

Affirmative action is wrong and will not help solve the problems minorities face. The reason it is wrong is because it's discrimination. It has no place in today's society in today's society because it does more bad than good. In addition to that most people don't enjoy the presence of affirmative action. Also, it appears that affirmative action can actually be detrimental to employees health. First of all, affirmative action is discrimination, there is no hiding it. When an employer hires anyone because he or she is a minority, even if someone else if more qualified to do the job, it is discrimination. Just because it is reverse discrimination, when whites are discriminated against and minorities are being discriminated for, doesn't make it right. Affirmative action legalizes discrimination (Steele 1990, 39). "I thought discrimination was illegal in this country (Buchanan 1995, 1)." Also, if this discrimination continues racism in the United States may become worse. Imagine what you would feel like if you couldn't get a job just because you are a white man and not a hispanic man. The racism will become worse because of it, and that is the very thing it is trying to prevent. It is possible that because of affirmative action, racism will grow and continue to grow until we history repeats itself and we end up living under Jim Crow laws again. That is an extr! eme possibility to end up under Jim Crow laws again, but it is a definite possibility to end up somewhere close to Jim Crow laws again. &nb... ...nexperienced people to do work they're not qualified for. In conclusion, affirmative action is just wrong. Affirmative action should be abolished, such an unlawful thing shouldn't even be considered in the United States. If we allow affirmative action to proceed, we are just proving to ourselves that we endorse and accept discrimination in the workplace. There is absolutely no reason why it should exist. Affirmative action lends a bad name to the United States of America. Others may view our fine country as a country with people that are so irresponsible the government has to lower its standard just to get people jobs (DeWit 1996, 2). This indicates that affirmative action should be outlawed because it has no place in our fine country.

Succubus on Top CHAPTER 22

The waiter brought me another gimlet just as I finished my last one. Good man, I thought. He deserved an ample tip. Four days after the Emerald Lit Fest, I sat in the Cellar with Jerome, Carter, Hugh, Peter, Cody, and Bastien. The usual suspects. It was the first time I'd seen any of them in days. I'd been keeping a low profile, essentially only leaving my home to go to work and back. I hadn't seen or heard from Seth in that time either. None of us spoke. We just sat there in the dark, nursing drinks. Other people in the pub moved around and laughed, but we were a corner of silence. I could have sliced and diced the awkward tension among us. Finally, unable to take it anymore, I sighed. â€Å"All right,† I snapped. â€Å"You can stop pretending. I know you've all seen the video.† It was like letting the air out of a balloon. An opening of the floodgates. Hugh spoke first, admiration shining in his eyes. â€Å"Jesus Christ, that was the absolute best thing I've ever seen.† â€Å"I've seen it, like, ten times,† added Peter. â€Å"And it doesn't get old.† Cody's delighted look spoke for itself. I took down half of my drink in one gulp. â€Å"Sometimes I look around, and I can't believe this is my life. â€Å" Bastien had done an Oscar-worthy job of capturing my romantic escapade with Dana on film. She had never noticed the disembodied camera floating around; only the incubus had actually been invisible. Of course, Dana had been too preoccupied to really notice much. I'd made sure of that, and while I felt a certain amount of glee over my powers of pleasure and distraction, my post-ambrosia self still didn't like having that prowess put on display any more than I'd liked Seth's story being linked to me. At least no one knew who Tabitha Hunter was. † Fleur ,I swear you did things I didn't even know about,† teased Bastien. â€Å"Oh, be quiet,† I told him, knowing he lied. â€Å"This whole thing is embarrassing enough. I can't believe you had it all over the Internet in a matter of hours.† He shrugged. â€Å"Good news is hard to keep to yourself.† Jerome's eyes gleamed with subdued satisfaction. â€Å"No need to be embarrassed. What you did is laurel-worthy, Georgie. You'll be Succubus of the Year now.† â€Å"Great,† I said. â€Å"Maybe that comes with coupons that haven't expired.† â€Å"Joke all you want,† continued the demon, â€Å"but you've caused havoc in a powerful religious group. That is definitely worth celebrating.† So much so that Bastien was probably off the hook. True, he hadn't been in the spotlight, but I'd made sure that Jerome played up his role in the official written report. I think the demon knew I'd gone a little overboard in crediting Bastien for his assistance in this caper, but he hadn't dwelt on the technicalities. Regardless of what the paperwork said, the diabolical community knew it was Jerome's succubus in the extremely popular video. My boss's reputation had gone through the roof. As for the CPFV†¦well, yes, it was most definitely in chaos. Dana had resigned as soon as the scandal went public. Suddenly missing their strong leader, the group had collapsed into confusion, flailing about with no clear direction. Poor Bill. In addition to the embarrassment of a philandering wife, he now had to do damage control and still maintain his strong stance on family values for the sake of his political career. Reelections were next year; no one knew how he'd fare. I had mixed feelings about the whole matter. Sure, I hated the CPFV's horrible actions and was glad to see them go down. But Dana, despite her many flaws, had cared about Tabitha. It might not have been love, but the emotions were genuine. She'd opened herself up to me, and I'd made a mockery of it. Even if she managed to wade out of this mess, she'd probably never accept her sexual inclinations again. She'd bury them, continuing a campaign of homosexual intolerance. That bothered me, for the sake of both her personal and her political lives. â€Å"And when not taking down conservative bitches,† noted Hugh, â€Å"she destroys gods in her free time. Did you really beat up that kid too? You're, like, a size four.† â€Å"Don't forget about the Emerald Lit Fest.† Cody grinned mischievously. â€Å"Man, I can't believe I missed that.† â€Å"Is there anything you don't do, Georgina?† marveled Peter. â€Å"You haven't been learning to cook souffl? ¦s behind my back, have you?† I rolled my eyes and turned to the greater immortals, ignoring my friends' over-the-top praise. â€Å"Are you finally going to tell me the whole story on Sol, or whoever he was? You guys have been terribly laissez-faire about me killing a god.† â€Å"You know most of the details,† Carter told me. â€Å"And you didn't technically kill him,† added Jerome. I started. â€Å"I didn't? But†¦he exploded. There was blood everywhere. That seems kind of, I don't know, final. â€Å" â€Å"You destroyed his human manifestation,† explained the angel in an almost bored way. â€Å"The body he used to walk the mortal world. Sol – or Soma as he's accurately called – still very much exists.† â€Å"Soma's another name for ambrosia†¦Ã¢â‚¬  I began slowly. â€Å"Yes,† Carter agreed. â€Å"In Hindu spirituality, the god Soma is the divine embodiment of the drug. It runs in his veins and is then distributed to mortals.† I remembered his bleeding wrist and how his blood had dried. â€Å"His blood forms the crystals that make the ambrosia. That's what everyone was drinking. That's what I drank!† I shuddered. â€Å"You also drank it in its pure form,† noted Jerome, watching for my reaction, â€Å"straight from the source.† â€Å"Oh Lord,† I realized. â€Å"The goblet. I thought it was some sort of date-rape drug.† â€Å"In some ways it was,† Carter told me gently. â€Å"His blood, in its crystal form, serves as a self-enhancement that can be tolerated by mortals – and immortals – because it's diluted. In its concentrated form, it's too much to handle. It's disorienting. It goes beyond amplification of skills. It overloads the system, making you feel insanely good and susceptible to physical touch and strong emotion. â€Å" Hence my reaction to his advances – and subsequent attack on Alec. Of course, I was still so mad at the former drummer that I half believed my actions wouldn't have been any different sans ambrosia. â€Å"That's so disgusting,† I muttered. â€Å"I drank blood. Gross.† Cody and Peter exchanged glances. They grinned. â€Å"What was the deal with that dart thing?† asked Hugh. â€Å"The thing she impaled him with.† â€Å"Mistletoe. It guards the gateway between worlds. The Norse always said it grew on the Tree of Life – the tree that holds the world.† I frowned. â€Å"So, if he's just lost his physical body, then he's not really gone.† â€Å"He's never gone,† said Carter. â€Å"The Food of the Gods is always around – or at least some concept of it. Mortals always have and will continue to believe and pray for some magical cure-all that will change their lives. That's why he still has so much power, despite most not knowing who he is. People don't always have to know what they're worshipping or believing in to still grant it power. â€Å" â€Å"But, when he pops back down to this plane next time, he'll probably hole up somewhere else,† said Jerome more practically. â€Å"If Carter or I had done anything, it would have been an open declaration of war. Innocent Georgie's desperate defense sent a charming get-the-fuck-out message that didn't get any of us in trouble. It only required a small report.† He made a face; the demon hated paperwork. I sighed. â€Å"Okay then. One last question. Why the sex? Why go to all that trouble to get Alex to procure victims?† â€Å"Who doesn't want sex?† asked Hugh. â€Å"The stories do resound with his lechery, actually,† said Carter. â€Å"One myth even talks about him carrying off some god's wife because he just wanted her that badly. When you're a being of euphoria and ultimate physical prowess, I guess sex sort of goes with it. So I've heard, anyway.† I scowled. â€Å"And he was too lazy to even get the victims himself. What a bastard.† â€Å"He's a god,† said Carter, as though there were nothing more to add. I turned to the angel, thinking about what he'd said. â€Å"You've been a veritable wealth of knowledge today. But doesn't it bother anyone else that we're openly discussing and accepting, what, three different spiritual systems here? Hindu and Norse – plus ours. Which I always thought was the true one, by the way.† Jerome looked genuinely delighted. â€Å"Come now, you've rubbed shoulders with immortals from all sorts of ‘spiritual systems' since the beginning of your succubus existence.† â€Å"Yeah, I know†¦but I never thought about the logistics too hard. I thought we were all disparate – remember? They do their thing, we do ours? Now you're mixing it up like†¦like†¦we're all doing the same thing. â€Å" â€Å"Yeah,† said Cody. â€Å"Which one's right?† Angel and demon shared smirks. † ‘What is truth?' Pilate asked.† Carter just couldn't stay away from his quotes. His eyes held barely contained laughter. I sighed again, knowing we'd get no better answer from either of them. As our evening get-together wound down, Bastien unhappily declared he had to leave for Detroit. He made his farewells to the others, and then I walked him out. We stood outside the pub, wrapped in our own thoughts as locals and tourists alike moved through Pioneer Square. Finally, at the same time, we spoke. † Fleur – â€Å" â€Å"Bastien – â€Å" â€Å"No, let me go first,† he said adamantly. I nodded for him to go on. â€Å"What I did at the hotel wasn't right. I shouldn't have led you into that – especially when you told me right off not to. And what I said to Seth at your place†¦that was unforgivable. Yeah, I was pretty sloshed, but that's no excuse. Not by a long shot.† I shook my head. â€Å"God knows I've done a lot of stupid things while drunk. And people, for that matter. But don't beat yourself up too bad – at least not over what happened†¦uh, between us. You were right. I wasn't a victim; I went along with that. I made my own choices, choices that I have to deal with.† â€Å"It doesn't matter. You shouldn't forgive me. Especially after you saved me on the Dana thing. You figured out what I'd been too blind to see. No, I'm definitely beyond forgiveness.† â€Å"Maybe. But I'm going to forgive you anyway.† I gave him a playful punch. â€Å"And you can't stop me.† â€Å"Only a fool would stand in your way,† he said gallantly. â€Å"But I still don't think I deserve it.† â€Å"Bas,I've seen people come and go for over a thousand years. Hell, I've seen civilizations come and go. I don't have many constants in my life. None of us do. I don't want to write off one of the best ones I've got. â€Å" He opened his arms for me, and I rested my head against his chest, sad that he'd be going away again. We stood like that for a long time, and then he broke away so that he could look at me. â€Å"Confession time: I didn't have sex with you for altruism. You were right about that. And I didn't do it just because I could either. I did it because I wanted you. Because I wanted to be closer to you.† He touched my cheek and winked. â€Å"You're worth ten Alessandras. You would be worth going to Guam for.† â€Å"What about Omaha?† â€Å"No one's worth going to Omaha for.† I laughed. â€Å"You're going to miss your flight.† â€Å"Yeah.† He hugged me again, then hesitated before speaking. â€Å"There's one more thing you need to know. The day after my, uh, idiotic drunken outburst, Seth came to see me.† â€Å"What?† I racked my brain. That would have been during the time I was preparing for the Fest. â€Å"Why?† â€Å"He wanted to know what happened. Between us. All the details.† â€Å"What'd you tell him?† â€Å"The truth.† I stared off at nothing. â€Å"That guy's crazy about you,† Bastien said after a moment's silence. â€Å"Love like that†¦well, hell itself has trouble standing against love like that, I think. I don't know if a succubus and a human can really make things work, but if it can happen, he'll be the one it happens with.† He hesitated. â€Å"I think, no, I know I was a little jealous of that†¦both that he had your love and you had someone who loved you like that.† He gave me a bittersweet smile. â€Å"Anyway. Good luck. I'm always here if you need me.† â€Å"Thank you,† I said, hugging him again. â€Å"Keep in touch. Maybe we'll get assigned together again some day.† The roguish look, long absent during our solemn conversation, flashed to his face. â€Å"Oh, the trouble we could cause. The world isn't ready for us again.† He pressed a soft, sweet kiss against my lips, and then he was gone. A minute later, I felt Carter's presence behind me. â€Å"Parting is such sweet sorrow.† â€Å"That it is,† I agreed sadly. â€Å"But that's life, mortal or immortal.† â€Å"How's your high-wire act with Seth going?† I turned to him, almost having forgotten that reference. â€Å"Bad.† â€Å"Did you look down?† â€Å"Worse than that. I fell off. I fell off and hit bottom.† The angel regarded me with his steady gaze. â€Å"Then you'd better get back on.† I choked on a bitter laugh. â€Å"Is that possible?† â€Å"Sure,† he said. â€Å"As long as the wire hasn't snapped, you can always climb back on.† I left him and walked a few blocks to catch a bus back to Queen Anne. While I was waiting, I blinked and did a double take as Jody walked by. I hadn't talked to her in ages. After the Dana scandal, Mitch and Tabitha Hunter had dropped off the face of the Earth. I left the bus stop and ducked into a dark doorway §?laSuperman. A moment later, I hurried to catch up with her as Tabitha. â€Å"Jody!† She stopped and turned around. Her brown eyes widened when she recognized me. â€Å"Tabitha,† she said uncertainly, waiting for me to get to her. â€Å"It's good to see you.† â€Å"You too. How are things?† â€Å"Okay.† We stood there awkwardly. â€Å"How are you? I mean, after everything†¦Ã¢â‚¬  Her cheeks crimsoned. â€Å"You don't have to avoid the topic. I can deal with it,† I told her gently. â€Å"It happened. Nothing to be done about it now.† She looked down at her feet, clearly troubled. â€Å"I've been wanting to tell you something. It wasn't†¦it wasn't just you, you know.† She looked back up, embarrassed. â€Å"She sort of, you know, approached me too, and we did some things†¦things I didn't really want to do. But I couldn't say no either. Not to her. It was a rough time in my life†¦Ã¢â‚¬  So. I wasn't Dana's first taste of forbidden fruit. The notion that she had forced Jody appalled me, more so than Dana throwing herself into rallies that denied her own nature. Suddenly, I didn't feel so sorry for her anymore. â€Å"Then she got what she deserved,† I declared icily. â€Å"Maybe,† said Jody, still looking upset. â€Å"It's been a disaster for their family. I feel the worst for Reese. And then there's the CPFV†¦they're a disaster too.† â€Å"Maybe it's for the best,† I said neutrally. She gave me a sad half-smile. â€Å"I know you don't believe in them, but they do have potential to do good. I'm actually on my way to a meeting right now. We're going to decide the fate of the group. I don't think we'll disband†¦but I don't know what direction we'll go in either. There are some people who think just like Dana. They're not a majority, but they're loud. Louder than people like me.† I remembered our gardening conversation. â€Å"And you still want some of the things you talked to me about? Helping those who need help now?† â€Å"Yes. I wish I could walk right in there and speak up. If I could get enough people's attention, I think we could really go in a new direction. A better direction that might actually affect change instead of just censuring and calling people names.† â€Å"Then you should do exactly that.† â€Å"I can't. I don't have the skill to talk to people like that. I'm not that brave.† â€Å"You have the passion.† â€Å"Yeah, but is that enough if I can't get it out?† Suddenly, I had to fight a giddy smile from taking over my face. â€Å"I've got something for you,† I told her, reaching into my purse. â€Å"Here. Take this.† I handed her the last packet of ambrosia. It was dangerous, perhaps, to give it to a mortal, but one dose wouldn't hit her too badly, and she'd never be able to get more. Besides, taking the temptation away from me was probably for the best. â€Å"What is this?† â€Å"It's a, um, herbal supplement. Like an energy blend. Haven't you seen those?† She frowned. â€Å"Like ginseng or kava or whatever?† â€Å"Yeah. I mean, it won't change your life, of course, but it always sort of gives me a kick. You just mix it in a drink and go from there.† â€Å"Well, I was about to buy coffee†¦Ã¢â‚¬  â€Å"That's perfect. And it can't hurt or anything.† Smiling, I squeezed her arm. â€Å"Do it for me, so I'll feel like I've given you a good-luck charm.† â€Å"Okay. Sure. I'll take it as soon as I get the coffee.† She glanced at her watch. â€Å"I've got to take off now if I want to be on time. You take care of yourself, okay?† â€Å"I will. Thanks. Good luck tonight.† To my surprise, she gave me a quick hug and then disappeared into the crowd of pedestrians. As I rode the bus home, I found I felt better about myself than I had in days. I'd sort of wanted to save the ambrosia for next year's Emerald Lit Fest, but I supposed I wouldn't need it so long as I actually allowed myself two days instead of one. After all, a little leeway never hurt.