How Future Changes in Economic, Political, Legal and Social Factors Essay

Data protection act 1998 There are many advantages to Enterprise rent a car and there customers on of them being that if they abide by the data protection act its easier for them to do so as they don’t need to necessarily protect someone’s data for a long time and they can actually dispose of it when its not needed any more. This gives them more space to store new data that they may need to. Another advantage for customers is that when enterprise rent a car store their data they do not need to worry as they are not allowing being in possession of it for a very long period of time as they need to dispose of it when they don’t need it anymore. The disadvantages are that enterprise rent a car could be taken to court if they do not dispose of their client’s information when they don’t need it anymore. A disadvantage for a customer is that if their data is not disposed of properly someone could access their personal details which are highly dangerous as they could do anything th ey wish with your information. Computer misuse act of 1990 There are many advantages Enterprise rent a car one of these being that the business would know about people who hack into company data and have software’s which protect their files from any hackers meaning that people personal private data would be safe. The disadvantages of Enterprise rent a car and their customers are that if they do get hacked their details could be made public which would be very dangerous as they could loose important data which could not be accessed again. A disadvantage for customers is that their private details to do with money or money transfers could be made public and money could be taken out of their accounts if their bank details are made public Whistle blowing Enterprise rent a car has many advantages when it comes to whistle blowing an advantage which benefits the business is that the business being told certain information gives them an advantage over other businesses as whistle blowers get legal protection through the public disclosure act. A disadvantage is that Enterprise rent a car could get fined or shutdown if it is found too be involved in any breaking of the law. Freedom of information act 2000 Advantages of enterprise rent a car and their customers is that the freedom of information act involves their customers paying to be able to provide them with the information which is held in regards to them in the public sector. The advantage for customers is that it would be that they are able to look at the information which is held about them by the police which is their criminal records or anything like that. The disadvantages being that this act does not mean that people can access the information which is held about them. Another disadvantage being that the act would be that customers may have to pay for the information although the price is sometimes too high to access this.

Globalization of Mcdonalds

Contemporary World Culture Globalization of McDonalds Globalization has affected almost every aspect of life in most all countries around the world from economic to culture with the exchange of goods, services and ideas influencing cultural changes around the world. Food is an important element in defining culture and the globalization of McDonald’s is huge. Most people when they hear the name McDonald’s immediately think of America. Equating McDonald’s with America is sensible since they opened their first restaurant in America back in 1953 and over the years directly influenced American culture in a tremendous way. From the days of a child’s first words McDonalds naturally comes off their lips as a place they want to eat. McDonald’s terms such as super size me have influenced teen culture by making its way into slang. McDonalds is the cool place to eat while at the same time driving our fast past give it to me now American culture. McDonald’s made it easy for Americans to get what they want fast and move on with life. McDonald’s has and still is a strong expression of American culture. When a McDonald's opens in a new neighborhood in a different country, people think of Americanization of the local culture. In reality McDonald’s more times than not has conformed to the local culture, not the other way around. McDonald’s also alters its regional menus to conform to local taste. McDonalds is in the business of making money and has found it makes the most money by giving people what they want. Different countries and cultures around the world have different needs and wants thus becoming an expression of global culture bring a common thread to pull together different cultures from around the world into one global fast food culture.

Characteristics of the Classic Monster Movie

Fundamentally, certain genres lend to certain types of story arcs.   While the romantic comedy often follows a more character driven plot, where the characters find the meaning of true love, the monster movie follows a definable plot driven format.   And basically, in the plot driven movie, the overall story illustrates the efficiency of a town’s characters and how well they are able to stand up to the monster, before, either they are killed or the monster is finally neutralized or vanquished in a final, climax of a scene. To be honest, the end result of the town and its people doesn’t really matter, and any ending is entirely plausible.   But, the intrigue that makes a good monster movie is to be competently presented with the monster, the origin of the monster, and for the audience to discover what that monster wants out of the society they are terrorizing.   While the monster makes the lives of the characters in the story miserable, the audience is torn between wanting the characters to win, or actually feeling sympathy for the monster because of the conditions presented surrounding that monster’s origin. Moreover, monster movie plots have been known to fit into the plot categories and monster types to such a degree that a generator was actually created by David Neilsen.   Among the other completely hilarious and surprisingly useful generators to be had, the Monster Movie Pitch allows a user to create their own monster movie pitch by filling in the required fields.   Once filled in, the monster movie pitch is instantly created and a visitor can do what they want with the results. Because this generator actually serves to illuminate the points within this paper, a short detour will be taken.   With that said, the generator dictates that a male lead, female lead, and male sidekick are required, as well as a title.   Then the setting must be chosen: either a dark and forbidding forest, a sleepy little town, a mental institution, at sea, or ancient ruins.   Then the monster type must be selected: either the undead, extra-terrestrial, scientific abomination, creature of folklore/myth/legend, or nature gone bad.   And finally, the monster motive must be defined: revenge, to feed, to protect its young, its slumber has been disturbed, or it seeks to destroy humanity. Now, let’s see what fun can be had.   The selections have been made for the practice monster movie entitled, The Big Bad.   The rundown: heroic Zack and best buddy Trent, live in a sleepy little town and will come across an extra-terrestrial, leading lady Emily, and who seeks to destroy humanity.   Simple and sounds like a blockbuster.   Plugged into the generator, here’s the actual movie pitch: Critically acclaimed Egyptian filmmaker Aslad Assop brings his nightmare back to the screen with The Big Bad. This long awaited sequel to his international hit, Gong of Deviled Oxen, reunites aggressive shepherd Huche Ramman (Zack) with his holy guide Hammotep (Trent) in their biggest adventure yet. This time, Huche discovers messages in the entrails of his sheep and the trail leads to an extra-terrestrial temptress (Emily) who wishes to use sin to destroy all of humanity. Now the temptress is invading Huche’s Sleepy Little Town of Grozer, Egypt and only Huche’s faith can save the world! Sounds better than some of the monster movies out there.   Now, the purpose of the generator was not merely for amusement, though it was a bit of fun; however, it also serves to prove and illustrate the core, salient characteristics of the monster movie which are the type of monster, the psychological appeal of the monster, and the plot, or, motive of the monster. Because Neilsen states the monster types right out, it’s easy to realize, once they are presented in such a manner, that every monster movie (probably ever made) fits well into the categories, without even needing wriggle room.   To be precise, Neilsen states that there are five basic types of monster. The first type is the undead monster.   Now, the undead monster movie began in the 1930’s with Dracula and continued well into the freaky zombie thrillers of today like 28 Days Later and Resident Evil.   The undead category is not only chilling, but is perhaps the most used of all the monster types.   Even pop culture revolves around vampires, zombies, and the undead with shows like Buffy the Vampire Slayer, and Supernatural.   This type of monster has the greatest impact on an audience because of the psychological aspect and appeal behind that monster. Moreover, the second monster type is the extra-terrestrial and is evident in movies like Alien, War of the Worlds and Predator.   ET actually fits this category as well, though that alien is more cute and cuddly than frightening.   Now, this monster type usually has the same motive, that to destroy all of mankind, and is the least escapable of all the monster types because they take more to vanquish than simple guns and grenades.   Characters in these movies die rapidly and often, and do little but to illustrate the irk of the monster. The third monster type is known as the scientific abomination.   This is an interesting monster category because it actually encompasses many different sorts of monsters, from Frankenstein, to Dr. Jekyll and Mr. Hyde, to the Invisible Man.   In all cases, this type of monster is created, even purposefully manufactured, and the outcome is accidental and tragic.   The creator of the monster is often murdered, or lost to his darker evil side, and the characters again, serve only to be killed off as the mad scientist almost realizes his folly. The fourth type of monster is the creature from folklore/myth/legend.   This category encompasses monsters from The Mummy, to monsters in The Relic, Cerberus, and After Dark.   These monsters all have the same motive, and all, actually, seem to have become a plague to the characters because of that motive: being disturbed from their slumber, which serves to kill off most of the characters in the most violent and brutal method possible. Finally, the fifth monster type is nature gone bad.   This fits the Armageddon sort of flick, where birds, bats, plague, or impending asteroids kill off a good portion of the characters.   Movies like Stephen King’s The Birds, Armageddon, 10.5, and The Day After Tomorrow fit this category well.   The problem with this last monster type is that it differs the most dramatically from the genre because a great deal more time is spent on character growth than on the priorities of the monster, being nature, but in the end, nature usually wins out, despite how great the characterization is. Furthermore, Stuart Fischoff’s study commented on many things monster but one conclusion was striking, that â€Å"film monsters have proven to be such unforgettable characters that in many instances they have become part of our culture.†Ã‚   In fact, they are unforgettable to the degree that â€Å"most Americans would recognize a picture of Frankenstein, Dracula, King Kong, Godzilla or the Mummy before recognizing a Supreme Court Justice† (Fischoff). This conclusion is not only remarkable, it is entirely true.   John Rutledge is one of the most recently discussed Supreme Court Justices, but his name means nothing unless that person has been thoroughly engrossed in the newspaper for the past two years.   On the other hand, a person doesn’t even have to watch Godzilla to know that Godzilla is a dinosaur-like creature that wreaks havoc on Tokyo or that Dracula is a vampire with unconventional vampire powers. Additionally, the second core characteristic of monster movies is the psychological aspect and appeal of the monster.   This aspect can roughly be defined as not only the type of monster, but the character of that monster and what affect that monster has on an audience.   Fischoff’s study was also to survey a group of people and conclusively determine who the â€Å"King of Monsters† was. Turns out Dracula wins, though not because he is the most violent, nor is he the best killer among the monsters to choose from.   Freddy Krueger and Hannibal Lector obviously had the mass-slaying thing down, but they could never have the staying power that Dracula has because their nature is for violence and they lack the extreme psychological aspect that makes Dracula not only frightening, but also seductive. Monster movies are great to watch when the monster is a monster.   But, when man becomes a monster, as in the case of Hannibal Lector in Silence of the Lambs, for reasons pertaining to his youth and not some botched experiment, the movie experience becomes nearly transcendently frightful with the very real aspect that Hannibal could be a real person in a very real neighborhood.   Same with Freddy Krueger, though he at least has that whole dream-killing thing happening which makes him, in reality, a bit less plausible, though his deeds are no less terrifying. Fischoff offers some insight into this phenomena, stating that â€Å"it is believed to be the thrill of fright, the awe of the horrific, the experience of the dark and forbidden side of human behavior that lures people into the dark mouth of the theater to be spooked† (Fischoff).   Even though the man-monster takes off on a different path from the genre, hitting horror and the psychological aspect harder than ever before, people still flock to these movies in droves due to the need for fright, to experience the thrill without living the thrill (how scary would it be if Hannibal lived down the street?).   And, the best monster movies are able to produce at least that much. Moreover, according to Fischoff’s survey, the top ten monsters of all time, in order, are: Dracula, Freddy Krueger, Godzilla, Frankenstein, Chucky, Michael Myers (Halloween), King Kong, Hannibal Lector, Jason Voorhees (Friday 13th), and Alien.   It is interesting to notice when looking at this list that the monster to man-monster ratio is an exact split between the ten.   Five genuine monsters and five men-turned-monsters.   When it comes to monster movies, the best monster is obviously a cross between the most horrific and the most frightening. Furthermore, the third characteristic of monster movies is the use of plot as a device to form the movie around the monster.   Like Neilsen’s generator was helpful to suggest, there are five different plots that make up the monster movie genre, almost, in its entirety.   And, these plots all revolve around or are centered on, the motive of the monster. Basically, the monster can be out for revenge, need to feed, need to protect its young, their slumber has been disturbed, or they want to destroy humanity.   All movies created in the early black and white era actually follow this format, the most famous of them setting up the very archetype known as monster movies today. To begin with, Frankenstein (1931) demonstrates the classic revenge plot.   Dr. Henry Frankenstein wanted to make a man out of stolen body parts and actually managed to do so.   In fact, Dr. Frankenstein’s monster would have been a medical marvel if not for the criminal brain secured for his construction.   Because of that tiny little fatal flaw, the monster rises with a vendetta for Dr. Frankenstein.   And because Dr. Frankenstein screwed up, he becomes the obsession of his own creation. In Dracula (1931), Count Dracula, something of a real estate tycoon and upwardly rich aristocrat, preys on the people he comes across in Transylvania.   Dracula is different than the average monster because of his strikingly literal human nature.   He also has the enhanced ability to seduce his victims beyond their control, which makes him exceptionally difficult to properly vanquish.   The story also ends heroically as Van Helsing is proven right and is able to destroy Dracula.   Dracula’s main motive, besides amusement, is simply, to feed. King Kong (1933) differs from many monster movies because the character relationships are vitally important for the movie to progress.   There are two main relationships developed throughout, that of Ann and Jack and that of Ann and King Kong.   King Kong’s motive, once he falls for his new companion Ann, is to protect her from the evils in his jungle environment, and later, the evils he sees New York City.  Ã‚  Ã‚   One of the final lines in the movies, â€Å"it wasn’t the airplanes, it was beauty that killed the beast† strikes a cord in any heart and makes King Kong perhaps the most lovable of all movie monsters because of his human desire to protect Ann. In The Mummy (1932) a priest is resurrected accidentally by an unwitting team of archeologists and sets about seeking his lost love.   Bad things happen along the way, one of the archeologists is taken as a replacement for the mummy’s lost bride, but the mummy is vanquished in the end when the archeologists destroy the scroll that brought him back to life.   The mummy, Im-ho-tep, basically sends his wrath out on the world and spends the movie causing mass destruction because his slumber was disturbed.   Simple as that. Finally, in Godzilla (1954), Godzilla is a monster god (more like un-extinct dinosaur) that preys on the countryside of Tokyo and fits the classic monster out to destroy humanity plot.   The natives sacrifice virgins in an attempt to appease the monster, but Godzilla seems to enjoy wreaking as much destruction as possible.   The monster attacks every few scenes, with the people in a panic as to how to destroy him before they are all killed.   And, even though they manage to kill Godzilla in the end, the result is not joyful as the people still fear another Godzilla is just moments from rising from the sea. Overall, all movies follow a specific formula which can be calculated and defined based upon the genre they fall in to.   The monster movie is a cross between the horror film and the psychological thriller and has certain core, salient characteristics that define the monster movie as a genre.   Neilsen helps to illuminate the various forms of monster and monster motives with his monster movie pitch generator, and it can be said that, categorically, monster type, psychological aspect of the monster, and motive of the monster as demonstrated in the plot combine to form the core characteristics of the monster movie. Works Consulted. Fischoff, Stuart, et al.   â€Å"The Psychological Appeal of Your Favorite Movie Monsters.† International Scientific Communications, 2003. —-.   â€Å"The Psychological Appeal of Movie Monsters.†Ã‚   Journal of Media Psychology, 2005. LaBarbera, Michael.   â€Å"The Biology of B-Movie Monsters.†Ã‚   University of Chicago, 2003. http://fathom.lib.uchicago.edu/2/21701757/ Neilsen, David.   â€Å"Monster Pitch Generator.†Ã‚   Brunching Shuttlecocks, 2001. Waters, Cullen.   â€Å"The Plot Archetypes of Giant Monster Movies.†Ã‚   WordPress.com, 2005.   http://welltuncares.wordpress.com/2005/04/18/the-plot-archetypes-of-giant-monster-movies/ Zoombaba.   â€Å"Creature Feature: Monster Movie Roleplaying.†Ã‚   Accessed March 22, 2007. http://homepage.mac.com/zoombaba/RPG/CF.html Characteristics of the Classic Monster Movie Fundamentally, certain genres lend to certain types of story arcs.   While the romantic comedy often follows a more character driven plot, where the characters find the meaning of true love, the monster movie follows a definable plot driven format.   And basically, in the plot driven movie, the overall story illustrates the efficiency of a town’s characters and how well they are able to stand up to the monster, before, either they are killed or the monster is finally neutralized or vanquished in a final, climax of a scene. To be honest, the end result of the town and its people doesn’t really matter, and any ending is entirely plausible.   But, the intrigue that makes a good monster movie is to be competently presented with the monster, the origin of the monster, and for the audience to discover what that monster wants out of the society they are terrorizing.   While the monster makes the lives of the characters in the story miserable, the audience is torn between wanting the characters to win, or actually feeling sympathy for the monster because of the conditions presented surrounding that monster’s origin. Moreover, monster movie plots have been known to fit into the plot categories and monster types to such a degree that a generator was actually created by David Neilsen.   Among the other completely hilarious and surprisingly useful generators to be had, the Monster Movie Pitch allows a user to create their own monster movie pitch by filling in the required fields.   Once filled in, the monster movie pitch is instantly created and a visitor can do what they want with the results. Because this generator actually serves to illuminate the points within this paper, a short detour will be taken.   With that said, the generator dictates that a male lead, female lead, and male sidekick are required, as well as a title.   Then the setting must be chosen: either a dark and forbidding forest, a sleepy little town, a mental institution, at sea, or ancient ruins.   Then the monster type must be selected: either the undead, extra-terrestrial, scientific abomination, creature of folklore/myth/legend, or nature gone bad.   And finally, the monster motive must be defined: revenge, to feed, to protect its young, its slumber has been disturbed, or it seeks to destroy humanity. Now, let’s see what fun can be had.   The selections have been made for the practice monster movie entitled, The Big Bad.   The rundown: heroic Zack and best buddy Trent, live in a sleepy little town and will come across an extra-terrestrial, leading lady Emily, and who seeks to destroy humanity.   Simple and sounds like a blockbuster.   Plugged into the generator, here’s the actual movie pitch: Critically acclaimed Egyptian filmmaker Aslad Assop brings his nightmare back to the screen with The Big Bad. This long awaited sequel to his international hit, Gong of Deviled Oxen, reunites aggressive shepherd Huche Ramman (Zack) with his holy guide Hammotep (Trent) in their biggest adventure yet. This time, Huche discovers messages in the entrails of his sheep and the trail leads to an extra-terrestrial temptress (Emily) who wishes to use sin to destroy all of humanity. Now the temptress is invading Huche’s Sleepy Little Town of Grozer, Egypt and only Huche’s faith can save the world! Sounds better than some of the monster movies out there.   Now, the purpose of the generator was not merely for amusement, though it was a bit of fun; however, it also serves to prove and illustrate the core, salient characteristics of the monster movie which are the type of monster, the psychological appeal of the monster, and the plot, or, motive of the monster. Because Neilsen states the monster types right out, it’s easy to realize, once they are presented in such a manner, that every monster movie (probably ever made) fits well into the categories, without even needing wriggle room.   To be precise, Neilsen states that there are five basic types of monster. The first type is the undead monster.   Now, the undead monster movie began in the 1930’s with Dracula and continued well into the freaky zombie thrillers of today like 28 Days Later and Resident Evil.   The undead category is not only chilling, but is perhaps the most used of all the monster types.   Even pop culture revolves around vampires, zombies, and the undead with shows like Buffy the Vampire Slayer, and Supernatural.   This type of monster has the greatest impact on an audience because of the psychological aspect and appeal behind that monster. Moreover, the second monster type is the extra-terrestrial and is evident in movies like Alien, War of the Worlds and Predator.   ET actually fits this category as well, though that alien is more cute and cuddly than frightening.   Now, this monster type usually has the same motive, that to destroy all of mankind, and is the least escapable of all the monster types because they take more to vanquish than simple guns and grenades.   Characters in these movies die rapidly and often, and do little but to illustrate the irk of the monster. The third monster type is known as the scientific abomination.   This is an interesting monster category because it actually encompasses many different sorts of monsters, from Frankenstein, to Dr. Jekyll and Mr. Hyde, to the Invisible Man.   In all cases, this type of monster is created, even purposefully manufactured, and the outcome is accidental and tragic.   The creator of the monster is often murdered, or lost to his darker evil side, and the characters again, serve only to be killed off as the mad scientist almost realizes his folly. The fourth type of monster is the creature from folklore/myth/legend.   This category encompasses monsters from The Mummy, to monsters in The Relic, Cerberus, and After Dark.   These monsters all have the same motive, and all, actually, seem to have become a plague to the characters because of that motive: being disturbed from their slumber, which serves to kill off most of the characters in the most violent and brutal method possible. Finally, the fifth monster type is nature gone bad.   This fits the Armageddon sort of flick, where birds, bats, plague, or impending asteroids kill off a good portion of the characters.   Movies like Stephen King’s The Birds, Armageddon, 10.5, and The Day After Tomorrow fit this category well.   The problem with this last monster type is that it differs the most dramatically from the genre because a great deal more time is spent on character growth than on the priorities of the monster, being nature, but in the end, nature usually wins out, despite how great the characterization is. Furthermore, Stuart Fischoff’s study commented on many things monster but one conclusion was striking, that â€Å"film monsters have proven to be such unforgettable characters that in many instances they have become part of our culture.†Ã‚   In fact, they are unforgettable to the degree that â€Å"most Americans would recognize a picture of Frankenstein, Dracula, King Kong, Godzilla or the Mummy before recognizing a Supreme Court Justice† (Fischoff). This conclusion is not only remarkable, it is entirely true.   John Rutledge is one of the most recently discussed Supreme Court Justices, but his name means nothing unless that person has been thoroughly engrossed in the newspaper for the past two years.   On the other hand, a person doesn’t even have to watch Godzilla to know that Godzilla is a dinosaur-like creature that wreaks havoc on Tokyo or that Dracula is a vampire with unconventional vampire powers. Additionally, the second core characteristic of monster movies is the psychological aspect and appeal of the monster.   This aspect can roughly be defined as not only the type of monster, but the character of that monster and what affect that monster has on an audience.   Fischoff’s study was also to survey a group of people and conclusively determine who the â€Å"King of Monsters† was. Turns out Dracula wins, though not because he is the most violent, nor is he the best killer among the monsters to choose from.   Freddy Krueger and Hannibal Lector obviously had the mass-slaying thing down, but they could never have the staying power that Dracula has because their nature is for violence and they lack the extreme psychological aspect that makes Dracula not only frightening, but also seductive. Monster movies are great to watch when the monster is a monster.   But, when man becomes a monster, as in the case of Hannibal Lector in Silence of the Lambs, for reasons pertaining to his youth and not some botched experiment, the movie experience becomes nearly transcendently frightful with the very real aspect that Hannibal could be a real person in a very real neighborhood.   Same with Freddy Krueger, though he at least has that whole dream-killing thing happening which makes him, in reality, a bit less plausible, though his deeds are no less terrifying. Fischoff offers some insight into this phenomena, stating that â€Å"it is believed to be the thrill of fright, the awe of the horrific, the experience of the dark and forbidden side of human behavior that lures people into the dark mouth of the theater to be spooked† (Fischoff).   Even though the man-monster takes off on a different path from the genre, hitting horror and the psychological aspect harder than ever before, people still flock to these movies in droves due to the need for fright, to experience the thrill without living the thrill (how scary would it be if Hannibal lived down the street?).   And, the best monster movies are able to produce at least that much. Moreover, according to Fischoff’s survey, the top ten monsters of all time, in order, are: Dracula, Freddy Krueger, Godzilla, Frankenstein, Chucky, Michael Myers (Halloween), King Kong, Hannibal Lector, Jason Voorhees (Friday 13th), and Alien.   It is interesting to notice when looking at this list that the monster to man-monster ratio is an exact split between the ten.   Five genuine monsters and five men-turned-monsters.   When it comes to monster movies, the best monster is obviously a cross between the most horrific and the most frightening. Furthermore, the third characteristic of monster movies is the use of plot as a device to form the movie around the monster.   Like Neilsen’s generator was helpful to suggest, there are five different plots that make up the monster movie genre, almost, in its entirety.   And, these plots all revolve around or are centered on, the motive of the monster. Basically, the monster can be out for revenge, need to feed, need to protect its young, their slumber has been disturbed, or they want to destroy humanity.   All movies created in the early black and white era actually follow this format, the most famous of them setting up the very archetype known as monster movies today. To begin with, Frankenstein (1931) demonstrates the classic revenge plot.   Dr. Henry Frankenstein wanted to make a man out of stolen body parts and actually managed to do so.   In fact, Dr. Frankenstein’s monster would have been a medical marvel if not for the criminal brain secured for his construction.   Because of that tiny little fatal flaw, the monster rises with a vendetta for Dr. Frankenstein.   And because Dr. Frankenstein screwed up, he becomes the obsession of his own creation. In Dracula (1931), Count Dracula, something of a real estate tycoon and upwardly rich aristocrat, preys on the people he comes across in Transylvania.   Dracula is different than the average monster because of his strikingly literal human nature.   He also has the enhanced ability to seduce his victims beyond their control, which makes him exceptionally difficult to properly vanquish.   The story also ends heroically as Van Helsing is proven right and is able to destroy Dracula.   Dracula’s main motive, besides amusement, is simply, to feed. King Kong (1933) differs from many monster movies because the character relationships are vitally important for the movie to progress.   There are two main relationships developed throughout, that of Ann and Jack and that of Ann and King Kong.   King Kong’s motive, once he falls for his new companion Ann, is to protect her from the evils in his jungle environment, and later, the evils he sees New York City.  Ã‚  Ã‚   One of the final lines in the movies, â€Å"it wasn’t the airplanes, it was beauty that killed the beast† strikes a cord in any heart and makes King Kong perhaps the most lovable of all movie monsters because of his human desire to protect Ann. In The Mummy (1932) a priest is resurrected accidentally by an unwitting team of archeologists and sets about seeking his lost love.   Bad things happen along the way, one of the archeologists is taken as a replacement for the mummy’s lost bride, but the mummy is vanquished in the end when the archeologists destroy the scroll that brought him back to life.   The mummy, Im-ho-tep, basically sends his wrath out on the world and spends the movie causing mass destruction because his slumber was disturbed.   Simple as that. Finally, in Godzilla (1954), Godzilla is a monster god (more like un-extinct dinosaur) that preys on the countryside of Tokyo and fits the classic monster out to destroy humanity plot.   The natives sacrifice virgins in an attempt to appease the monster, but Godzilla seems to enjoy wreaking as much destruction as possible.   The monster attacks every few scenes, with the people in a panic as to how to destroy him before they are all killed.   And, even though they manage to kill Godzilla in the end, the result is not joyful as the people still fear another Godzilla is just moments from rising from the sea. Overall, all movies follow a specific formula which can be calculated and defined based upon the genre they fall in to.   The monster movie is a cross between the horror film and the psychological thriller and has certain core, salient characteristics that define the monster movie as a genre.   Neilsen helps to illuminate the various forms of monster and monster motives with his monster movie pitch generator, and it can be said that, categorically, monster type, psychological aspect of the monster, and motive of the monster as demonstrated in the plot combine to form the core characteristics of the monster movie. Works Consulted. Fischoff, Stuart, et al.   â€Å"The Psychological Appeal of Your Favorite Movie Monsters.† International Scientific Communications, 2003. —-.   â€Å"The Psychological Appeal of Movie Monsters.†Ã‚   Journal of Media Psychology, 2005. LaBarbera, Michael.   â€Å"The Biology of B-Movie Monsters.†Ã‚   University of Chicago, 2003. http://fathom.lib.uchicago.edu/2/21701757/ Neilsen, David.   â€Å"Monster Pitch Generator.†Ã‚   Brunching Shuttlecocks, 2001. Waters, Cullen.   â€Å"The Plot Archetypes of Giant Monster Movies.†Ã‚   WordPress.com, 2005.   http://welltuncares.wordpress.com/2005/04/18/the-plot-archetypes-of-giant-monster-movies/ Zoombaba.   â€Å"Creature Feature: Monster Movie Roleplaying.†Ã‚   Accessed March 22, 2007. http://homepage.mac.com/zoombaba/RPG/CF.html

Remote-Robotic Surgery Essay Example | Topics and Well Written Essays - 2500 words - 1

Remote-Robotic Surgery - Essay Example Later few other robots were invented and used in the processes of surgeries. The first surgical robot that was approved by FDA was ROBODOC. The process of research and development still continues in the present times (Valero et al, 2011, pp.2-3). In the context of the technology, studies reveal that the use of surgical remote robots enables the need for lesser number of surgeons and medical professionals in the conduct of any surgery. Thus surgeries may be able to be performed from remote locations as well. Doctors will only need to learn to handle the arms of the robots through the computerized systems. This might also lower the costs of the surgeries. Moreover the technique provides with improved capability of precision and the patients are also less traumatized with this process (Bonsor & Strickland, 2012). Thus it can be said that remote-robotic surgeries have certain advantages over the conventional surgery methods. Patients may get attached to robots, the withdrawal of which might affect the patients. The feelings or emotions of the patients would not be able to be judged by the robots. The robots would not be able to handle a patient if he is angry and does not cooperate with the treatment or medication. When called by several users, the robots may not be able to decide on prioritizing the necessity of the calls (Lin, Abney & Bekey, 2012, pp.22-23). Thus it can be understood that a robot cannot be depended completely for the process of surgery or treatment. Being so, the use of robots in medical practice cannot be considered as morally and ethically correct. Considering the levels of patient satisfaction, the political influences reflect on the process of remote-robotic surgery getting more improved and accepted in the medical practices, with the advantages being focused (Gun Control, 2012). The legal issues include the cost of the robotic technology

Workforce Design Literature review Example | Topics and Well Written Essays - 1750 words

Workforce Design - Literature review Example Downsizing lay-offs have very devastating effects not only on the employees but also on the economic, political and social condition of the country. In this economic climate workforce redesigning with special emphasis on organizational values is one way to handle this situation in company’s benefit. Latest trends and approaches identifies HR as a strategic partner of the business. Workforce/job design is considered the building block for the smooth running of the human resource processes. There are many approaches regarding workforce/ job design are available all of them provides vehement support that a work design chosen appropriately keeping in view organizational needs and values do contribute positively for organizational success. There is no one best approach towards the workforce design. Organizations need to create and find the best fit between its environment, competitive strategy and philosophy with its organizational structure and design. The changing world of work, which is marked by increased competition, information and communication technology, workforce dynamics, has enforced many changes in organizational structure. In the wake of new economy and emergence of knowledge workers and the challenges of economic and financial crunch, intense competition, changing employment legislation, social and demographic trends organizations these days are battling to stay alive by doing more with less employees. (De Ceiri) There are many approaches surrounding workforce design and organizational structure we will focus our research on few approaches such as Competency Analysis, knowledge management, changes in organizational structure/workflow etc. Workforce/Job design Approaches There are many approaches for workforce/job design but as already discussed there is no one best approach. Organizations have to seek the best fit between organizational demands and environmental demands for any effective job design. Let’s dig deep into what are these dem ands and how job design is actually practiced. One of the organizational demands is that job design approach adopted should be derived from the organizational strategy which determines the duties, breath of task and responsibilities. Formalization of jobs and breadth and depth of task is determined by the company characteristics. Culture of the company and the society needs to be taken into account before deciding the managerial choices for job design tactics and employee’s acceptance of these job design decisions. Organizations also demand that employee’s concern should also be fulfilled regarding need for flexible work arrangements and perceptions of fairness in job duties. Environmental demands also cannot be ignored while deciding for the job design. Many environmental forces have their strong impact on job design such as influence of labor force which determines skill availability to perform task and demographics of workforce such as aging labor, influence of tech nology such as virtual teams and telecommunicating, influence of globalization such as workforce diversity, cross culture issues, influence of ethical and social responsibilities such as concerns for physical condition of job design and type of tasks, the influence of economic conditions such as growing economy or downturn economy. (David) Workforce planning, job analysis and job design play an important role in Human Resource management and the interaction between them is the key to success. The recent global financial crisis that was least predictable has led to certain downturn in the economy. Volatility in oil prices is also affecting the businesses. Recent trends and developments such as these has emphasized the role of business plan that not only anticipates but also helps in coping with such situations. For HR it means

Articles annotation Annotated Bibliography Example | Topics and Well Written Essays - 250 words

Articles annotation - Annotated Bibliography Example The results indicate that â€Å"within the EFL context in the current Chinese cultural environment, integration may not be a significant factor in motivating language learning effort† (Chen, Warden, & Chang, 2005, p. 622). The importance of incorporating cultural norms and values in the motivational process is deemed crucial for these factors to work and be considered effective in the given situation. The study conducted by Yihong, et.al. (2007) enumerated seven motivation types: â€Å"intrinsic interest, immediate achievement, individual development, information medium, going abroad, social responsibility, and learning situation (p. 133) where â€Å"intrinsic interest was correlated with productive and additive changes, individual development with self-confidence change, social responsibility with productive and split changes† (Yihong, Yuan, Ying, & Yan, 2007, p. 133). The value of the author’s findings is emphasized in terms of focusing both on the language and the learner to enhance the learning process. positive attitudes toward the language and expectations of success were maintained over the period, whereas their attitudes toward the experience of formal learning tended to deteriorate† (Lamb, 2008, p. 1). Several teaching interventions were suggested such as provision of simpler examples, giving positive feedback, and encouraging students to explore other alternative possibilities to enhance learning skills in the English

Influence of African Art on European and American Art since 19th Research Paper

Influence of African Art on European and American Art since 19th century - Research Paper Example The main factor that makes the African art to be influential is the fact that most of the African artwork were designed during the colonial times and hence had direct impact on the European and American who were the major colonialist. Most of the African art were designed to expose the limitations imposed on the Africans by the colonialist. A study that was conducted by Salah that explored the twentieth century history and sociology of the western countries reveals that most of famous and creative artist comes from previously colonized territories, including Africa, London and Rome. This signifies the fact that Africans played a significant role in shaping the art industry both in Africa and western communities. The study states that the intellectual employed by African during production of its art is essential to understanding the global modernity. This is because most of the African art overlaps with that of the European counterparts. African artist employed different styles in the ir artwork. These include the Masquerade and masking traditions have a role of underlining the historical continuities with a pre-colonial past. The use of these forms of tradition compounded by creativity employed has made most of the African art to be among the most admired. It has encouraged the modernist from the entire continent to continually engage in African masking traditions. They masking and masquerade constitute the major forms of art of presenting a person. In order to fully discuss the reasons behind the superiority of African art, it is important to first explore the meaning of the term Africa (Sey 459). From artistic point of view, Africa is described as a complex intellectual construct that signify different opinions. Africa integrates certain cultural values, cultural features and values meant to depict Africa as a continent (Salah 472). One unique thing about Africa and art is that Africa went through a myriad of political and social changes. Africa is a continent with a lot of experiences in aspects such as slavery, colonialism and diasporization of African people and cultures. Because of all these experience, Africa is a complex continent. This is why most of the artistic activities made in Africa are outstandingly unique. They are normally carved out based on the cultures, experiences and the day to day encounters. This means that artwork is just a representation of social or political phenomena. In this context the African art are products of the historically complex encounters. One thing that should be notes as far as African art concerns the dynamic nature of the artwork (Salah 452). Social changes that are

Food Safety Management Essay Example | Topics and Well Written Essays - 2500 words

Food Safety Management - Essay Example Hazard analysis critical control point (HACCP) has emerged as a popular system of safety management and has become pivotal to securing the safety of the food supply and battle against the escalation of food borne disease.(Taylor and Taylor 2004).However as the instance of the Potter Foods example shows that small and medium sized businesses have found the entire process a "bureaucratic nightmare", and find the whole implementation of the HACCP complex and barriers.(Taylor and Taylor 2004).The system has its origins in the first US manned space Programme (Taylor and Taylor 2004 citing Buchanan 1990) and today it is "an operation specific system of preventative control, which identifies, evaluates and controls hazards of significance to food safety". On the facts we have been told that Potter foods has to as a matter of code of practice implement a food safety management system based on the Codex HACCP Principles with in a time frame of 2 years. It has been required that such a plan must cover all microbiological, chemical and physical hazards that might arise from the raw materials used, covering the entire of the manufacturing process, right up to the point of handover to the Customer. It was also specified that any support programmes, with the prerequisites must be effectively implemented with proper result.At this point I would suggest that such documentation must be completed upon a product-by-product basis and my project plan suggests that suitably qualified personnel should be employed to advance this process. Summary of the problem From the case study it is possible to glean that Potter's Foods being a medium-sized manufacturer of chilled ready meals based in the north of England has three large factory buildings dealing with bakery and party food items which are called Bakery, Chilled and Party .We have been told that the seasoning room and the raw material distribution centre are located in the same store and that the Company uses its own transport for work in progress foods or raw materials however it has not been mentioned that the distribution centre or its transport have proper refrigeration as this is very important for HACCP implementation and could be major reason for the foreign body complaints Potter Foods are facing. In the drawing up of the project plan it is pertinent to note that Potter Foods has to keep up its marketing edge as a flexible manufacturer, with low cost production and prompt delivery and at the same time utilise and keep up the customer confidence. It has also been mentioned that Party is an old building and may not be conducive to the HACCP implementation. There is a problem of taking action against suppliers for defective and unsafe food as it has been said that the raw materials purchased have little paper work into them. As mentioned before Potter's foods are having trouble with microbiological counts and poor equipment maintenance and there is consultation at an organised level with in the technical managers and directors. It has been stated that there is a large amount of wastage due to changes in raw materials suppliers and that the timing of the cooked foods and their temperatures is not adjusted for safety. There is also another danger as it has been stated

PSYCHOLOGY SET UP A STUDY Essay Example | Topics and Well Written Essays - 500 words

PSYCHOLOGY SET UP A STUDY - Essay Example For our purposes, in this study we shall select two contrasting styles, the Authoritative and the Uninvolved for investigation. The paper cited above in summarising research on the topic claims that ‘Children and adolescents whose parents are authoritative rate themselves and are rated by objective measures as more socially and instrumentally competent †¦ ’and those whose parents are ‘uninvolved perform poorly in all domains.’ The description of ‘authoritative’ parental style borders on the ideal. These parents do not demand unquestioning obedience. They set standards for children’s conduct by negotiation and reference to shared and valued goals. They are assertive but do not punish breaches of discipline in an arbitrary manner by restrictions or by intruding on the child. They require and receive cooperation from their children. The ‘uninvolved’ parents may be labelled ‘laissez-faire’, almost to the point of being neglectful of their children. They are neither responsive to the children’s demands nor do they demand or expect standards of behaviour and conduct from their children. Although it is clear from the above discussion that we could easily identify two groups for this study, we are required to delve a little further into the theory underlying the differences in the two parental styles. One basis of criticisms for isolating parental styles is the ‘nature – nurture’ controversy. Are we right to ignore ‘nature’ or heritability (genes) when we use parental style as a variable? We are concentrating on ‘nurture’ exclusively in this study. Caveats must be spelt out in the Discussion section. Children may undergo quantitative as well as qualitative changes in their personality and competences as they mature. By selecting children of exactly the same age group for our study, we can reasonably hope to eliminate problems that could arise from the ‘continuity-discontinuity’ compounding variable. The

Carbon tax and Cap-and-Trade Schemes Essay Example | Topics and Well Written Essays - 750 words

Carbon tax and Cap-and-Trade Schemes - Essay Example In defining cap and trade system, a government literally puts a cap or limit on the overall level of carbon pollution. As the cap declines each year, it cuts industrial green house emission to the limit of regulation. This way, the government creates and distributes pollution quotas, which in turn create an incentive for industries alike to reduce their emissions (Andrew 64). In comparing the two taxes, the cap-and-trade tax has more certainty than the carbon tax. The cap and trade tax in terms of certainty can be achieved as it sets firm limits on the acceptable amount of emissions, thus achieving the desired outcome in reduction of emissions. This scheme has been used for decades by the United States to reduce emissions responsible for acid rain. By using the cap and trade system has reduced acid rain forming by half. As for the carbon tax the amount of emissions depends on the rise and fall of energy. For this reason many industrialized countries have used carbon taxes to disco urage fossil fuel and promote clean energy. For example, in Sweden carbon tax has been estimated to cut emissions by 20 percent enabling the country to achieve 2012 target under the Kyoto protocol . Carbon tax creates a fixed incentive to curb emissions since it can fix price of the carbon emissions. In assessing the cost or damage associated with each unit in pollution and the cost associated with controlling pollution. In essence its essential for the tax level to be right, if the tax is too low then the industries and households may opt to pay tax other than reduce omissions. On the other hand, if it’s set too high then the cost may indirectly impact profits, jobs and the end consumers. Cap and trade lacks price certainty since emissions permit prices may fluctuate from year to year depending on the demand for energy. This means that while the maximum pollution quantity is set in advance trading price on permits

Baz Luhrmans modern interpretation of the Shakespeare play Essay Example for Free

Baz Luhrmans modern interpretation of the Shakespeare play Essay This essay is based on Baz Luhrmans modern interpretation of the Shakespeare play; Romeo + Juliet. It will be focusing on the opening scene, and Prologue. I will be analysing how Baz Lurhman portrays the feud between the Montagues and the Capulets. I will also be discussing how the presentation of The Prologue helps the audience to understand the play. The film begins with a blank TV screen. The TV screen could represent the modern interpretation to the play. The screen the becomes occupied by a news-reader, who begins reciting the sonnet. The idea of the sonnet being read off the news, emphasises the how important the situation is. Once the news-reader has completed the sonnet, the TV transports you to the scene of the play; Verona. The establishing shot becomes apparent; a Montague building separated form a Capulet building, only by the statue of Christ. This emphasises the theme of religion, and the line in the sonnet: Both alike in dignity This is because each building belittles the rest of Verona, as well as the other. The camera then speeds up and shows a sequence of fast shots. This is known as mise en scene. This represents a degree of chaos, and highlights the conflict between the two families. The Prologue is then recited again, this time, by the Friar. As he reads, the words are reinforced by bold, white text, on a black background. The contrasting colours could be highlighting the two families differences. The use of colour; in this case black and white, are most likely an deliberate choice, as black and white are both immediate opposites, therefore helping the audience differentiate between text and background. This allows the audience to correlate the friars voice with the text, despite the short amount of time in which the text is shown. After the Friar has completed The Prologue, the camera focuses on a family tree, of each family; in turn. Almost as soon as it has shown the family trees, the shot becomes engulfed in flames. The flames could convey a message of hatred, rage and anger between the two families. From the flames, a newspaper heading appears, whilst the flames fade. The heading suggests re-occurring violence between both the Montagues and the Capulets, and could also show that the feud is still as strong as ever. We can then learn that the strongest of the families quarrel lies between the youth of each house. This becomes apparent when the camera focuses on a number of magazines, with the younger generation of each house on the cover. Baz Lurhman also incorporates the use of magazines, as opposed to tabloids, when referring to the youth, as younger people are usually more associated with magazines. In the next shot, the parents of each house are pictured, accompanied by the actors name and character. In turn, the same happens for every character. This is important, as it allows the audience to differentiate between the members of each family, and who the main roles are. The types of shots depicted are very solemn, except for a character named Paris. He is shown in a happy scene; as he is not involved in the feud, whilst every other character is affected, in some way, by the civil conflict. The Prologue concludes with a montage of shots, featured earlier in The Prologue, aswell as a repertoire of emotion-provoking shots, from later in the film. As the closing sequence is shown, shots of fireworks are merged in, to again, establish the theme of chaos. Finally, the title appears, and The Prologue finishes. The final aspect of Baz Luhrmans interpretation, is the Music. Without this particular piece (Carmena Burana), The Prologue would not provoke as many emotions within the audience. This is because; as the tempo, and volume rises beyond forte, Baz secrenises the action scenes to run along side this. He also utilises the piano-pianissimo parts of the piece to again, establish the sonnet. All together, the music adds the element of drama, and strong emotions to the opening scene.

Business communication Essay Example for Free

Business communication Essay SNC-Lavalin is one of the largest engineering companies in Canada, and one of the largest all around the world, however, failed to effectually communicate and face communication problem. This analysis report contains communication problems and influences on company. Additional information related to causes and symptoms of communication problem. Likewise, communicate with stakeholder groups result in concerns, and SNC-Lavalin use different communication model to deal with each group. The main communication problem is bypassing and different frames of reference. In communication process, bypassing can result in miscommunication, because the CEO and employee do not have the same symbolic meanings and bring own biases in any communication. Due to the longer lines of communication between CEO and employee, the message could be distorted. This problem impact on company fund missing and mystery payment, also, SNC-Lavalin’s stock decline a lot. The reason of problem happens because lack trust, lack communication skills competition for status and rewards. It is easy to cause communication problem if no trust between communicationï ¼Å'through the long over time, the mistakes will become seriously and many mistakes are due to lack communication skills. Meanwhile, personal status and rewards will cause bypassing, lack organization concept, to the extent that different people pay more attention on their own profit rather than the common goal. SNC-Lavalin shows several symptoms due to communication problem. First, agents help company win a contract by paid bribes, but can’t follow the appropriate routines. Second, after $56 million dollars missing, Gwyn Morgan, the company chairman, denied that there is no responsibility for  superior officers, and resign suddenly after stated. Third, Cynthia Vanier help Muammar Gaddafi’s son smuggle and do illegal trading, as well as denied the charge. Employees and shareholders are the key stakeholder groups, however, different group has different concern. To specific, employees concern about their job and incomeï ¼Å'because it is close related to employees’ life quality. Meanwhile, shareholders concern about their profit, because it means stock rights will be influenced, in other word, shareholders profit could losing. SNC-Lavalin follows the communication models with each stakeholder group. As for communicate with employees; the first step is having idea. After organize idea, use encode like transfer language and write down or typewriting. After that, delivered by announcement or email. In order to overcome misunderstanding, improve the flow of message in company. Sign on the paper one by one after employees receive, if have problem mark it clearly. SNC-Lavalin have to give an effectively communication to shareholders. When idea formation by SNC-Lavalin, convert an idea into words that include meaning. It is necessary for general meeting of shareholders every year, in the meeting; shareholders understand the meaning stand for decodes the message successfully. Finally, ask question come up with feedback, and descriptive is the best choice. In conclusion, it is important for SNC-Lavalin communication effectively. This case analysis points out the main communication problem refer to SNC-Lavalin, at the same time, detail analysis about influence on company, moreover, discuss reason and manifestation about communication problem. After that, analyze the two key stakeholder groups, and each of them has different concern. Last but not least, SNC-Lavalin use communication model to deal the relationship with each stakeholder group.

Culturally Competent Assessments Of Children In Need

Culturally Competent Assessments Of Children In Need This article critically analyses cultural competence as a theoretical construct and explores the need for a framework that will assist social workers to carry out culturally competent assessments of children in need and their families. It is argued that the necessary components of a framework for practice in this area are a holistic definition of culture, an ethical approach to difference, self-awareness, an awareness of power relations, the adoption of a position of complete openness in working with difference and a sceptical approach to a commodified conception of cultural knowledge. The approach must avoid the totalisation of the other for personal or institutional purposes. It is argued that the Furness/Gilligan Framework (2010) reflects these concerns and could be easily adapted to assist with assessments in this area. Key words: assessment; children in need; children and families; culture; cultural competence Introduction The purpose of this paper is to critically analyse cultural competence as a theoretical construct and to explore the need for a framework that will assist social workers to identify when aspects of culture are significant in the lives and children in need and their families. The 1989 Children Act places a legal requirement to give due consideration to a childs religious persuasion, racial origin, and cultural and linguistic background in their care and in the provision of services (Section 22(5)). This provision established the principle that understanding a childs cultural background must underscore all work with children. However, there has been a longstanding concern that services to children are failing to be culturally sensitive. Concern over the disproportionate number of children in need from ethnic minorities led to their specific mention in The Governments Objective for Childrens Social Services, which states that the needs of black and ethnic minority children and families must be identified and met through services which are culturally sensitive (Department of Health, 1999a: para 16). Government policy documents increasingly recognise the multicultural reality of Britain. Yet, government assessment guidance provides practitioners with little assistance in terms of establishing ways in which cultural beliefs and practices influence family life. Social work has acknowledged the need to respond respectfully and effectively to people of all cultures, ethnic backgrounds, religions, social classes and other diversity factors in a manner that values the worth of individuals, families and communities and protects and preserves the dignity of each (BASW, 2009). There are many indications that culture is significant in determining the ways in which some people interpret events, resolve dilemmas, make decisions and view themselves, their own and others actions and how they respond to these (Gilligan, 2009; Hunt, 2005). Practitioners may not, therefore, be able to engage with service users or to facilitate appropriate interventions if they take too little account of these aspects of peoples lives or consider them on the basis of inaccurate, ill-informed or stereotyped knowledge (Gilligan, 2009; Hodge et al., 2006). Culturally competent practice is so fundamental to assessments of children in need that one might expect a well developed literature on the subject. This would act as a robust knowledge base to underpin excellence in service delivery. Thompson (2006, p. 82) admits, there is a danger that assessment will be based on dominant white norms without adequate attention being paid to cultural differences. Failure to take such differences into account will not only distort, and thereby invalidate, the basis of the assessment but will serve to alienate clients by devaluing their culture. However, the literature in this area is surprisingly sparse. Almost two decades ago it was described as a void of published information (Lynch and Hanson, 1992, p. xvii) and Welbourne (2002) argues that progress is still slow. Boushel (2000) argues that despite the governments stated concern to know more about the impact of race and ethnicity on child welfare, the limited extent to which research reflects the experience and needs of culturally diverse children fails to support a true evidence base for policy or practice. There is evidence that aspects of culture can all too easily be underestimated, overlooked or ignored, sometimes with extremely serious consequences (Laming, 2003; Gilligan, 2008; OHagan, 2001). Many mainstream childcare and child protection texts make little reference to culture (OHagan, 2001). Not one of the twenty pieces of research into differing aspects of child protection work considered in Messages From Research (Dartington, 1995) explore the cultural aspects of any of the cases dealt with. There is now a growing body of literature written for health and social care professionals about the importance of developing and incorporating cultural sensitivity and awareness in their work with others (Campinha-Bacote, 1994; CHYPERLINK http://bjsw.oxfordjournals.org/cgi/content/full/bcp159v2?maxtoshow=hits=10RESULTFORMAT=fulltext=social+work+religion+and+beliefsearchid=1FIRSTINDEX=0resourcetype=HWCIT#BCP159C4andHYPERLINK http://bjsw.oxfordjournals.org/cgi/content/full/bcp159v2?maxtoshow=hits=10RESULTFORMAT=fulltext=social+work+religion+and+beliefsearchid=1FIRSTINDEX=0resourcetype=HWCIT#BCP159C4a HYPERLINK http://bjsw.oxfordjournals.org/cgi/content/full/bcp159v2?maxtoshow=hits=10RESULTFORMAT=fulltext=social+work+religion+and+beliefsearchid=1FIRSTINDEX=0resourcetype=HWCIT#BCP159C4andHYPERLINK http://bjsw.oxfordjournals.org/cgi/content/full/bcp159v2?maxtoshow=hits=10RESULTFORMAT=fulltext=social+work+religion+and+beliefsearchid=1FIRSTINDEX=0resourcetype=HWCIT#BCP159C4 Furman, 1999; H odge, 2001, 2005; Moss, 2005; Gilligan and Furness, 2006; Sue, 2006; Laird, 2008). However, despite the apparent emergence of a more general recognition and acknowledgement of these issues amongst many professionals, relevant day-to-day practice remains largely dependent on individual views and attitudes (Gilligan, 2009). A Department of Health (2002) study of 40 deaths and serious injuries to children found that, information on the ethnic background of children and carers was vague and unsophisticated in that it failed to consider features of the childs culture, religion and race, as specified in the Children Act 1989 (Department of Health, 2002, p. 26). The failure to conceptualize accurately the cultural and social context within which minority ethnic parents are operating impacts on interventions offered, which served to reflect and reproduce existing powerlessness. . . (Bernard, 2001, p. 3). If, as this suggests, there is a deficit in social workers ability to conceptualize mi nority ethnic service users social and cultural context in assessments of children, partly accounted for by a paucity of literature in this area, the implications for practice are potentially a failure to carry out culturally competent practice for many vulnerable children. In The Victoria Climbie Inquiry Report 2003, Lord Lamming commented that, The legislative framework is sound, the gap is in the implementation (2003, p. 13). Report after report has expressed concern over the limited skills of social services staff when undertaking assessments and designing interventions with ethnic minority children (Batty, 2002). While many professionals acknowledge that there is a need to work in culturally sensitive ways, there is evidence that many professionals working with children and families do not always feel equipped to do so (Gilligan, 2003). Gilligan (2009) found that whilst professionals may recognise that service users beliefs are very important, there is little consistency in how such recognition impacts on practice. Even within his small sample, there was considerable variation in attitudes and much to suggest that actions and decisions are the product of individual choice rather than professional judgement or agency policies (Gilligan, 2009). Pract itioners are able to continue with culture-blind approaches without these being significantly challenged by agency policies or by professional cultures (Gilligan, 2009). There is a clear need to look again at what we mean by cultural competence and to develop a framework that will assist social workers to identify when aspects of culture are significant in the lives and children in need and their families. Defining culture There is a clear recognition that aspects of culture are significant in the lives of children and their families and that this needs to be considered in assessment practice. In order to address the lack of understanding and ineffective practice among practitioners in this area it is necessary to provide clear definitions of culture and cultural competence. Assessing children in need and their families is a complex task. There is evidence of considerable variation between social workers definitions of the essential components of good enough parenting, reflecting the variation between professionals in definition of need (Daniel, 2000). When reviewing cases of serious injury or death, the Department of Health concluded that: . . .areas suggested by this research as ripe for development [include] reaching common definitions of being in need or at risk of significant harm (Department of Health, 2002). It is in this context of ambiguity that culture must be defined. The 1989 Children Act uses the wording culture as a statutory requirement in addressing the needs of black children, but does not offer guidance about its definition. Culture is a highly discursive term and the object of an intensive theoretical and political dispute (Benhabib, 1999, 2002). The construction of culture as a theoretical concept has always been affected by entangled perspectives, particularly in social work (Boggs, 2004). Harrison and Turner (2010) found that participants in their study spent considerable time discussing the complex nature of culture and the difficulties in defining it. This means that when looking at the practice of cultural competence as part of assessing need and risk the scope for conceptual ambiguity is vast (Welbourne, 2002). Eagleton (2000, p. 1) states that, culture is said to be one of the two or three most complex words in the English language. OHagan (2001) argues that culture is a complex concept, with virtually limitless parameters, which cannot be defined or explained in the two or three sentences usually allocated to them in much health and social care literature. For example, Payne (1997, p. 244) provides a rather ambiguous definition of culture: a difficult concept. It implies a relatively unchanging, dominating collection of social values, and assumes that members of an identified group will always accept these. It is possible to examine definitions of culture that stem from anthropology, sociology, psychology and cultural geography (OHagan, 2001). The anthropologist Edward Tylor (1871) formulated the most enduring definition of culture: culture is that complex whole which includes knowledge, beliefs, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society. The sociologist Giddens (1993: 31) says that culture refers to the ways of life of the members of a society, or of groups, or within a society. It includes how they dress, their marriage customs and family life, their patterns of work, religious ceremonies and leisure pursuits. OHagan (2001) defines culture as the distinct way of life of the group, race, class, community or nation to which the individual belongs. It is the first and most important frame of reference from which ones sense of identity evolves. OHagans definition draws on anthropology and is wide enough to challenge essentialist notions of culture, yet defined enough to be meaningful. It also balances the community and individual aspects of culture. When we consider this definition of culture it can be seen that all assessment of children in need occurs within a cultural context. In fact it is perhaps better understood as taking place within a number of interacting cultural contexts, with the culture of the c hild at the heart of the process. The use of the concept of culture in developing cultural competence and not race has been a deliberate shift in terminology from anti-racist theorising. Anti-racist theory, with its emphasis on race, has been criticised for dichotomising blackness and whiteness which does not permit any differentiation in the experience of racism between different ethnic groups (Laird, 2008). The idea of racial homogeneity has been enduring but this idea must be challenged. White people and black people are not homogeneous groups (Laird, 2008). Culture is a broader term than race or ethnicity and can include aspects of age, gender, social status, religion, language, sexual orientation and disability (Connolly, Crichton-Hill and Ward, 2005). Using the term culture allows for difference of attitude and experience between individuals who are part of the same ethnic or racial grouping. If one considers that culture is learned from generation to generation, it is inevitably person specific and shaped by o nes personal and societal context. The Challenge of Cultural Competence There are a variety of paradigms in the study of race, ethnicity and culture which are located in particular socio-historical and political contexts. Cultural competence is just one of these and has not escaped criticism in the professional literature. Writers in social work have argued that cultural competence depoliticises race relations and promotes othering (Pon, 2009), assumes workers themselves are from a dominant culture (Sakamoto, 2007) and is based on the flawed assumption that acquiring cultural knowledge will result in competent practice (Dean, 2001; Ben-Ari and Strier, 2010). Despite its wide acceptance, the concept remains subject to multiple, often conflicting, views. There is a need to critically analyse cultural competence as a theoretical construct in order to make it meaningful to practitioners and to provide a basis for best practice. Concern with racism emerged in the social work profession in the 1970s and during the 1980s major texts appeared to guide practice (Payne, 2005). The concept of anti-racist practice emerged built on the principles that race is a social construct that has been used to justify oppression and that it is necessary to critically examine the dynamics of power relationships that produce oppression. Anti-racist theorists have criticised advocates of cultural competence for creating an exotic understanding of people from ethnic minorities and for not recognising practice issues of social inequality or racial discrimination (OHagan, 2001). Cultural competence has been presented as apolitical and has been criticised for failing to address the power struggles of history (Barn, 2007). Key issues of power are absent from much of the analytical thinking around the paradigm of cultural competence (Barn, 2007). Given that the political, cultural and professional perspectives on race and ethnicity hav e important consequences for minority ethnic children and families, social workers need to incorporate an understanding of power relations as a key tool for subverting racism. A more sophisticated and nuanced approach is necessary, which will involve a paradigm shift from essentialist notions of race which view culture in rigid and inflexible ways to one in which cultural sensitivity is understood within the context of power relations (Barn, 2007). It is important to widen the debate beyond black and white, to recognise that racial, ethnic and cultural groups are not homogenous, but to not abandon the challenging of racism and other forms of oppression. Culturally competent practice needs to take account of the tensions between different cultural norms and values within the UK, not only between ethnically and culturally distinct groups of people. Social work norms and values may not be those of the majority of Europeans, or even of the mainstream white UK population, as the case of A v UK demonstrates. Writers such as Olsen (1981), Korbin (1981, 1991) and Thorpe (1994) have problematised the notion of a universal standard of childcare, pointing to significant cross-cultural variability. The essence of this challenge is that standardized definitions of child abuse must be contested as they necessarily relate to culturally defined norms. Korbin HYPERLINK http://bjsw.oxfordjournals.org/cgi/content/full/35/6/901?maxtoshow=hits=10RESULTFORMAT=fulltext=how+and+when+does+athnicity+mattersearchid=1FIRSTINDEX=0resourcetype=HWCIT#KORBIN-1991(1991), in what is now a classic essay, warns against the dangers of both Eurocentric practice and over ly culturally relativist practice. On the one hand, Eurocentric practice serves only to impose one set of cultural beliefs and practices as preferable and therefore reproduce patterns of domination and oppression. In the British literature, concern has been expressed that minority families are too frequently pathologised and stereotyped, with workers over-relying on cultural explanations for their problems and utilizing a model of cultural deficit (Williams and Soyden, 2005; Chand, 2000; Ahmed, 1994). It is argued that they receive more and speedier punitive services than preventative/care services (Williams and Soyden, 2005). Lees (2002) argues from her research that there is a tendency to pathologise behaviour that is not culturally normative, an example being negatively evaluating the act of running away from an abusive home among young black women rather than adopting passive coping strategies. At the other extreme, Korbin notes extreme cultural relativism, in which all judgements of humane treatment of children are suspended in the name of cultural rights, may be used to justify a lesser standard of care for some children (1991, p. 68). It has been suggested that cultural relativism freezes the status quo by making standard-setting according to universal norms impossible (Laird, 2008). Barn et al (1997) found that adoption of a position of cultural relativity through fear of being labelled as racist affected statutory provision to children and families. They found that some social workers were reluctant to intervene to protect children because they believed that abusive behaviour was sanctioned by their culture (Barn et al, 1997). The child abuse inquiry reports of Jasmine Beckford (Blom-Cooper, 1985) and Tyra Henry (Lambeth, 1987) concluded that culture had impinged upon events leading to the deaths of these children. It was suggested that workers were too optimistic in their assessments of carers and that abusive behaviours were interpreted as aspects of culture. Whilst these concerns turn on the recognition of aspects of cultural difference as significant in the process of assessment, it has long been noted in the social work literature that practitioners fail at the first hurdle, in as much as they do not recognise at all the importance of culture: a culture-blind approach (Dominelli, 1998; Boushol, 2000; Graham, 2002). The culture-blind approach eschews difference in its search for a universal formula. It suggests that a standard of good practice can be established which fits all. For example, Payne (1997) rejects the argument that western social work theory may be incompatible with some of the core components of other cultures and ignores the fact that it was used extensively in the processes of annihilation of various indigenous cultures (OHagan, 2001). Despite being consistently criticised as naive and oppressive, this approach represents a powerful paradigm within social work (Williams and Soyden, 2005; Dominelli, 1998). Finding the balance between these concerns poses considerable difficulties for those charged with assessments of children in need (Dominelli,HYPERLINK http://bjsw.oxfordjournals.org/cgi/content/full/35/6/901?maxtoshow=hits=10RESULTFORMAT=fulltext=how+and+when+does+athnicity+mattersearchid=1FIRSTINDEX=0resourcetype=HWCIT#DOMINELLI-1998A HYPERLINK http://bjsw.oxfordjournals.org/cgi/content/full/35/6/901?maxtoshow=hits=10RESULTFORMAT=fulltext=how+and+when+does+athnicity+mattersearchid=1FIRSTINDEX=0resourcetype=HWCIT#DOMINELLI-1998A1998). What is needed is an approach to practice that can challenge normative stereotypes of appropriate behaviour by parents or children while promoting the rights of children to safety and good enough parenting. Brophy (2003, p. 674) states Balancing a respect for differing styles of parenting and guarding against inappropriate inroads into lifestyles and belief systems, while also protecting children from ill-treatment, remains an exacting task. Professiona ls can be castigated for intervening too quickly or too slowly. Social workers must operate with cultural sensitivity within the assessment process but at the same time recognize that at the heart of anti-oppressive practice is a commitment to the non-relative core value of human equality. A Knowledge Based Competency? Cultural competence as a practice response to these issues has been conceptualised in several ways. There are not one, but multiple definitions of cultural competence and it appears to be a changeable, evolving concept (Harrison and Turner, 2010). The frameworks available to assist practitioners in assessing aspects of culture are predominantly of two types: assessment models that try to aid in the collection of information and the understanding of specific service users strengths, needs and circumstances (Carballeira, 1996; Hodge, 2001, 2005; Hogan-Garcia, 2003; Sue, 2006) and reflective models that aim to help the practitioner to develop relevant skills and awareness in general terms (Green, 1999; Connolly, Crichton-Hill and Ward, 2005; Papadopoulos, 2006). Assessment models of cultural competence frequently refer to the integration and transformation of knowledge about individuals and groups of people into specific standards, practices and attitudes used in appropriate cultural settings to increase the quality of services, thereby producing better outcomes (Davis and Donald, 1997). To work effectively with diversity, practitioners are expected to gain knowledge of different cultural practices and worldviews, to have a positive attitude towards cultural differences and develop cross-cultural skills (Ben-Ari, 2010). Examples of assessment models include the LIVE and LEARN Model developed by Carballeira (1996) which identifies a series of activities which practitioners need to engage in to be culturally competent: Like; Inquire; Visit; Experience; Listen; Evaluate; Acknowledge; Recommend and Negotiate. Another example is Campinha-Bacotes (2002, pp. 182-3) ASKED model which identifies five dimensions of cultural competence: cultural Awaren ess; cultural Skill; cultural Knowledge; cultural Encounter; and cultural Desire. In line with this approach Sue (2006) argues that culturally competent social work practice is defined as the service providers acquisition of awareness, knowledge, and skills needed to function effectively in a pluralistic democratic society (2006: 29). However, there is disparity in the literature as to the knowledge that is necessary for effective culturally responsive practice. The above models adopt a cultural literacy approach in which culture specific information and practice is categorised under broad ethnic group categories (Connolly, Crichton-Hill and Ward, 2005). For example, Lairds (2008) book Anti-Oppressive Social Work contains chapters entitled communities with roots in India, communities with roots in the Caribbean and communities with roots in China. Similarly, OHagan (2001) includes chapters about Islam, American Indians and Australian Aborigines in his book about cultural competence. Laird (2008, p. 156) states It is only by gaining cultural knowledge, that is, learning to appreciate the variety of ways in which people with different heritages organise their lives, that practitioners from the white-majority community can gain cultural awareness. This is because cultural knowledge offers practitioners a comparative analytical tool with which to examine cultural influences upon their own lives. From this approach knowledge is seen as central to the development of cultural competence skills, which are fundamentally knowledge-based learned capacities (Ben-Ari and Strier, 2010). It is widely believed that cultural knowledge is the key to interpreting the code of cultural diversity (Ben-Ari and Strier, 2010). It is argued that without knowledge, one cannot be aware of the presence of biases in professional practices and practice could remain ethnocentric (Adams et al., 2001). There is a tendency to think that if a worker learns about a culture, what Spradley (1994) calls explicit cultural knowledge, then they will have a framework for working with that culture. Widely existing conceptions of cultural competence assume that the other is knowable and that this knowledge is a prerequisite for being culturally competent (Ben-Ari and Strier, 2010). A radically different stance has been suggested by Ben-Ari and Strier (2010) who examine cultural competence through the lens of Levinas (1969) theory of other. Levinas (1969) proposes that ethics precedes knowledge. He argues that our humanity is realised through the wisdom of love and not through the love of wisdom (the literal Greek meaning of the word philosophy). In other words, ethics precedes any objective searching after truth (Beals, 2007). Levinas thesis ethics as first philosophy means that the pursuit of knowledge is but a secondary feature of a more basic ethical duty to the other. Within this framework, the main question becomes what relation to the other is necessary in order for knowledge to be possible? He argues that the other is not knowable and cannot be made into an object of the self, as is done by traditional philosophy. By emphasising the primacy of ethics to knowledge, Levinas creates a new framework for working across differences. This raises fundamental questions with regard to the nature of social knowledge. Laird (2008) argues that the most critical requirement of culturally sensitive social work is to keep open the dialogue between people from different ethnic backgrounds and to ensure that each individual emerges as a unique composite of values, beliefs and aspirations. It is necessary to consider how accumulated knowledge about other cultures has the potential to limit our openness in our encounters with people who are other to us. Knowledge about other cultures can lead to the experience of totality: something is nothing more than what I make out of it (Ben-Ari and Strier, 2010). When we totalise the other we reduce our understanding of it. Levinas (1987) proposes that we should aim for the experience of infinity, that is, the recognition that something is more than what we could make of it. Berlin (2002, p. 144) notes the danger of totalising people from other cultures, stating classifying people on th e basis of group membership only gives us the illusions that we are being culturally sensitive, when, in fact, we are failing to look beyond easy characterisations for the particular and specific ways this person is understanding, feeling and acting. A knowledge based approach to cultural competency has a tendency to create overgeneralisations of cultural groups and can lead to the worker perceiving themselves as an expert despite the likelihood of them being in a position of cultural naivety (Connolly, Crichton-Hill and Ward, 2005). The implication of this is that culturally competent assessments must come from an ethical standpoint of openness on the part of the practitioner. OHagan (2001) states, The workers need not be highly knowledgeable about the cultures of the people they serve, but they must approach culturally different people with openness and respect. It must be recognised that thoughts, feelings and actions are influenced by external and internal variables that are cultural in origin and, as a consequence, that each individual who enters the child welfare system is unique (Connolly, Crichton-Hill and Ward, 2005). A consequence of this is that perceptions of the child welfare problem will be unique to each client or family. Understanding how the family perceives the problem enables child protection workers to work in a more culturally responsive way in developing solutions. Cooper (2001, p. 732) states the meanings in context of a childs injury are not revealed through objective facts or through expe rt objective assessment or diagnosis. An agreed meaning, understanding and potential for change can only be co-constructed, with the service user and their social relationships and networks, within a situated organisation and multi-agency context. Aligning solutions with the cultural identity of the family provides the potential for family-centred responses. Cultural competence must move away from an emphasis on cultural knowledge if it is to provide an ethical framework for working with difference. A Matter of Reflection? The second main type of cultural competence model is a reflective model. Reflection has been part of practice discourse for a number of decades (Schon, 1983; 1987). More recently the concept of critical reflection has taken hold (Fook, 2002). A critically reflective response challenges the values and attitudes associated with professional conduct (Connolly, Crichton-Hill and Ward, 2005). An example of a reflective model of cultural competence is the cultural-reflective model developed by Connolly, Crichton-Hill and Ward (2005). This model includes the processes of cultural thinking; critical reflection and reflective practice outcomes. A strength of the model is that is recognises the interaction between the self and the other within interactions between people of different cultures. Ben-Ari and Strier (2010) argue that the development of the concept of cultural competence could benefit from considering the significance of self and other interdependence in contemporary debates on cultural diversity. They analyse relations between self and other using Levinas theory of other and explore the ways in which these relations play a pivotal role in working with differences. A persons definition of the other is part of what defines the self (Levinas, 1969). The idea that the self requires the other to define itself has been expressed by many writers (Brown, 1995; Riggins, 1997; Gillespie, 2007). It has been recognised that the concept of otherness is integral to the understanding of identities as people construct roles for themselves in relation to an other. The implication of this is that that all cross-cultural encounters between social workers and service users bring into play not only the heritage of the service user, but also that of the practitioner (Laird, 2008). Connolly, Crichton-Hill and Ward (2005, p. 59) note that assessments of the social world are likely to say more about the perceiver than the persons under study. Social workers need to discover and reflect upon their own value system and traditions in order to be culturally competent. Reflective models, such as Connolly, Crichton-Hill and Wards (2005), recognise that our cultural thinking responses are often automatic and outside of our control. It is necessary to ask where our responses and language come from (Connolly, Crichton-Hill and Wards, 2005). The reflective process encourages an examination of values and beliefs underpinning reactions. It involves challenging our assumptions, recognising stereotypes and recognising power and its effects. Without this it is easy to think that it is our way of being is the norm and other people who are ethnic, idiosyncratic, culturally pe

religious studies :: essays research papers

AO1- What is meant by the term, â€Å"rite of passage†? Choose one Christian denomination. Describe the main rites of passage in that denomination.   Ã‚  Ã‚  Ã‚  Ã‚  I am going to describe the Roman Catholic churches main rites of passage. There are four important rites, they are; baptism, confirmation, marriage and funerals. A rite is a religious ceremony. If the rite marks a certain stage of someone’s life it is called a rite of passage. Christians believe god gives them powers to do his will, this is called god’s grace.   Ã‚  Ã‚  Ã‚  Ã‚  The first rite I will describe is baptism. When a person is baptised it is believed that it is their welcome into the Christian church. Holy water is either put onto the person’s forehead or they are totally covered in water. This is a rite of passage because it is believed to be a very special as god is accepting them into the church. Infant baptisms in the Roman Catholic church take place during mass so the whole congregation of the church can welcome the child into the Christian faith. The priest takes the service. Three promises must be made but as the child is too young to say them parents or godparents say them on the child’s behalf. The promises are:  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  To turn to Christ  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  To repent sin  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  To renounce evil They also agree to raise the child in a Christian house and faith and say that they believe in the Trinity. The sign of a cross is made on the child’s forehead by the priest while he says; â€Å"I sign you with the cross, the sign of Christ. Do not be ashamed to confess the faith of Christ crucified.† As the priest says the child’s name and; â€Å"I baptise you in the name of the Father, and of the Son and of the Holy Spirit†, he pours water onto the child’s forehead. A lighted candle is usually given to the parents as a sign and reminder that the child is now in the light of god, and not the darkness of sin. After this ceremony the child is part of the Christian family. The child is anointed with oil called chrism, it is to show the child has important work to do in god’s service. Also a white garment is worn to show the light of Christ. The water is a sign of purifying the child.   Ã‚  Ã‚  Ã‚  Ã‚   The second of the rites is confirmation. It is when someone confirms their belief in god and Christ and when someone who has been baptised is old enough to make the promises made for them at their baptism themselves.

The Role of Genetics in Alzheimers Disease Essay -- Alzheimers Disea

The Role of Genetics in Alzheimer's Disease The call came at 9:05 p.m. on January 20, 2004. Mom had just finished telling the news about the girl's grandfather. He had Alzheimer's Disease and was not doing well at all. The ruling was that he probably would not make it through the night. She knew exactly what the news was the moment her mom said, "No." After the news came, the decision was made they would leave the next day to attend the funeral. This girl began wondering, "If grandpa had Alzheimer's do I have a chance of getting it too? What can I do to avoid getting it? He suffered so much, I don't want to go through that." What if a person's genetics have something to do with whether or not they will get Alzheimer's? What are possible ways to prevent the onset of Alzheimer's disease? Genetics might have something to do with whether or not one will get Alzheimer's but their chances of avoiding the disease are better if they take care of themselves. Let us start with some general history and facts and then proceed to the specifics. Alzheimer's Disease (AD) is named after a German doctor, Alois Alzheimer. He discovered the disease in 1906, while doing an autopsy on a woman who had died from an unusual mental illness. Dr. Alzheimer noted unique changes in the brain tissue (U.S 1995). His findings included clumps, which are also known as plaques, and tangled fibers, also called neurofibrillary tangles. These findings have become "hallmarks of AD" (U.S. 1995). AD is now considered the most common form of dementia (Travis). Researchers from New York State did autopsies on 87 people who were seen at a dementia clinic to find out if any of them showed signs of a cerebrovascular disease. They all did and 87% of them also ... ...1 December 2003). Alzheimer's in the Family. Time. P 86-87 National Institute of Aging. (2002). Alzheimer's Disease: Unraveling the Mystery. National Institute of Mental Health (1994). Alzheimer's Disease: Decade of the Brain. P. 12-13. National Institute of Health. Nolan KA, Lino MM, Seligmann AW, et al. (August 1998). Alzheimer's may play a Greater role in 'vascular' dementia. Geriatrics. V. 53 Issue 8, p81, 2p. Shenk, D. (2001). The Forgetting Alzheimer's: Portrait of an Epidemic. New York: Doubleday. Travis, J. (20 September, 2003). A Surprising Role For Alzheimer's Proteins? Science News. V.152, Issue 12, p182, 2p U.S. Department of Health and Human Services. (1995). Alzheimer's Disease. National Institutes of Health. U.S. Department of Health and Human Services. (1997). Alzheimer's Disease Genetics. National Institutes of Health

The Birds :: essays research papers fc

Satire defined is 'A composition in verse or prose holding up a vice or folly to ridicule or lampooning individuals… The use of ridicule, irony, sarcasm, etc, in speech or writing for the ostensible purpose of exposing and discourage vice or folly'; (Johnston, 5). In other words, satire is the use of humor to expose moral behavior of man. In the Aristophanes' play The Birds, satire is used to mock the common Greek's dream of ruling the gods that they worship. It mocks the power that they seek to become the supreme ruler of the world. To understand Aristophanes use of satire, one must first understand the role satire plays in sending out its message.   Ã‚  Ã‚  Ã‚  Ã‚  At the basis of satire is a sense of moral outrage. This outrage is wrong and needs to be exposed. The goal of a satire is to correct this misconduct of man in a humorous way that makes the audience relate to the problem and try to correct it. Satire 'seeks to use laughter, not just to remind us of our common often ridiculous humanity, but rather to expose those moral excesses, those correctable sorts of behavior which transgress what the writer sees as the limits of acceptable moral behavior'; (Johnston, 5). In exposing these foibles, one could discover not to behave in such a manner by realizing his or her mistakes.   Ã‚  Ã‚  Ã‚  Ã‚  When setting up a satire, one must do so in a few steps. The first step is setting up a target which will symbolize the conduct that the satirist wishes to attack. In The Birds, the target is the average Athenian citizen, seeking power Pisthetaerus or in Greek translation, 'companion persuader'; (Luce, 300). Pisthetaerus is upset with his current living conditions and sets out to seek a new place, far better than his existing residence.   Ã‚  Ã‚  Ã‚  Ã‚  Adding exaggeration and distortion to the target, the satirist then emphasizes the characteristic he wishes to attack. 'The target must be close enough to the real thing for us to recognize what is going on, but sufficiently distorted to be funny, an exaggeration, often a grotesque departure from normality'; (Johnston, 17). After deciding to create a city strategically located between heaven and earth, so the birds can rule god and man, Pisthetaerus eats a magical root that has the powers to give birth to wings. Although it is evident that humans growing wings is not imaginably possible, the birth of wings does give birth to the power that Pisthetaerus craves more of.