Anorexia and Bulimia - A Threat to Society Essay -- essays research p

In a society that discriminates against people, particularly women, who do not look slender, many people find they cannot - or think they cannot - meet society's standards through normal, healthy eating habits and often fall victim to eating disorders. Bulimia Nervosa, an example of an eating disorder that is characterized by a cycle of binge eating and purging, has become very common in our society. Although it generally affects women, men too are now coming to clinics with this kind of disease. This is not a new disorder. It can be brought on by a complex interplay of factors, which may include emotional, and personality disorders, family pressures, a possible genetic or biologic susceptibility, and a culture in which there is an overabundance of food and an obsession with thinness. Common signs of this problem are pre-occupation with the body, a need for control and perfection, difficult interpersonal relationships, and a low self-esteem. It seems that irrespective of the initial triggers, bulimia can become a rigid pattern, which is difficult to change. The purpose of this paper is to reason out why bulimia is detrimental to our society. It focuses on its bad effect to the health of an individual and to the society. Perhaps you do not have this kind of eating disorder but you are definitely affected by it. Bulimia nervosa is a serious, potentially life-threatening eating disorder characterized by a secretive cycle of bingeing and purging. Binge eating is the uncontrolled consumption of large amounts of food lasting a few minutes to several hours. Purging or ridding the body of food eaten during a binge through self-induced vomiting, laxatives, fasting, severe diets, or vigorous exercise follows this. The cause of bulimia is really unknown. It may develop due to a combination of emotional, physical, and social triggers. The precise reasons for developing it are probably different for each person. Bulimia is more common in western societies, and some people link them to media images of thinness. Being thin is often linked to being successful. Bulimia may occur in several family members. People who have a mother or sister with an eating disorder are more likely to develop one, although it is not clear whether this is due to genetic factors or the learning of certain behaviors. Bulimia ner vosa can be extremely harmful to the body. The recurrent binge-and-pu... ...bulimia is and encourage them to fight this kind of disorder. If we will not work it out, this can influence more people leading to a malfunction society because we all know that bulimia is actually detrimental to our society. BIBLIOGRAPHY: Bulimia nervosa. Workplace Blues. Retrieved January 6, 2005, from http://www.workplaceblues.com/mental_health/healthcons.asp BUPA’s Health Information Team. (2003 November). Bulimia nervosa. BUPA. Retrieved January 6, 2005, from http://hcd2.bupa.co.uk/fact_sheets/pdfs/Bulimia.pdf Clark, D. & MacMahon B. (1981). Preventive and Community Medicine 2nd Ed. Boston: Little, Brown and Company. Eating disorder. Bambooweb. Retrieved January 6, 2005, from http://www.bambooweb.com/articles/e/a/Eating_Disorder.html Eating disorders. MoDMH: Division of Comprehensive Psychiatric Services. Retrieved January 6, 2005, from http://www.dmh.missouri.gov/cps/facts/eating.htm Eating disorders. Perth Clinic. Retrieved January 6, 2005, from http://www.perthclinic.com.au/treatmentprograms/eatingdisorders.html Mongeau E. (2001 February). Eating disorders: a difficult diagnosis. Vital Signs. Retrieved January 6, 2005, from www2.mms.org/vitalsigns/feb01/hcc1.html

Cubism and Multiplicity of Narration in The Waste Land Essay

Abstract The aim of this essay is to consider the multiplicity of narration in The Waste Land and its relationship in enrichment of content and meaning in the poem. There is an attempt to convey the Cubist traits and find concrete examples in the poem. This study will try to specify evidences for conformity of cubism and multiplicity of narration in the poem. While Eliot juxtaposed so many perspectives in seemingly set of disjointed images, there is â€Å"painful task of unifying .., jarring and incompatible perspectivesâ€Å" in The Waste Land. Like a cubist painting, there is a kind of variety of narration in unity through the poem. The usage of different languages and narrations in the poem helps to convey sense of the strain of modern living in modern waste land. Introduction The Waste Land is like a cubistic painting. The cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these forms within a relief-like space. They also used multiple or contrasting vantage points for narration of their story on canvas. The most conspicuous feature of cubist form is the abandonment of single perspective. The multiperspectivism in cubism suggests that the many appearances in the world are less true than the abstract design in which produced by their juxtaposition. Eliot dedicated an entire chapter of his doctoral thesis on the problem of solipsism. It is a problem raised by the fact that in any human experience of the world, the world is always experienced from an individual perspective or (in Bradleyâ €™s term) finite centre. An individual’s mental life consists in a changing series of such finite centres, and there is no guarantee that his centres will harmonize with others or even with themselves. There is no guarantee that one’s experience or self will be understood by others. Communication of the inner life is always a courageous act of faith across a gulf of privacy and difference. Eliot himself said in his essay â€Å"Knowledge and Experienceâ€Å" ( 1964 ) â€Å"the life of a soul does not consist in the contemplation of one consistent world but in the painful task of unifying ( to a greater or less extent ) jarring and incompatible ones , and passing , when possible , from two or more discordant viewpoints to a higher which shall somehow include and transmute them .† Therefore we see the terrifying problem of personal communication already expressed in Eliot’s works and also â€Å"the painful task of unifying .., jarring and incompatible perspectivesâ€Å" to the fr agmentation and synthesizing efforts of The Waste Land . Discussion The original title for The Waste Land was â€Å"He do the police in different voices†. The line , comes from Charles Dickens’ novel Our Mutual Friend (1864_65). It is describe that widow Betty Higden, says of her adopted foundling son Sloppy †You might not think it , but Sloppy is a beautiful reader of a newspaper. He do the police in different voices.† As The Waste Land is composed of so many voices and narrations , this would help us to understand that , while there are many different voices and narrations in the poem , there is one central consciousness. We have a multiplicity of voices and narrations, male and female, young and old, in a variety of languages and styles. The shifts are unannounced, so that often we do not even know who is speaking. But the unity of the poem emerges from the fact that these all merge into a single personality, something we might call the voice of the modern consciousness. The fact that this modern consciousness cannot settle into a fixed perception of things or even into a consistent language and narration helps to convey sense of the strain of modern living . In fact, what emerges from the poem as a principal concern is the inability of the modern consciousness either to see unity in the world outside or to bring to a disordered world any sense of inner integrity. Part of this sense of the totality of the modern self adding up to a fractured variety emerges, not just from the shifting sense of the images and the multiplicity of narration , but also from the variety in the verse style. It’s as if in the modern age, there cannot be a single authoritative way of expressing how one feels. There is not enough confidence in the forms of language itself. Just as the traditional community has become the unreal city, a vision of a modern inferno. So The Waste Land is abundant with multiplicity of narration in different language and set of seemingly disordered images. The images in The Waste Land are supported by two distinct ways of narration. The lyric voice opening the poem uses metaphoric, often symbolic images and speaks in repetitive, stylized syntax. It has suggested on the one hand order and propriety, and on the other hand stasis. This voice speaks with authority and finality as it recurs in scenes throughout the poem where the vision of barrenness and revulsion from life is intensely clear and controlled. This voice contrasts with many voices speaking in metonymically rendered narrative scenes full of movement and change. These other voices resist categorization. These voices rang from vivid characters such as Marie, the hyacinth girl, Stetson’s friend, Madame Sosostris, the nervous woman, the pub woman, Tiresias, and the Thames daughters, to the non-human voices of the nightingale, the cock, and the thunder. In the poem there is also a progress in debt of experience from the voice of Madame Sosostris, the fortuneteller with a bad cold, to the voice of God in the thunder. In the first part of The Waste Land, we have four voices: 1) 2) 3) 4) First voice: Marie, an aristocratic German recounting childhood. Second voice: Prophetic and acpocalyptic , recalling a more innocent past Third voice : Madame Sosostris , tarot reader Forth voice : Walker in surreal London , seeing Stetson , an old comrade In the beginning of The Burial of the Dead we hear a â€Å"voice of propriety† that wishes to stop all new movement, change, or development. In The Burial of the Dead Eliot has examined the limitations of a purely romantic view of life. It makes life arid and unreal. In the second part of The Waste Land, we have at least seven voices: 1) 2) 3) 4) 5) 6) 7) Initial narrator The nightingale The neurotic woman Her companion The gramophone The maid The bar keeper The use of different narration in this kind of collage in A Game of Chess allows the poet to distance himself from any single statement. In this regards Louis Menand ( 1952 _ ) has mentioned that â€Å" nothing in [the poem] can be said to point to the poet, since none of its stylistic features is continuous, and it has no phrases or images that cannot be suspected of—where they are not in fact identified as— belonging to someone else†¦.. Eliot appears nowhere, but his fingerprints are on everything â€Å"(The Cambridge introduction to modernism, 2007, p.179). A Game of Chess seems to be thematically centered on a sterile vision of modern life. This vision is countered by the narrative animation of the scenes: the sensuous movement of objects in the boudoir, the hysterical woman’s insistent questioning, the playful mutation of Shakespeare to a â€Å"Shakespeherian Ragâ€Å", and the pub lady’s vivid chatter. In the third part of the poem, The Fire Sermon, we are introduced to Tiresias as Eliot himself introduced him: Tiresias, although a mere spectator and not indeed a ‘character’, is yet the most important personage in the poem, uniting all the rest. Just as the one-eyed merchant, seller of currants, melts into the Phoenician Sailor, and the latter is not wholly distinct from Ferdinand Prince of Naples, so all the women are one woman, and the two sexes meet in Tiresias. What Tiresias sees, in fact, is the substance of the poem (Eliot’s note). All through the poem we hear one voice, the persona of Tiresias who assumes the various characters in the poem. Tiresias is not a definite character with definite views on life, but an anonymous carrier of a state of mind. In the poem, scenes and dialogues are so arranged to express state of mind. It is through Tiresias that we have been conscious of The Waste Land. In the fourth part, Death by Water, Madame Sosostris is overcome because there occurs what we had been told to fear: â€Å"a death by water†. There is a sense of peace in such annihilation, but the death does not end The Waste Land. We are also shown a Christ-like figure post-resurrection. It is the first explicit sign within the poem that intimates an occurrence of resurrection and redemption. It is also points to the reader’s own mortality. The last part of the poem, What the Thunder Said, returns to a barren waste and an inhuman landscape where repetition suggests a pointless circularity. This section is made up of textual fragments from Dante, Elizabethan drama, a sacred Hindu text and children’s song. What the Thunder Said directly appeals to Eastern philosophy, specifically, Hinduism. The variety of voices and narrations in this part, speaking in different languages and different tones, indicates a world rich with possibility as well as confusion, with salvation as well as loss. The ending is deeply improper, not respecting boundaries between poems, between cultures, or between voices. The passionate and paradoxical desire to end desires leads only to the continuation of life in all its variousness, confusions, tragedies, and improper desires. The proliferation of perspectives obvious in cubism is basic to Eliot’s poetry. Here we have mentioned the examples in The Waste Land that are similar to the cubist painting: The female portrait at the center of â€Å" The Waste Land â€Å" is a cubist portrait , comprehending facets of clairvoyante and Cleopatra , a nervous contemporary women at her dressing table , a pub gossip , and many others. We see different characters and different narrations by diffrent moods and temperament but totally all these characters shape a single one , â€Å" Tiresias â€Å" . Madame Sosostris, famous clairvoyante, Had a bad cold, nevertheless Is known to be the wisest woman in Europe. ( lines 43_45 ) , The Chair she sat in, like a burnished throne, Glowed on the marble, where the glass Held up by standards wrought with fruited vines From which a golden Cupidon peeped out (Another hid his eyes behind his wing) Doubled the flames of sevenbranched candelabra Reflecting light upon the table as The glitter of her jewels rose to meet it . ( lines 77_84 ) , When Lil’s husband got demobbed, I said I didn’t mince my words, I said to her myself, HURRY UP PLEASE ITS TIME Now Albert’s coming back, make yourself a bit smart . ( lines 139_142 ) Eliot presents many broken perspectives on many cities in and out of time. The juxtaposition of these many partial fleeting perspectives leads to the formation of an abstract city (Unreal city) in the poem. For instance, in the Unreal City passage which concludes the first part of poem , lines 60-76 , Eliot begins by alluding to Baudelaire’s â€Å" Les sept Vieillards â€Å", moves on to the Infreno (â€Å" I had not thought death had undone so many â€Å" ), then to hour of Christ’s crucifixion ( â€Å" a dead sound on the final stroke of nine â€Å"), to the Punic Wars (â€Å" You who were with me in the ships at Mylae â€Å"), to Webster’s White Devil (â€Å" Oh keep the Dog far hence that’s friend to men â€Å"), and finally back to Baudelaire’s preface to the Fleurs du Mal (â€Å" You ! hypocrite lecteur!_mon semblable,_mon frere! â€Å"). All these references are folded into what begins as a naturalistic description of the City of London but then becomes an increasingly horrific city of dreams. Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. Sighs, short and infrequent, were exhaled, And each man fixed his eyes before his feet. Flowed up the hill and down King William Street, To where Saint Mary Woolnoth kept the hours With a dead sound on the final stroke of nine. There I saw one I knew, and stopped him, crying â€Å"Stetson! â€Å"You who were with me in the ships at Mylae! â€Å"That corpse you planted last year in your garden, â€Å"Has it begun to sprout? Will it bloom this year? â€Å"Or has the sudden frost disturbed its bed? â€Å"Oh keep the Dog far hence, that’s friend to men, â€Å"Or with his nails he’ll dig it up again! â€Å"You! hypocrite lecteur! – mon semblable, – mon frere!à ¢â‚¬  (lines 60_76) , Unreal City Under the brown fog of a winter noon Mr. Eugenides, the Smyrna merchant Unshaven, with a pocket full of currants C.i.f. London: documents at sight, Asked me in demotic French To luncheon at the Cannon Street Hotel Followed by a weekend at the Metropole. (lines 207_214) , What is the city over the mountains Cracks and reforms and bursts in the violet air Falling towers Jerusalem Athens Alexandria Vienna London Unreal ( lines 372_377 ) The main sign in the poem to show us cubist’s vein is the central and most important personage in the poem, Tiresias. Eliot thus suggests that all the many voices and narrations in the poem may be aspects of two voices, those of one man and one woman, or indeed of a single voice, that of Tiresias, the man who was changed into a woman and back into a man, according to Ovid’s Metamorphoses, who foresaw the destruction of Thebes, according to Sophocles’s Oedipus the King, and who was visited by Odysseus in the underworld in book eleven of the Odyssey. The central role of Tiresias suggests that the various voices of the poem can be understood as a sort of chorus, with each part being spoken by representatives of one sex or the other. I Tiresias, though blind, throbbing between two lives, Old man with wrinkled female breasts, can see At the violet hour, the evening hour that strives Homeward, and brings the sailor home from sea ( lines 218_221 ) Eliot brings the chaos of the modern civilization into his narrative structure, but he also shows a ray of hope to come out of the decay. The protagonist of the poem, Tiersias is a soothsayer from Greek legend, who narrates to the readers the situation of The Waste Land. Eliot forces multiperspectivism upon his readers. He juxtaposes many perspectives of the same idea or object by so many characters and multiplicity of narration. It let us to be aware of the limits of every perspective and of the desirability of moving from one perspective to another and, finally, of comprehending many perspectives at once. Eliot thus came to insist on an ideal of â€Å"variety in unityâ€Å" and as he mentioned in his Notes Towards the Definition of Culture ( 1948 ) â€Å" the variety is as essential as the unity â€Å". For Eliot, difference of perspective is not only necessary given our different sociohistorical situations, but its productive tension can provide for richer understanding and wider experience. The variety of voices and narrations, speaking in different languages, and different tones, indicates a world rich with possibility as well as confusion, with salvation as well as loss. Bibliography Antliff , Mark . Leighten , Patricia . A Cubism Reader: Documents and Criticism, 1906-1914. University Of Chicago Press, 2008. Barkaoui , Selma Mokrani . The Waste Land and The Love Song of J.Alfred Prufrock: A Comprative Approximation. University of Annaba, 2000. Bressler, Charles. 4th ed. Literary Criticism: an Introduction to Theory and Practice. New Jersey : Pearson Prentice Hall, 2007. Brooker , Jewel Spears . Bentley, Joseph. Reading the Waste Land: Modernism and the Limits of Interpretation .University of Massachusetts ,Press, 1992. Castle, Gregory. The Blackwell Guide to Literary Theory. Oxford: The Blackwell Publishing, 2007. Cottington , David. Cubism (Movements in Modern Art). Cambridge University Press, 1998. Cudden, J.A. A Dictionary of Literary Terms. New York: Penguin Books, 1982. Dwivedi , Amar Nath. T.s. Eliot A Critical Study. Atlantic Publishing , India , 2002 . Eliot ,T.S. Knowledge and Experience in the Philosophy of F. H. Bradley. Faber and Faber ,1964. Eliot ,T.S. Notes Towards the Definition of Culture. Harcourt; First American Edition edition , 1949 . The Columbia Encyclopedia, Sixth Edition. Columbia. Columbia University Press, 2004. Frazer, Sir James George. The Golden bough: A Study of Magic and Religion. ed. Robert Frazer. Oxford: Oxford World’s Classics, 1998. Gantefà ¼hrer-Trier, Anne . Cubism.Taschen, 2004. Glaser , Brian. A Hegelian Reading of T.S . Eliot’s Negativity. University of California, Berkeley , 2005. Guerin, Wilfred L. et al. A Handbook of Critical Approaches to Literature. New York: Harper & Row Publisher, 1992. Gwinn, Robert et al. Encyclopidia Britanica, Vol. 1. Chicago :Encyclopidia Britanica, Inc 1990. H.Timmerman , John . The Aristotelian Mr. Eliot: structure and strategy in The Waste Land. Calvin College , 2007 . http: //WWW.answer.com http:// WWW. Wikipedia.org Johnston , Ian . Lecture on T. S. Eliot’s The Love Song of J. Alfred Prufrock and The Waste Land . A lecture delivered, in part, to the Liberal Studies 402 class on January 16, 1997. Maddrey , Joseph . The Making of T.S. Eliot: A Study of the Literary Influences. McFarland & Co Inc, 2009. Merrian-Webster’s Collegiate Dictionary. Springfield: Merrian- Webster, Inc , 2003. Moody , Anthony David .The Cambridge Companion to T. S. Eliot. Cambridge University Press , 1994. Quinn, Edward. Collins Dictionary of Literary Terms. Glasgow: Harper Collins Publisher. 2004. Radha, M.B. T.S.Eliot’s The Waste Land and Other Poems: Narain’s University Series of English Literature, 1977. Rajimwalve, Sharad. Dictionary of Literary Terms. New Delhi: K. S. Paperback, 1998. Rocha , Luiz Carlos Moreira . The Contemporaneity of T. S. Eliot’s Poetry and Thought. Ma. in Literary Theory (UFJF); Doctorating in Science of Literature (UFRJ). Wolfreys, Julian et al. Key Concepts in Literary Theory. Edinburgh: Edinburgh University Press, 2002. Young ,R.V . Withered Stumps of Time: The Waste Land and Mythic Disillusion. The Intercollegiate Review , 2003 .

Gas and Soft Drinks Essay

1- That would be inelastic. Even though people gripe about the rising prices, that doesn’t stop people from stopping by the gas pumps to fill up. Elastic is more like candy bars or soda; if priced at 50 cents, there will be high demand, but if the price rises to 2 dollars, the demand will go down. Because there are many alternative brands for Coca Cola that have more or less the same taste. When the price of coca cola rises, demand decreases because consumers will find alternative brands that taste the same but at a lower price, therefore demand is elastic. Demand for soft drink as a whole is inelastic because whether or not the price increases/decreases, demand would not decrease/increase by a whole lot, since it’s the consumers’ preferred choice of drinks (just like milk is inelastic). Just because the price increases, doesn’t mean that consumers will start to drink water all the time, they’ll just drink less amounts of soft drink than usual (and vice versa). Elastic means by increasing the price, the demand for that product decreases as well. For example when the price of lamb increases, people will shift to chicken. We say the demand for lamb is elastic. Inelastic means, no matter how much the price changes, people still use it and the demand doesn’t change a lot. Same as your example, Although the oil price increases, but the demand for oil didn’d decrease. 2-petrol is also sold from especialy designed petrol pumps which costly to buld and operate . in the other hand coke and soft carbonated drinks is sold everywhere and can be sold to anyway and any gae. patrol selling you must be an adult and hold a drivers licience . Gas in the long term has higher elasticity of demand. meaning since in short term people do not have much choice,so they consume whatever is available at whatever price. 3- the coke is advertosed on over hundered tv channels around the world and it is the best known trademark in the world is sold in about one hundred and forty countries to 5. 8 billion people in eight different languguages . The cross price elasity of demand would be for the coca cola since the demand for it is growing A third example of cross-price elasticity is between Coke and Pepsi. If the price of Coke increases by 10%, then the demand for Pepsi will increase by 20%. This results in a cross price elasticity between the two of 2. Like the example above, these two would be substitues since the cross-price elasticity is greater than zero. http://mbaecon. wikispaces. com/file/view/cross_2. gif/30502983/cross_2. gif.

To Helen by Edgar Allen Poe Analysis

â€Å"Helen, thy beauty is to me Like those Nicean barks of yore That gently, o'er a perfumed sea, The weary, way-worn wanderer bore To his own native shore. On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece, And the grandeur that was Rome. Lo, in yon brilliant window-niche How statue-like I see thee stand, The agate lamp within thy hand, Ah! Psyche, from the regions which Are Holy Land! † By Edgar Allan Poe To Helen† by Edgar Allan Poe is a poem about a man speaking about the beauty of a woman both in body – with the potential reference to Helen of Troy – and in spirit – comparing her to the quintessential beauty of Psyche. The beautiful woman appears in the poem to be a free spirit that reminds the storyteller of long gone times. To accentuate this reference to her ancient beauty â€Å"To Helen† employs a strong use of Greek mythology with references to both the story of Psyche and Cupid, Helen of Troy, and possible Dionysos or Bacchus within the stanza’s of the poem.The first stanza of â€Å"To Helen† describes the beauty of Helen akin to that of a boat bringing travellers home from a long time abroad. This can be seen in the second line; â€Å"Like those Nicean barks or yore† barks being the small sailing boat and Nicean being an ancient city that was near the Trojan War. The Trojan War is one of the Western world’s most mythical battles where the Greek fleet fought against the city of Troy in a war that lasted for more than nine years. The battle began with Paris of Troy seducing Helen from her husband Menelaus the King of Sparta.The Trojan War is one of the most important battles in Greek mythology. As the Helen in the poem is being compared, or may be, the Helen of Troy comparing her beauty to that of the woman who caused the weary travellers to become weary and home deprived to begin with due to th e war their coming home from is rather ironic. However this imagery in the beginning of the poem; â€Å"Like those Nicean barks of yore / Gentle, o’er a perfumed sea,† almost immediately evoke an emotional response in the reader as it uses two rather strong emotional elements in society; war time and the joy of finally returning home. Feature Article  Country School  Allen CurnowThis is most likely the point of the imagery used in the poem and not to point out the irony of Helen of Troy’s beauty being compared to that of the aftermath of her actions of elopement with Paris of Troy. The poem then accentuates the line with a strong use of imagery; â€Å"That gently, o’er a perfumed sea, / The weary, way-worn wanderer bore / To his native shore. † The use of â€Å"gently, o’er a perfumed sea† is a strong use of imagery that leaves a clear picture in the readers mind allowing them to easily picture the tired, â€Å"way-worn wanderer† returning home.The description of the â€Å"weary, way-worn wanderer† in itself also drives the point home with the author’s use of alliteration. This heart warming imagery that fills the stanza is in itself a metaphor for the beauty of Helen whom is introduced in the first line of the poem. This opening stanza gives a very decis ive view on the subject of the rest of the poem and leaves the reader with a clear view of the woman in their mind. On desperate seas long wont to roam,† This beginning line sets up the structure of the stanza as the nameless narrator tells the listener how, even though they’re so accustomed (â€Å"wont†) to roaming the ocean the beauty of Helen brings them back home. The middle of the stanza is dedicated to describing the beauty that brought them home whereas the actual returning to home is explained in the last two lines. Also the continuation of the ocean in the poem, â€Å"On desperate seas† is a continuation of the imagery brought about in the first stanza by reference to the â€Å"barks† or small boats.This then brings across the imagery of the first stanza into the second stanza as the narrator identifies to the weary, way-worn wanderer. Also the identification of Helen of Troy in the poem is further enforced in the second stanza with lines s uch as â€Å"hyacinth hair, thy classic face† which were aspects of beauty that had a heavy weight in the ancient times of Greece and Rome. Also the mention of â€Å"To the glory that was Greece / And the grandeur that was Rome† Is a rather forward implication that all the possible connotation of Greek and Roman mythology in the poem are correct.The line, â€Å"Thy hyacinth hair,† is not only alliteration once again but it may be referring to another Greek myth. The myth is one in which Apollo takes a lover in the form of a stunning boy called Hyacinthus who is tragically slain in his youth. This again is a metaphor of Helens exquisiteness as Hyacinthus was known for his beauty in Greek mythology. However the comparison can yet again be interpreted in two ways as, although Hyacinthus was viewed as beautiful he also died tragically and at a young age.The poem therefore could also be referring to the fact that beauty is a tragedy as well as a gift – which c an then be further supported by the fact that the beautiful woman is/being compared to Helen of Troy who singlehandedly caused the Trojan War because she fell in love. It is more plausible however that the poem is simply comparing the beauty of Helen’s hair to that of Apollo’s lover. This can be deduced as most Greek mythology has tragedy weaved throughout it anyway so any reference to beauty would result in some tragedy or another. Thy classic face, / Thy Naiad airs have brought me home† This line refers again to the archetypal beauty of woman who lived in these ancient times again provoking imagery about the beauty of the mysterious Helen the poem is depicting. â€Å"Thy Naiad airs have brought me home† this line makes reference to the Naiads who were, in both Greek and Roman mythology, minor nature goddesses often referred to as nymphs who presided over mountains, rivers or forests. The Naiad airs would therefore be referring to a peaceful breeze.This s ymbolism of a Naiad airs provokes the reader to believe that the breeze is homebound and is sending the narrator towards their home. The fact that this breeze is from the narrators home is expanded upon in the last two closing lines; â€Å"To the glory that was Greece / And the grandeur that as Rome† This ties in with the previous line stating that the breeze is indeed sending the narrator towards their native shore. The descriptions given of both Greece and Rome are reminiscent of the wonders they once were and is highly symbolic of times long gone by.The imagery of ancient and untouchable beauties is apparent throughout the entirety of the poem. The ending lines wrap up the stanza rather neatly and complete the references to the ocean that appears in the first line of the stanza. â€Å"Lo! In yon brilliant window-niche / How statue-like I see thee stand! † This line once again opens up the stanza with a strong sense of imagery. It brings forth to the readers mind the classic silhouette of a woman against a window that is usually seen from a distance.Although possibly this cliched vision may not have been as used back then as it is today it still would’ve provoked an easily attainable vision for the reader to hold on to for the rest of the stanza. â€Å"How statue-like I see thee stand! † this line may be symbolic of the fact that the Greek’s had mastered the study of the human form in sculpture, sculptures that have lasted up till today and are still as stunning as they were when they were first chiselled from rock.This stone representation of Helen is highly symbolic of timeless beauty which is a theme strongly expanded upon throughout the poem. The line contributes to the imagery of the scene and the untouchable nature of the woman silhouetted in the â€Å"brilliant window-niche† who still appears to be untouchable even though the narrator is finally home. â€Å"The agate lamp within thy hand, / Ah! Psyche, from t he regions which / Are Holy Land! † The first two lines once again have heavy connotations with Greek mythology.The agate lamp and the mention of Psyche refers to one of the few Greek/Roman myth’s that does not end in tragedy. It is the myth of Cupid/Eros and Psyche in which Cupid is doing a favour for the goddess Aphrodite/Venus, whom is jealous of Psyche’s beauty. Aphrodite wanted Cupid to make Psyche fall in love with the ugliest man he could find however instead Cupid fell in love with Psyche. The two, through meddling parents and an oracle, end up meeting at the top of a mountain in a dark cave full of riches and finery – presumably placed there by Cupid in anticipation of Psyche’s arrival.Psyche and Cupid then become lovers under the condition that Psyche could never see Cupids face. One night however, due to pressure from her sisters, Psyche lights a lamp – this could be the agate lamp the poem mentions – and recognizes Cupid im mediately, waking him up in the process and causing him to flee. The story then goes on to show Psyche performing numerous impossible tasks for Aphrodite in order to find her lover – Cupid (Aphrodite’s son) – and be with him once again.One of these tasks included retrieving a box from the underworld which could possibly be referenced in the second and last lines of the poem â€Å"Ah! Psyche, from the regions which / Are Holy Land! † However Holy Land could also be referring to Greece and Rome. The reference to the myth of Psyche and Cupid in the poem is symbolic of the narrators and Helen’s love and possible it’s endurance. The connotations are that of a deeper relationship than that of admiring Helen’s beauty as their love may’ve undergone trials like the ones with which Psyche went through in order to be with Cupid.

Aravind Eye Hospital Case Study Example | Topics and Well Written Essays - 750 words

Aravind Eye Hospital - Case Study Example Though faced with challenges, it surpasses every expectation of quality, responsiveness and dedication by the people involved (Rangan 1993). Question 1 It is pretty much obvious that Aravind Eye Hospital had been successful so far in what was envisioned as its mission and objective. Dr. V was inspired by Mahatma Gandhi and Sri Aurobindo which propelled him to come up with an eye hospital delivering quality eye care at reasonable rates. The success of any mission can be attributed to two factors- the commitment and influence of the initiator of the idea and the people who help realizing the process through their tasks, activities and efforts. In this light, Dr. V’s role can be considered to be of a leader and guide and practicing what he preaches. Even after suffering from acute arthritis, he continued performing eye surgeries which demonstrates his zeal and interest to serve the society and this only infuses the needed motivation in his staff. His involvement in the registrati on process, trying to further the concept of the hospital to other far off regions and willingness to reach every nook and corner of the world in eliminating blindness demonstrates clear leadership and envisioning abilities of Dr. V which is the cornerstone to the hospital’s success. ... Question 2 The quality of service at both the free and the paying hospital exceed expectations. With qualified surgeons, trained nurses, imported and state-of-the-art equipments and involved customer service count for the unimaginable success level of the hospital. Though price feature remains a distinguishing factor of quality between the free and the paying hospital, yet instances of higher variation seemed less. The complete process of testing and screening is similar in both the facilities. Moreover, shifts of nurses and staff are rotated in both the free and paying hospital so that no discrimination in quality or care giving can be made. Regular training sessions for staff and visits from qualified ophthalmologists and professionals further identifies any discrepancies in the hospital processes and eliminates chances of quality defects. Especially at free hospital, high quality is obvious from the fact that nurses and attendants manage the crowd and answer to the queries of poor villagers which is more like comforting them and make them feel at home which is the biggest instance of quality service. Informal chit-chat at operation table removes anxiety of the patient which again proves the dexterity of Aravind surgeons and staff in attending to even the minutest details which actually comfort nervous patients and count towards quality care. Currently, only family members of Dr. V are involved in the entire hospital management which is in some or the other way limiting the scope and expertise level of the hospital. This should be done away with by recruiting other competent and qualified professionals from other regions and sectors. Question 3 The satellites hospitals of Aravind are

In Depth Divorse Law Case Study Assignment Example | Topics and Well Written Essays - 3500 words

In Depth Divorse Law Case Study - Assignment Example Fixed resource bargaining or simply â€Å"Zero-Sum† is sometimes referred to as win-lose or distributive bargaining. It is a negotiation strategy in bargaining that is usually employed in the distribution of fixed resources like money hence the name Fixed resource bargaining. Each party in the negotiations usually feel that their objectives or interests are in a balance and therefore the major goal is the trying to and securing concession from the party that is unwilling. Hence one of the parties will lose and thus the name win-lose bargaining.It is a bargaining type that is significant since it aids in solving disputes that would otherwise no have been resolved by employing any other method. In the event that the stakes involved are very high, the resistance to decree is oftenly heightened. It is very difficult to announce as to how the matter that is being negotiated will be dealt with.The captious layout in the â€Å"Zero-Sum† bargaining method is analyzed by a †Å"bargaining some model of negotiations†. There are three vital negotiation points in the model in the book. The first is the offer point in which one side opens an offer to the opposite side. By doing this, expectations from both groups are stipulated as a beginning point. Nevertheless this is done with the supposition that stipulating the desired point in which they contain their rational and final agreement. Of course the other party will rebut this favoring the target they contain.

The Hidden Curriculum Essay Example | Topics and Well Written Essays - 1250 words

The Hidden Curriculum - Essay Example The Hidden curriculum will overlap with other types of curriculum, however, that will be the primary focus of this paper. (Hidden Curriculum of Online Learning 2000) quotes Foshay and describes this as the transcendent aspect of learning: "the experience of transcendence, or the sense of one's self as part of a vastly larger whole." The subjects listed in a stated curriculum are not necessarily what students learn in the classroom. What is meant to be taught and what is actually learned are many times two different things. This is called "the hidden curriculum". school with the stated curriculum or the subjects they studied. This curriculum is public and the often the subject of heated debate. Although it is not publicly stated and rarely debated, schools also have a hidden curriculum. This hidden curriculum is composed of the basic attitudes and abilities valued by society. When society changes, both the curriculum and the hidden curriculum of schools also change. Because of changes wrought by information technology, society is currently in the middle of a paradigm shift from the Industrial Age to the Information Age. This paradigm shift has direct consequences for both the curriculum and the hidden curriculum of schools. ... In the Industrial Age, the curriculum was composed of the three Rs (i.e., reading, 'riting, and 'rithmetic) and the various core subjects (English, science, math, social studies, fine arts, physical education, and so on). Schools in the 20th century also had a hidden curriculum which taught the values that 20th century industry desired the workforce to possess -- attitudes and abilities like trainability, obedience, The Hidden Curriculum 4 punctuality, dependability, and loyalty. These are the characteristics that industrial factories were looking for in graduates of 20th century schools and these characteristics often determined an individual's success in both the school and the workplace. Back in days of old the basic curriculum consisted of reading, writing, and arithmetic. Now in the year 2006 you can add computer literacy, Internet savvy, and knowledge of multiple communications devices. The unhidden curriculum is the subjects and classes that are listed in the school syllabus, or schedule. It is the education that teachers desire or transfer of knowledge to their students. It is usually the subjects that parents and students intend or believe will be their primary focus. In this century most of what is considered to be the hidden curriculum revolves around student behavioral patterns, daily routines, and the various teaching methods or expectations of the individual teacher. With or without intentions, a teacher can become more like a dictator and controlling instead of a good role model who teaches. Today the process of learning is not usually one where the The Hidden Curriculum 5 teacher rules or oversees but the students and instructor work collaboratively in the education