Free Essays on You’re Only Allowed To Hurt Yourself

FAS/E (Fetal Alcohol Syndrome/Effects) is a birth defect involving permanent brain damage caused by prenatal alcohol exposure. There are four diagnostic criteria for FAS: alcohol exposure, prenatal and/or postnatal growth deficiencies, a certain pattern of facial features, and Central Nervous System damage. Because neurological damage may/not include mental retardation, learning disabilities can get misdiagnosed as Attention Deficit/Hyperactivity Disorder (ADHD or ADD). In addition FAS is not included as a Developmental Disability (DD). FAS/E is the combination of (FAS) and Fetal Alcohol Effects (FAE), and refers to the full range of disabilities. Fetal Alcohol Syndrome (FAS) is defined and characterized by a number of congenital birth defects that develop in the womb as a result of exposure to alcohol either before or during pregnancy. These birth defects are best recognized by pre and/or postnatal growth deficiencies, a certain pattern of facial malformations, Central Nervous System dysfunctions, and a varying degree of major organ system malformations. The effects are generally visibly recognizable. (Jones, Streissguth 103-105) And Fetal Alcohol Effects (FAE) is defined as structural and functional defects attributed to prenatal exposure of alcohol. FAE is inclusive of FAS and provides a category for those whose birth defects do not fully meet the FAS case definitions and who (for the most part) do not have the facial deformities, so outwardly they appear normal. (Jones, Streissguth 103-105) As the mother consumes alcohol (alcohol exposure), it enters the bloodstream and reaches the developing fetus by crossing the placenta. Because a fetus metabolizes alcohol slower than an adult does, the developing baby's blood alcohol concentrations are higher than those in the mother’s body. The presence of alcohol can reduce the flow of oxygen to the baby's developing tissues and organs and damage brain cells. (Johnson) A baby with prena... Free Essays on You’re Only Allowed To Hurt Yourself Free Essays on You’re Only Allowed To Hurt Yourself FAS/E (Fetal Alcohol Syndrome/Effects) is a birth defect involving permanent brain damage caused by prenatal alcohol exposure. There are four diagnostic criteria for FAS: alcohol exposure, prenatal and/or postnatal growth deficiencies, a certain pattern of facial features, and Central Nervous System damage. Because neurological damage may/not include mental retardation, learning disabilities can get misdiagnosed as Attention Deficit/Hyperactivity Disorder (ADHD or ADD). In addition FAS is not included as a Developmental Disability (DD). FAS/E is the combination of (FAS) and Fetal Alcohol Effects (FAE), and refers to the full range of disabilities. Fetal Alcohol Syndrome (FAS) is defined and characterized by a number of congenital birth defects that develop in the womb as a result of exposure to alcohol either before or during pregnancy. These birth defects are best recognized by pre and/or postnatal growth deficiencies, a certain pattern of facial malformations, Central Nervous System dysfunctions, and a varying degree of major organ system malformations. The effects are generally visibly recognizable. (Jones, Streissguth 103-105) And Fetal Alcohol Effects (FAE) is defined as structural and functional defects attributed to prenatal exposure of alcohol. FAE is inclusive of FAS and provides a category for those whose birth defects do not fully meet the FAS case definitions and who (for the most part) do not have the facial deformities, so outwardly they appear normal. (Jones, Streissguth 103-105) As the mother consumes alcohol (alcohol exposure), it enters the bloodstream and reaches the developing fetus by crossing the placenta. Because a fetus metabolizes alcohol slower than an adult does, the developing baby's blood alcohol concentrations are higher than those in the mother’s body. The presence of alcohol can reduce the flow of oxygen to the baby's developing tissues and organs and damage brain cells. (Johnson) A baby with prena...

The 9 Free Email Marketing Templates You Need to Execute Everything - CoSchedule Blog

The 9 Free Email Marketing Templates You Need to Execute Everything Blog Email marketing is complex. From planning to execution to measurement, there are tons of things you need to build an effective strategy. Even producing one piece of email content requires several steps. Here’s a short list of line items to create an email newsletter: Ideation. Writing subject lines. Customizing preheader text. Crafting body copy. Design. Adding tracking codes. Editing and review. Selecting email list segments. Scheduling delivery time. Hitting send. Reviewing performance data. Reporting. That’s quite a number of things to take into account, and this is for just one piece. So, it’s a good thing you’ve found this post. In order to help you work as efficiently and effectively as possible, it includes a roundup of nine email marketing templates and other posts you need to learn how to use each one. Plus, it also covers other tools (free and paid), resources, and templates you can use to get everything you need to get  done. The 9 Free Email Marketing Templates You Need to Execute Everything by @Ben_Which Templates Does This Post Include? There’s something here for every step of the process, from planning, to execution, to measurement. Here’s everything you’ll find in the free bundle below: Table of Contents Email Marketing Calendar Template Email Marketing Strategy Template Email Newsletter Template Email Marketing Report Template Email Subject Line Writing Templates Email Subject Line A/B Test Template Welcome Email Newsletter Template 21 Ways to Build an Email List (Guide) Best Email Send Times Guide Download them now, then get the low-down on how to use them. Email Marketing Calendar Template Plan your work, then work your plan. That’s a common mantra heard around the office. There’s a good reason for that, too. It’s easier to work efficiently toward meaningful goals when you’re not frantically scrambling. The best way to plan email marketing is on a calendar. Here are some of the benefits behind using one: Being intentional about what you send. They keep deadlines visible to all team members. Managing delivery times and scheduling. Without a calendar, email marketing often descends into chaos. So, with this template, you can organize: Send dates and times. Email owners. Email type. Target / persona. Source. Buying season. Email list. Lead stories and email content. Here's what you can do with an email marketing calendar:It’s a simple spreadsheet that’s easy to update, too. There are three rows for each month, but it’s easy to edit if you need to plan more emails per month. Start with your send date and time, who’s creating this email, which category it falls under, and which persona or customer segment it targets: Next, fill in the source (which might be a blog post, campaign brief, or anywhere else to find more information about the content this email will promote), buying season (if seasonal buying cycles are relevant), and the name of the email list segment that should receive the email: Finally, list which pieces of content the email will promote. These could be headlines, general ideas, or anything else that’s helpful for indicating each type of content that will be dropped into the newsletter: Recommended Reading: The Best Email Marketing Calendar You Need to Manage Marketing Newsletters Email Marketing Strategy Template Without a strategy, you’re just winging it, and hoping for the best. It’s tough to achieve much  success that way. Even harder to sustain it, too. So, why risk failure when you plan to succeed? While hitting your goals is never guaranteed, developing a sound strategy is an essential starting point. Any type of marketing strategy effectively revolves around four ideas: Who are you trying to reach? How will you try to reach them? What do you want them to do? How will you measure results? Documenting your strategy can dramatically improve your results, too. For evidence, a study found marketers with documented strategies were 538% more likely to be successful. Using the PowerPoint-based template in this post, you’ll start by identifying your target audience: Next, you’ll figure out ways to build your email list: That list will then need to be broken into specific audience segments: Then, you’ll plan your execution and schedule: And what you’ll measure to gauge success: Recommended Reading: The Best Way to Organize an Effective Email Marketing Strategy Email Newsletter Template Your email copy needs to be clean, crisp, and persuasive. It also helps to keep your content organized and easy to edit. Handing off a Word doc to an editor is easier for review purposes than immediately writing directly into an email editor. This template includes everything you need to document the following: Subject line options. Preheader text. Intro copy. Lead story content blocks. Call to action. Those are all the elements included in most email newsletters, but since the template is a simple Word doc, it’s easy enough to edit to fit your needs. Recommended Reading: How to Create Awesome Internal Company Newsletters That Actually Get Read Email Marketing Report Template Marketing without measurement is a fool’s errand. You need to know which actions produced which results. More than this, though, you also need to be able to explain how you made an impact to your company and your clients. If you can make that data look appealing and easy to understand, so much the better. That’s what this template is intended to help you achieve. It’s a well-designed PowerPoint deck that makes it easy to present data and numbers in a way that isn’t super dry. Recommended Reading: Email Marketing Analytics: How to Measure and Report on the Most Important Metrics Email Subject Line Template Without a good subject line, nothing else in your email matters. However, writing them well is easier said than done. If you need a spark of inspiration, these fill-in the-blank templates should help: Then, you can score your subject lines using ’s free Email Subject Line Tester: Recommended Reading: Everything You Need to Know About Writing Awesome Email Subject Lines Email Subject Line A/B Testing Template Now, writing subject lines is an art. One of the best ways to improve your skills is to A/B test subject lines. Over time, this will help you understand what works best with your audience. Most email service providers have built-in A/B testing functionality: MailChimp Campaign Monitor ActiveCampaign Constant Contact Then, use the template to track your results: Recommended Reading: How to Make an Email Newsletter Your Customers Love Welcome Email Newsletter Template What’s the first thing your new subscribers see when they sign up for your email newsletter? If it’s not a well-written welcome email, you might be missing out on an opportunity to retain more subscribers, and convert more customers. With this template, you’ll be able to craft effective welcome copy that makes a warm introduction. To put it to full use, check out Scott Cohen’s blog post on writing them, and follow the great examples curated by Michael Quoc in this post, too. Email List Building Guide Before you can succeed with email marketing, you need to have a list. After all, without recipients, an email newsletter is worth much. But, how do you start building a list? Fortunately, there are tons of ways to start building email contacts before you have a list going. And that’s exactly what this brief PDF guide will help you get started with. Recommended Reading: 21+ Easy Ways to Build an Email List That Will Skyrocket By 140% in a Year Best Email Send Times (Guide) Every time you send an email, you want to make sure you’ve optimized every variable to tilt the odds of success in your favor. One simple factor you can control is your email delivery times. According to curated data from 10 different studies, here are the best days to send email: And the best times: So, this is what curated research shows. But, how do you determine what works best for you? That’s where this free PDF guide comes in, included in your template bundle. It’ll walk you through how to use your own data, to help determine your own email schedule: Recommended Reading: What 10 Studies Say About the Best Time to Send Email Other Places to Find Email Templates So far, you’ve seen all the templates the team has built to make email marketing easier. But, what if you need something that’s not listed here? Don’t worry, check out these other resources. Campaign Monitor If you’re a Campaign Monitor customer, they’ve made tons of templates available that you can use to quickly create your email newsletter. Envato Templates for MailChimp MailChimp is massively popular, and lots of third parties have built templates that work on the platform. ActiveCampaign ActiveCampaign offers a robust marketing automation platform that includes an effective email platform. If you’re a customer, you may have seen their complete lineup of templates, too: Theme Forest Constant Contact customers aren’t left out here, either. The folks at ThemeForest have several paid templates available for the platform (as well as others): Recommended Reading: The Best Email Marketing Sending Frequency Backed By 20 Studies 3 Sources for HTML Email Templates Modern email marketing platforms make it easy to create marketing emails without needing to learn code. But, what if you’re old-school and prefer hard-coded HTML? There are plenty of sources to find helpful templates for you, too. Raw HTML emails do still offer some advantages some marketers like, such as design flexibility and editability. If this type of template is what you’re after, check out the following places. ColorLib Making HTML emails mobile-friendly and responsive can be tough. These 25 templates, frameworks, and layouts meet both of those criteria. Litmus The team at Litmus knows email marketing inside and out. Naturally, they have an array of templates available for creating different types of email content. What’s great about theirs is how they’re organized by industry and use case: HTMLEmail.io These HTML email templates are compatible with most major email service providers, and they’re responsive too. Keep in mind they aren’t free, though ($49 for a single client license, or $299 for an unlimited license). The lineup of compatible ESPs these templates work with includes several familiar logos: Recommended Reading: Get Inspired Now With 21 Examples of Awesome Email Marketing Keep Email Marketing Organized With Before you go, take a minute to check out . It’s an industry-favorite marketing calendar platform, and it now integrates with popular email service providers  to keep all your email marketing organized (alongside all your other projects). With , you can: Integrate your marketing calendar with your email service provider: See deadlines and publish dates for every email: Add email content on your calendar and get visibility into everything, all in one place. Manage your email marketing process: With Task Templates and Discussion Threads, you can easily collaborate with your team and manage workflows more productively. Start your free trial now and get 14 days free. Go Put Your Templates to Use Now that you have tons of different resources available, it’s time to get down to work. Here’s a quick recap of what you’ve just read: You’ve downloaded your free template bundle. Then, you’ve gotten a brief summary on each post explaining how to use each one. Finally, you took a look at other sources for more templates you might need. Hopefully, this will all help make doing better email marketing, easier. Best of luck.

Assignment Example | Topics and Well Written Essays - 1000 words - 68

Assignment Example The clock was ticking fast on this particular day and at exactly 9 AM. We left our school and headed for the event. The kick off time for the event was expected to be at exactly 10. AM and was targeted to cover three schools in the neighborhood. It was organized by the peer educators’ group from my school and I requested for an opportunity to offer a speech and this was granted to me. The organizers for the event therefore were my school’s peers educators group and the intended audience was the students from the three targeted high schools. I had not figured out that my speech would be a source of motivation to the students. It then started with prayers, then followed speech from two guest speakers and finally my time came. This was the first day in my whole life that I had to address such a big audience. As I walked to the stage, I broke out in a cold sweat and so I had to take a quick breath as my mother had constantly advised. I then felt at ease and was able to star t telling my story. â€Å"We are all unique and so our strengths, weaknesses and abilities,† I said. I gained composure at this moment when everyone turned their attention to listening to me and I started with explaining how I lost my self worth due to the fact that I could not have artistic abilities as my brothers had and how this led me to performing poorly in my academics. I continued telling of how the decline in academic performance led me to receiving negative comments from my high school teachers and friends and how I started believing in this comments. I explained how everyone thought that I was a disappointment to my family, how I stopped believing my parents when they told me that I was unique and that I had a special ability, other than the artistic ability that my brothers possessed. â€Å"I then resulted to isolating myself from my friends who could at that moment perform better than I could and I ended up in a state of self denial†. I explained how my academic performance

Hedge Funds Essay Example | Topics and Well Written Essays - 1000 words

Hedge Funds - Essay Example Most of the hedge funds are devised in such a manner that they are able to generate return for the investors with the rate of return that is generally more than the market return and even in times when the market is not performing well due to recession or some other reason. However, a retail investor cannot invest in the hedge fund the same way as he would have done it for stocks or mutual funds. The operations of these funds fall beyond the control of any government regulation and hence it is mainly at the fund manager’s discretion that the investment portfolio would be designed, what strategies would be employed and which stocks are to be included. The main motive behind devising such a fund was to secure the funds from the market risk and to earn more return. Hedge Fund Management and Skill The management of this kind of investment product requires a lot of skill. The fund managers need to have an insight about the market and the various risk management strategies that can help the managers to cover the fund against probable losses and gain profits out of those risky situations. The managers and the investors of these kinds of funds need to be aware of the types of investment risks that they may come across. Since higher the risk taken higher is the possibility of return, the hedge funds often attempt at taking risks that may not be beneficial for the investors. The capabilities and expertise of management of the hedge funds cannot be determined from their past performances because there are a lot of fluctuations in the way the hedge funds tend to perform. If an investor tries to invest in a fund looking at the past performance he might face a lot of challenges because the fund may not perform as before. Hedge Funds and Luck Often the investors of a hedge fund are confused between luck and skill. The common people think that a particular fund performed well because of the efficiency of the manager. But it is not always the case. It might happen becaus e of good luck as well. Most of the hedge funds do not encounter any kind of restrictions and hence their portfolios are not very diversified. For any risk averse individual it is highly risky to invest because the direction in which the market moves may not favour that particular fund. These kinds of funds often result in a mixed performance which may not be favourable for the investors in the long run. Hence, though the skill level of the managers is extremely important for prediction of the market and for choosing the correct investment avenue, the investors cannot rely on the intuition of the fund managers or their past performance solely. There is a luck factor and there should be a certain level of control of expectations on part of the investors because the markets may change its colour due to any kind of unprecedented event and hence may expose them to a risky situation. Hedge Funds and Insider Trading The agency theory is often applicable in case of hedge funds where the fu nd managers act as the agents of the investors. In most cases there exists an information asymmetry between the investors and the managers and the latter take this advantage for deriving undue profit from the market. Since Hedge Funds, are privately owned, they do not fall under the jurisdiction of any rigid regulatory framework. Thus the disclosure requirements of this fund are also less. Thus there may be problems of insider trading in case of hedge funds. The phenomenon of insider trading takes place when a fund manager makes use of any price

The Consequence of Communication Failure Essay Example for Free

The Consequence of Communication Failure Essay In the history and evolution of professional communication practices, there are several instances that have greatly impacted our understanding of the necessity for clear and effective technical communication. Few, however, have had such eye-opening impact that they continue to be discussed decades after their occurrence. Two such incidents to have reached this height are concerning the Three Mile Island nuclear plant and the Challenger shuttle launch. (Martha Cooper. Three Mile Island. 1979. The Washington Post. Web. 3 July 2012) (Martha Cooper. Three Mile Island. 1979. The Washington Post. Web. 13 July 2012) In March of 1979, the Three Mile Island (TMI) nuclear power plant of Middleton, PA faced near meltdown. People feared an unseen enemy: radiation. B. M. Dunn had some vital information to the possibility of this incident prior to its occurring. Dunn relayed this information to D. F. Hallman. Hallman’s memo and the involvement of those who did or did not receive it have been under a microscope since this historical event. On January 28, 1986, another incident of failed communication occurred. The Challenger space shuttle was set to launch and indeed it did, but it did not make it to the intended destination as it exploded in mid-air. Prior to the launch, Roger Boisjoly had made efforts to address an issue of a possible equipment malfunction that had been pointed out by. Unfortunately, nothing was done to ensure the avoidance of this malfunction. In both instances, catastrophe could have been prevented. There were attempts made to address serious concern on both parts. There remains no question that something more could have been done. However, a question of great weight and of ongoing discussion is whether that missing link lies in the communication processes, the documents themselves, or the actions of those involved in the chain of communication. A Matter of Nuclear Proportion In a relatively short memo written by D. F. Hallman, manager of Plant Performance Services at TMI, he relays the concerns of B. M. Dunn. A problem with the practices and procedures of the Three Mile Island nuclear plant is addressed. Dunn is the manager of the Emergency Core Cooling System Analysis department of Babcock Wilcox (BW), the same company that designed the nuclear reactor for the Three Mile Island power plant. (Mathes) Short, Sweet, and to the Point? Quite frankly, this memo leaves much to be desired, given the weight of the situation. In its entirety, it is a few brief paragraphs addressing the situation and a few questions that need to be answered promptly. It is somewhat formal yet lacks the urgency in tone necessary to move the reader to action. There are, however, some references attached that provide the information in more detail. These attachments aside, Hallman seems to have minimal concern for the efficiency of the actions required. (Hallman) Upon some background research, it is clearly seen that Hallman was not the proper person for Dunn to contact with such vital information. For a decision such as this one, the concerns should have been sent to another department, one with the authority, ability and experiential knowledge to understand the gravity of the situation. Can one blame Hallman for not knowing? Could it be that he was aware of the proper destination of such information and failed to relay it there? Some questions are left unanswered. A Matter of Astronomical Consequence (Associated Press. Space Shuttle Challenger Wreckage Entombment; About. com; Web. 13 July 2012) (Associated Press. Space Shuttle Challenger Wreckage Entombment; About. com; Web. 13 July 2012) Roger Boisjoly wrote a memo addressing his concern with the possibility of O-rings that were vital in the safe launch of the Challenger space shuttle. Boisjoly was an engineer for Morton Thiokol, the manufacturer of those very O-rings. His memo was well written, with a clear layout and was directed to the proper recipient for effective action in such circumstances. The subject matter is clearly stated in the heading. After proper notation of the parties involved, Boisjoly writes with clarity of intent and the necessary tone to relay the seriousness of such a scenario. Textbook Effective In this memo, he does well to stress the fact that he believed this O-ring corrosion may lead to a â€Å"catastrophe of the highest order loss of human life. How else could one covey such urgency? Boisjoly admits an â€Å"honest and very real fear† that if immediate action was not taken to solve the problem with these O-rings, this entire shuttle mission stands in â€Å"jeopardy of losing a flight along with all the launch pad facilities. † The choice of words seems very intentional and appropriately weighty given the possible outcome. (Boisjoly) So what was done with this information? Apparently, it was merely dismissed as being non-crucial to flight success. The morning of the shuttle launch was particularly cold and this played a major factor in the performance or failure of these O-rings but this too was addressed by Boisjoly. Could he have done more to ensure that necessary action was taken to address the situation? Concluding Thoughts It seems very clear that from these two examples of communication one stands as lackadaisical or complacent and the other effectively and appropriately written. It may very well be that Hallman was not the appropriate recipient for the previous memos. It may also be said that Dunn was responsible for insuring the proper destination of this information. Whatever the case, this memo written by Hallman was ineffective both in composition and in handling. In contrast, Boisjoly wrote clearly and effectively. Why is it that the proper actions were still not taken? The bottom of this question may not ever be reached but it is a clear example of the need for serious handling of information—for both the writer and the reader. Without these two factors, we may have yet to see the worst examples of failed communication.

It’s Time to Revise Title IX Essay -- Argumentative Persuasive Argumen

It’s Time to Revise Title IX The Preamble to Title IX, which was instigated in 1972, states that â€Å"No person in the United States shall, on the basis of sex, be excluded from participation in, be denied the benefits of, or be subject to discrimination under any educational programs or activity receiving federal financial assistance.† This law took action to give females equal opportunities in federally funded programs. Although Title IX’s sole purpose was well intended, it fell short of its main goals because it had negative affects on male activities. In the article â€Å"Title IX: It’s Time to Live Up to the Letter of the Law,† Donna Lopiano argued for equal opportunities in athletics for women. She discussed how Title IX has affected men’s athletics through the Proportionality Law which insists that all schools provide an equal ratio of financial assistance to male and female students. Lopiano’s article contested the amount of athletic scholarship money offered to male and female athletes, and the budget each team received. A topic that Lopiano chose to ignore in her article was that by colleges cutting men’s sports teams to comply with Title IX, they were working against the law that they were trying to fulfill. Lopiano also ignored the fact that females do not have identical interests to males. Although females show a large interest in athletics, there is a greater demand for male athletics. The Proportionality Law for title IX states that financial assistance must be awarded to equal amounts of men and women, proportionate to the enrollment of the school. The law also asserts that colleges should have the same ratio of male to female athletes as the ratio of male and female students. For example, if a college has... ... Equity in Sports. 16 October 2000. 2 November 2003 . Khvalina, Lana. "Original goal of Title IX lost as colleges forced to cut men's athletic programs." Trapezoid Online 9 June 2000. 2 November 2003 . Kopac, Bob. Title IX at XXX. 2 November 2003. . Levey, Curt. "Title IX's Dark Side: Sports Gender Quotas." Good Reasons with Contemporary Arguments. July 12 1999: 626-627. Lopiano, Donna. "Title IX: It's Time to Live Up to the Letter of the Law." Good Reasons with Contemporary Arguments. 2000: 200-203. Preamble to Title IX. "U.S. Department of Labor." Title IX, Education Amendments of 1972. Assistant Secretary for Administration and Management. 31 October 2003 .

Essay on hinduism and buddhism Essay

Hinduism and Buddhism have different similarities and are in some ways connected to each other. Some of the practices of the two religions are similar in many different ways and there are several examples to show this. Hinduism first started in India around 1500 BC. The word Hindu comes from the word â€Å"sindhu† or river. The Hindu community think of themselves as â€Å"those who believe in the Vedas†, or â€Å"those who follow the way or dharma of the four classes and the stages of life. The four classes being the varnas and the stages of life being the ashramas. Like Hinduism, Buddhism also started in India. It is based on the teachings of Siddhartha Gautama, who is called the Buddha. Buddhism started a monastic movement in the Brahman tradition. Another name for buddah is the enlightened one.It is generally agreed that the Buddha was born in 563 BC in Kapilavastu to the ruler of a small kingdom. He grew up as a rich guy and had a splendid life. When he was 29 he came to realize that high life up to this point had been so empty. He let go any earthly things and soon left to find peace and enlightenment trying to stay away from the cycles of rebirths. He started practicing Yoga and â€Å"adopted a life of radical asceticism.† He soon gave up this way of thinking and focused on a middle path between the life of â€Å"indulgence and that of self-denial†. After a while of great â€Å"inner struggle†, he began to wander to different places and preach and organized a community know as the sangha. The Buddha started the movement for all different peoples and denied that a person’s spiritual worth is a matter of birth. The Buddha left no written word. â€Å"The Cannon for the Buddhist religion is known as the Tripitaka† or three Baskets, because is has three writings. These are the Sutra Pitaka which is a collection of â€Å"discourses†, the Vinaya Pitaka, which is the code of the monastic rules, and the Abhidharma Pitaka, which contains all different â€Å"philosophical, psychological, and doctrinal discussions and different classifications.† The Vinaya Pitaka has over 225 rules for the Buddhist monks and nuns, each  which has a story to explain. The Abhidharma Pitaka has seven different works, which include â€Å"detailed classifications of the psychological phenomena, metaphysical analysis, and a thesaurus of technical vocabulary.† Hinduism also has a lot of writings but the most important of all is the Vedas. The oldest is the Rig-Veda, which was made in an ancient form of the Sanskrit language in northeast India. It consists of 1028 hymns to many of the gods.

Piaget’s stages of development Essay

Sensory Motor Stage Piaget’s first stage of development is the sensory motor stage. This stage occurs between the birth of the child and the age of two. During this stage, understanding comes from touching, sucking, chewing, and manipulating objects. About nine months after birth, the child develops what is called ‘object permanence’. Object permanence is the awareness that objects and people continue to exist even if they are out of sight. The infants have the ability to build up mental pictures of objects around them, from the knowledge that they have developed on what can be done with the object. Through manipulation, babies accumulate information on themselves and the world that lead to the slight understanding of how one thing can cause or affect another, and begins to develop simple ideas about time and space. An example of this would be that a baby can realize that if they cry when they are hungry, the mother will attend to them (Fleck, 1975, p. 3). Preoperational Stage Piaget’s second stage of development was the preoperational stage. The preoperational stage of development occurs between the ages of two to seven years. During this stage, children’s though processes are developing. There is a development of language and use of symbols. Children still use egocentric thought, meaning that they view the world entirely from his or her own perspective. ‘Animism’ is also a characteristic of the preoperational stage. This is when a person has the belief that everything that exists has some kind of consciousness. An example of this would be that a child would believe the sink isn’t turning on because it is sick or that the water will be hot because it’s angry. A child at this stage of development appears to view his social relationships and the physical reality egocentrically. This means that they view the world with a marked tendency to evaluate interaction with others in terms of its contribution to their own experience of satisfaction. So moral realism is an aspect of this stage because children think that their thoughts on the difference between right and wrong are shared by everyone else around them. (Appel, 1977, p. 4). Concrete Operational Stage Piaget’s third stage of development is the concrete operational stage. The  concrete operational stage of development occurs in children between the ages of seven and twelve. Before the beginning of this stage, children’s ideas about different objects are formed and dominated by their appearance. An example of this is that they believe there are less toys when they are all piled up rather than spread out across the floor because it takes up more space on the ground. During this stage, the thought process becomes more rational, mature, adult-like, and operational. Children in this stage of development lose their egocentric frame of thought and begin to think logically. This especially is true for the child’s ability to develop logical thought about an object that they are able to physically manipulate. These children have difficulty understanding abstract, hypothetical questions. Children at the concrete-operational level would be expected to draw on the experie nces of others in evaluating their environment, giving more realistic and natural. (Koocher, 1973, p. 2). Formal Operations Stage Piaget’s last stage of development is the formal operational stage. The formal operational stage of development begins at the age of around eleven or twelve and is fully achieved by the age of fifteen and taken throughout the rest of adulthood. The structures of development become the more abstract, logically organized system of adult intelligence. There are two major characteristics of formal operational thought including ‘hypothetic-deductive reasoning’ and ‘propositional reasoning’. Hypothetic-deductive reasoning means that when faced with a problem, the person is able to come up with a general summary of all the possible factors that might affect the outcome, and the different outcomes possible. Propositional reasoning means that adolescents can focus on verbal assertions and evaluate their logical validity without making reference to real-world circumstances. In concrete operational development, children can only evaluate the logic of statements based off of concrete evidence. Formal operational development brings critical, theoretical, and problem-solving types of thought that gives them much more thought and understanding than they had in the past. (Koocher, 1973, p. 8). â€Å"Are we forming children who are only capable of learning what is already known? Or should we try to develop creative and innovative minds, capable of  discovery from the preschool age on, throughout life?† –Jean Piaget On August 9, 1896, developmental psychologist and philosopher Jean Piaget was born. Jean was the first psychologist to make a systematic study of cognitive development. His contributions include a theory of cognitive child development, detailed observational studies of cognition in children, and a series of simple but ingenious tests to reveal different cognitive abilities. Before Piaget’s work, the common assumption in psychology was that children are merely less competent thinkers than adults which he disproved showing the strikingly different ways children think in comparison to adults. Piaget’s theories of child development continue to be studied in the field of education. His theory differs from others in several ways. For one, it is concerned with children, rather than all learners. It also focuses on development rather than learning so it does not address learning of information or specific behaviors. It proposes discrete stages of development marked by qualitative differences, rather than a gradual increase in number and complexity of behaviors, concepts, and ideas.

Louise Nevelson Sky Cathedral Essays

Louise Nevelson Sky Cathedral Essays Louise Nevelson Sky Cathedral Paper Louise Nevelson Sky Cathedral Paper Essay Topic: Cathedral Kindred Louise Nevelson- Sky Cathedral Presence Survey of World Art The sculptress Louise Nevelson was a towering figure of American modernism. Born in 1899, she came to prominence in the late ‘50s, gaining renown for monochromatic structures built out of discarded wood. Critic Arthur C. Danto wrote, â€Å"There could be no better word for how Nevelson composed her work than bricolage- a French term that means making do with what is at hand. (Danto 2007) Her pieces evolved and expanded in size across the latter 20th century, moving from smaller pieces to wall-sized ones, and the plays of volume therein, between light and mass, generated comparisons to numerous different movements. The following paper will examine these links by discussing Nevelson’s work, Sky Cathedral (1982), in conversation with seven others: the Stela of Mentuwoser (ca. 1955 B. C. ), the Grave Stele of a Little Girl (c. 450-440 B. C. ), the Imperial Procession from the Ara Pacis Augustae (13-9 B. C. ), the Triumph of Dionysos and the Seasons (ca. A. D. 260-270), Duchamp’s Bicycle Wheel, 1913/1951, MoMA, Mondrian’s Composition (1921), and Pollock’s One (Number 31, 1950). To set up these conversations, it is necessary to locate Nevelson’s significance. Picasso’s pioneering, early 20th century sculpture of accumulation was the foundation of Junk art- an impulse utilizing found objects. Nevelson had started assembling discarded wood in the mid ‘50s (she was then in her early 60s), and doing so linked her to many younger peers. However, Nevelson was not ideologically linked to either. Similarly, Nevelson’s monochrome reliefs invoked sacred and public tableau from centuries earlier. What is centrally different, though, is the lack of single, true perspective- her larger installations invite consideration from a variety of perspectives. To place her in a particular mode or tradition always seems to run up against these tensions. Starting with the Stela of Mentuwoser (Fig. 2), one has a good example. Like Nevelson’s mature works, it is a rontally-oriented relief, and one might go further, taking the Stela’s funerary function as a link to the commanding monochromes- most obviously the blacks. However, Nevelson herself did not use monochromes to connote anything, stating that the association of black and death was basically a Western cultural association and that for her, â€Å"it may mean finish, completeness, maybe eternity. † Moreover, it would betray cultural projection to assume that the Egyptians were attempting abstraction, per se. According to Panofsky The ancient Egyptians, who tried to reproduce things in their rigorously objective appearance, surely thought they were proceeding as naturalistically as possible. The Greek artist, in turn, would have thought of his own works as naturalistic only in comparison to those of the Egyptians. {Panofsky 2000) Krauss, in her essay â€Å"The /Cloud/†, reminds us that, â€Å"The Egyptian relief†¦both enforces a shadowless linearity and is projected as if seen from no vantage at all. (Kraus 1992) By contrast, Nevelson’s Sky Cathedral (Fig. ), even in a 2-D rendering, is replete with nooks and shadows- this invites the changing of position which itself multiples its vantages. The Stela is relatively thin; its funerary purpose makes one recall Alois Riegl’s analysis The Egyptian method of employing a theory of proportions clearly reflects their Kunstwollen [artistic intention or â€Å"the will to form†], directed not toward the variable, bu t toward the constant, not toward the symbolization of the vital present, but toward the realization of a timeless eternity (Riegl 1957) By inviting the viewer to re-engage Sky Cathedral from multiple approaches, Nevelson is clearly trying to achieve something else. Looking next at the Grave Stele of a Little Girl (Fig. 3), one can see not only the formal advancements to which Panofsky gestured in the quote above but also the metaphysical shift from the perspective Riegl described. Although this Stele, too, is connected to death, it is not concerned with the timelessness of the afterlife- it quite strikingly grasps towards a felt instant of its young subject’s life. The poignancy of this girl’s untimely death and the instant of life the Grave Stele captures are both magnified by the weight and constancy of the marble. By contrast, Nevelson achieves something like suppleness in Sky Cathedral by her use of multiple layers and multiple â€Å"new† spaces that emerge from different vantage points. From the Attic Greek to the Augustan age brings one to the Imperial Procession, located on the North frieze of the Ara Pacis Augustae (Fig. 4). The first two sculptures put into conversation with Sky Cathedral were mortuary, but the Imperial Procession is celebratory. The first two are both smaller than four feet, but the Procession is life-sized, so its visual force is thus magnified. Finally, the individuals therein are not idealized types, in contrast to earlier Greek modes of statuary- they naturalistic depictions of many actual people in the line of the Caesars. The Ara Pacis took four years to build, due to its desired scale and quality, and that scale points to a salient evolution from the Greeks to the Romans. Riegl claimed this vector went from what he call[ed] the haptic objectivism of the Greeks- the delineation of the clarity of the object through an appeal to and a stimulation of the tactile associations of the viewer- to the optical objectivism of Roman art, in which the need to set the figure up in space as radically freestanding led to the projection of the rear side of the body and hence the use of the drill to excavate the relief plane. (Riegl 2004) This magnification in both size and realism fascinates, certainly evoking an interest in multiple planes of and vantages on the Procession. But what is notably absent here that exists in Sky Cathedral are the recesses and pockets- the shaping inner spaces that create shadows and enigmas and that are themselves changeable things, as exterior light shifts. The transition from Augustan to late Roman sculpture finds this crucial transition. From contemporaneous perspectives, Late Roman art was judged to have declined from earlier Greco-Roman standards. However, Riegl argued that the development of an â€Å"optical† mode of representation in the late Roman period- manifested, for example, in the play of light and shadow in the deeply cut sarcophagus reliefs- actually prepared the ground for highly spiritualized Christian painting and ultimately for the idealizing and subjective art of modern Europe. (Riegl 2004) The representative piece from this period is the Triumph of Dionysos and the Seasons (Fig. 5). This piece returns us to mortuary work, but- distinctly from the preceding three- brings us to the first work that does not concern mundane human beings. Carved in high relief, Dionysos rides a panther and is flanked by four young men personifying the Seasons. Additionally, other mythic figures, such as Mother Earth and a Nereid, finish filling out the sarcophagus. It’s worth noting the concrete links between Riegl’s assertion about the play of light and the rise of the subjective. There is a bridge from mystery as a function of light and shadow (visual play) to mystery as visual and religious idealization; similarly, there is a bridge from mystery as personal reaction to mystery in subjectively experienced art (as opposed to art that necessitates some reaction or stance). The name â€Å"Sky Cathedral† prefaces or prepares someone to experience the piece, and the piece is very evocative, even without any human-type figures. By contrast, the once-maligned techniques evident in the high-relief are not independent of the mythic-narrative elements on it. Of course, the obvious next step is to start putting Sky Cathedral in conversation with sculpture that has risen after the rise of the subjective and that has moved past representation. It’s well worth asking what- aside from Nevelson’s demurring- should make someone separate her from Dada, Surrealism, etc. The first candidate is Duchamp’s altered readymade, Bicycle 1913/1951 (Fig. 6). One might disregard Picasso’s use of found objects, used as often as they were for representational pieces, but why shouldn’t one consider Duchamp and Nevelson kindred spirits? The first answer, in experiential terms, is the brute intellectual force of readymades, compared to Nevelson’s work- the best way to explain that is tor refer to the titular semiological device of Krauss’s â€Å"The /Cloud/. In this essay, Krauss cites Hubert Damisch’s Theorie du /Nuage/, which uses a perspective-viewing machine created by Brunelleschi as a point of departure, first to cite /cloud/ as a marker inserted †¦between those two planes of the perspective apparatus†¦slipped into the construction as though it were measurable†¦but which gave the lie†¦to this†¦possibility of definition†¦Perspective was thus understood from the first to be a matter of arc hitectonics, of a structure built from delimited bodies (Krauss 1992) If, to this grounding of perspective and perception, one can add Breton’s definition of readymades as manufactured objects raised to the dignity of works of art through the choice of the artist, the problem becomes clear. Duchamp’s readymades are goal-oriented works, works that live by the putative volition of the artist; therefore, there is nothing conceptual slipped between the two planes above- everything announces itself. By contrast, at first a physical and then a perceptional level, Nevelson’s work interferes and entices. They do not live â€Å"through the choice of the artist,† but rather through the choices of the investigating viewer. Sky Cathedral operates not as a manifesto or an act of will but as a dynamic, growing system. Furthermore, although Nevelson has had pieces such as White Vertical Water, which recalls Arp’s works, she has never taken on the label, Dadaist. The notions of interference and physicality that were present in Krauss’s essay above move the conversation with Sky Cathedral towards Mondrian’s Composition 1921. The most obvious surface differences are Nevelson’s use of curves and irregular lines and her lack of dogmatism, relative to the proponents of Neoplasticism. However, there are just as obviously very exciting parallels. Mondrian’s grids simultaneously organize and disorient space, and one might make the analogy that his use of color parallels Nevelson’s use of the volumes, the fullnesses of Sky Cathedral. Krauss might assert that this was to be expected, discussing how the influence of phenomenology ushered in early 20th century paintings’ concern with, â€Å"†¦the logical grounds of possibility, for the purely subjective phenomenon of vision itself†¦Ã¢â‚¬  and the subsequent ascendance, conceptually, of the grid. Krauss 1992) She goes on to cite Mondrian as the, â€Å"prime figure† in the â€Å"classical period of the modernist grid† (Krauss 1992), and this is entirely reasonable. Mondrian deals with this tension by creating lines without shadows, by using flatness, and by building images straightforwardly, in the mode of objectivism. But if one does not use this strategy to address the phen omenological issues above, the big /cloud/ that slips into the work and sight planes is tactility. Krauss describes the choice as one between, †¦materializing the grid, as when Ellsworth Kelly constructs†¦Colors for a Large Wall†¦Ã¢â‚¬  or between †¦mak[ing] the optical a function of the tactile†¦field of its viewer, that is to say, the succession of those viewing distances the viewer might assume. † (Krauss 1992) It is at this verge, then, that the relationship between Mondrian and Nevelson becomes most provocative- the pure question of sight. Regarding how to engage Nevelson’s work, Danto recalls a term from Hegel To experience an Aufhebung, one must experience something on three levels of consciousness. One must see something is preserved but at the same time that it is negated and that it is transcended. This is the way the mechanics of wood, black and sculpture operate in the experience of Nevelson’s work- or the way she hoped they would operate. (Danto 2007) If Nevelson and Mondrian are antipodes on the spectrum of the phenomenology of vision, it is not surprising that their works are formally antipodal. Danto’s assertion is striking, though, because the physical engagement of Nevelson’s work operates very similarly to that of her final peer. Although Jackson Pollock did not work with found wood, or monochromes, or large reliefs, his work easily triggers the same multivalent observations and interactions that Nevelson’s does. Like her’s, his work generates heightened, shifting, and fragmented awarenesses even as it restructures an apparent totality. The reasons for this are numerous and well-worth examining, especially after an exploration of the fundamental basis of vision. First, Pollock achieves the quality of depth, thus instigating a viewer’s investigation thereof. Whereas Nevelson achieves this quality through physical volumes, arrays of lines, and seeming barrier of monochromes, Pollock does so with line, color and layering. Furthermore, both artists operate within a mode of subjectivity- that is to say, both are creating arenas in which every spectator is playing with and against their own shifting experience of some artwork. To the extent that Danto is correct, to the extent that Nevelson’s (and possibly Pollock’s) works are built to engender Aufhebung experiences, they can do so because of the interplay between shifting perceptual, conceptual, and emotional engagements. Moreover, this space seems open partly because of the aleatory or unconscious impulses within these artists’ processes. This is not to negligate intention in either party’s works- for instance, one quality of Pollock’s opticality is the perception of shadows, despite the absence of (significant) volume- which quality Nevelson’s work obviously generates. Finally though, it’s important to recognize the considerable gulfs between Sky Cathedral and Pollock’s One (Number 31, 1951). There are several qualities which distinguish Nevelson from Pollock and other Abstract Expressionists. There is, in a literal, physical sense, nothing abstract about Nevelson’s work; even though there is nothing representational, per se, her great monochrome masses are amalgams of things that are somewhat recognizable and of regular space. Furthermore, even though Nevelson’s work process cannot be said to have been structured, there was no ideology or impulse towards revealing or expressing a subconscious. Although there are numerous intellectual and personal influences to credit for Nevelson as an artist and thinker, these seven conversations have, hopefully, made clear the uniqueness of Louise Nevelson’s body of work. Bibliography Websites â€Å"Picasso- Biography. † Guggenheim Collection, n. d. guggenheimcollection. org/site/artist_bio_126. html. (accessed May 2, 2010) â€Å"Mondrian- Biography. † Guggenheim Collection, n. d. guggenheimcollection. org/site/artist_bio_112. html. (accessed May 2, 2010) â€Å"Arp- Biography. † Guggenheim Collection, n. d. guggenheimcollection. org/site/artist_bio_8. html. (accessed May 2, 2010) Rapaport, Brooke Kamin. â€Å"The Sculpture of Louise Nevelson:Constructing a Legend. † Jewish Museum (May 2007). thejewishmuseum. org/site/pages/onlinex. php? d=150. (accessed May 2, 2010) Books Adams, Laura Schneider. A History of Western Art. New York, NY: McGraw-Hill, 2008. Barnet, Sylvan. A Short Guide to Writing about Art. New York, NY: Longman, 2005. Danto, Arthur. â€Å"Black, White, Gold: Monochrome and Meaning in the Art of Louise Nevelson. † In The Sculpture of Louise Nevelson:Constructing a Legend, ed. Brooke Kamin Rapaport, pp 39-48. New Haven, CT: Yale University Press, 2007. Krauss, Rosalind. â€Å"The /Cloud/. † In Agnes Martin, ed. Barbara Haskell, pp 151-165. New York, NY: Whitney Museum of American Art and Harry N. Abrams, 1992. Panofsky, Erwin. Politics and Art Historical Method in the 1930s. New York, NY:Zone Books, 2000. Rapaport, Brooke Kamin. The Sculpture of Louise Nevelson:Constructing a Legend. New Haven, CT: Yale University Press, 2007. Riegl, Alois. Historical Grammar of the Visual Arts. Cambridge, MA: MIT Press, 2004. Riegl, Alois. Meaning in the Visual Arts. New York, NY: Doubleday Anchor Books, 1957. [pic] Fig. 2. Stela of Mentuwoser, ca. 1955 B. C. Limestone, paint, 104. 3 cm x 49. 7 cm x 8. 3 cm. Metropolitan Museum of Art. Reproduced from www. metmuseum. org. (accessed May 1, 2010) [pic] Fig. 3. Grave Stele of a Little Girl, c. 450-440 B. C. Marble, Parian, 80 cm. Metropolitan Museum of Art. Reproduced from www. metmuseum. org (accessed May 1, 2010) [pic] Fig. 6. Marcel Duchamp, Bicycle Wheel 1913/1951, 1951. Metal wheel mounted on painted wood stool, 129. 5cm x 63. 5cm x 41. 9 cm. Museum of Modern Art. Reproduced from www. moma. org. (accessed May 1, 2010) [pic] Fig. 7. Piet Mondrian, Composition, 1921. Oil on canvas. 59. 5cm x 59. 5 cm. Metropolitan Museum of Art. Reproduced from www. abcgallery. com (accessed May 1, 2010) [pic] Fig. 1. Louise Nevelson, Sky Cathedral, 1982. Painted wood. Smithsonian American Art Museum. Reproduced from rtst. org/ (accessed May 1, 2010). [pic] Fig. 4. Imperial Procession, North wall of the Ara Pacis Augustae (Altar of Augustan Peace), 13-9 B. C. Rome. White Marble. Reproduced from http://en. wikipedia. org/wiki/Ara_Pacis. (accessed May 1, 2010) [pic] Fig. 5. Triumph of Dionysos and the Seasons, ca. 260-270 A. D. Marble, 86. 40cm x 92. 10 x 215. 90cm. Metropolitan Museum of Art. Repr oduced from www. scholarsresource. com (accessed May 1, 2010) [pic] Fig. 8. Jackson Pollock, One (Number 31, 1950), 1950. Oil and enamel paint on canvas, 269. 5 x 530. 8 cm. MoMA. Reproduced from www. moma. org (accessed May 1, 2010)

27 Ways to Use the Verb Fare in Italian

27 Ways to Use the Verb Fare in Italian The verb â€Å"fare† is one of the most diverse verbs in Italian. You can use it to ask how the weather is and to talk about an upcoming trip you’re taking. You can use it to tell someone you’re going on a walk and that you’re waiting in line. In short, you can express yourself in a lot of ways using the verb â€Å"fare.† Since the verb â€Å"fare† is derived from facere, a Latin verb of the second conjugation, it’s considered an irregular second conjugation verb. It doesn’t follow the regular pattern of conjugation (infinitive stem endings). How to Conjugate â€Å"Fare† Fare (to do, to make) is conjugated in the present tense as follows: io faccio noi facciamo tu fai voi fate lui, lei, Lei fa loro, Loro fanno Fare also has an irregular past participle: fatto. Ways to Use the Verb â€Å"Fare† IDIOMATIC EXPRESSIONS USING FARE fare i compiti to do ones homework fare il biglietto to purchase a ticket fare la fila / la coda stand on line / wait on line fare la spesa to go grocery shopping fare le spese to go shopping fare forca to play hookey fare vedere to show someone something fare una domanda to ask a question fare una fotografia to take a picture fare una passeggiata to take a walk fare colazione to have breakfast fare un viaggio to take a trip fare un capello in quattro to split hairs farsi la barba to shave farsi coraggio to take heart fare castelli in aria to daydream fare fingere to pretend, make believe fare male to be painful, to ache farsi in l to step to one side fare di tutto to do everything possible fare del proprio meglio to do ones best farsi degli amici to make friends fare alla romana to split the check fare il pieno to fill up the gas tank fare passare to let through The Weather- Il Tempo The verb â€Å"fare† is used in many expressions relating to the weather. Che tempo fa? - How is the weather?Fa bel tempo. - The weather is nice.Fa cattivo tempo. - The weather is bad.Ha fatto caldo. - It has been warm.Qui fa sempre freddo. - Its always cold here.In primavera fa sempre fresco. - In spring, its always cool. Note!: In the preceding examples, it is an impersonal subject and is not translated into Italian. The verb â€Å"fare† expresses the basic idea of doing or making, as in â€Å"fare gli esercizi - to do exercises† and â€Å"fare il letto - to make the bed,† but is is also used in many idioms. Proverbs with â€Å"Fare† Besides idiomatic expressions, the verb â€Å"fare†   is used in a number of proverbs. Fare e disfare à ¨ tuttun lavorare.- Its all go, its a hard life.Chi la fa laspetti.- You will get as good as you gave.Chi fa da sà © fa per tre.- If you want something done, do it yourself.Non fare agli altri cià ² che non vorresti fosse fatto a te.- Do as you would be done by.Tutto fa brodo.- Every little bit helps.Chi non sa fare, non sa comandare. - A bad worker is a bad master.

The Relationship between Induced Abortions Article

The Relationship between Induced Abortions - Article Example This could mean that a person who started out as ertophilic could turn into erotophobic during the process of the abortion. After an exhaustive literature review the authors "question" for their research was to find out whether there was a correlation between pregnancy and abortion and increased sexual problems and to find out whether a group of women who have chosen abortion are already thinking negatively about the abortion before they have it as opposed to "non-pregnant comparison group". The methods employed and detailed explanation of how they conducted the study. The researchers used two groups. The termination of pregnancy group (TOP) showed 98 women who were present in an NHS Clinic/hospital for the first trimester medical (34%) or a surgical (68%) abortion. A two-month follow-up was conducted with 44 women (46%). The demographics of the group showed that 91% were Caucasian and they ranged between 16 and 41 years old. About 33% had some college, 79% were currently in a relationship and 60% had no children. Both groups were given several questionnaires that provided information. They received the Sexual Opinion Survey (SOS) and the Golombok Rust Inventory of Sexual Satisfaction (GRISS) and each was to assess a different aspect of their theories. The women were asked to answer the GRISS three times: once to understand sexual problems, again two months into their pregnancy (they did this retrospectively) and a final time to test sexual problems that they encountered during the time in which they were pregnant. Seven weeks after their abortion they were sent a follow-up questionnaire through the mail. The questionnaire was timed seven weeks out to make sure women had already passed through their discomfort and were again having sexual relations. This post questionnaire was used to ask about changes in their relationship; they were also asked to complete the GRISS and the SOS again to ask about sexual problems that they may have experienced two months after the abortion.  Ã‚  

The Zoot Suit Riots Essay Example | Topics and Well Written Essays - 750 words

The Zoot Suit Riots - Essay Example The Zoot Suit Riots In a sense, the Sleepy Lagoon Murders were part of what contributed to the zoot suit riots although they happened a year before the riots started. Sleepy Lagoon was a hangout place for Mexican youth. By day it was a place to swim and by night it was a lovers lane. It was one of the few places that Mexican American youth could go without having a hassle from prejudice. On August 1, 1942 two Mexican youth were sitting in the car talking and they were viciously attacked by what appeared to be a rival gang. The male, Hank Leyvas and his girlfriend were badly beaten. Hank went back to find the youth with reinforcements and attached other youths that were attending a birthday party nearby; Josà © Dà ­az was one of those attending. Dà ­az was killed in the "rumble" and a call to action went out from the Los Angeles Police Department. In the process Leyvas and 21 other Mexican youth were convicted of the murder through the Los Angeles tabloid journals and Leyvas was sentenced to life in S an Quentin. A few months later the zoot suit riots broke out and this would be one of the worse problems in Los Angeles history. In order to understand the zoot suit riots, it is important to understand a little about the zoot suit culture. Zoot suits were a popular dress that African Americans wore during the jazz era. It was a flashy outfit and it was a bit outrageous. It had broad shoulders, a narrow waist and balloon pants. It was a way of expression that let people of color be seen in places that society said they were supposed to be invisible. The Mexican American youth picked up the culture and ran with it.