Analysis Of The Movie The Jazz - 861 Words

No one really recognizes the line between what is offensive and what is not. Everyone has different opinions particularly about racial issues, yet there are some things that can’t be tolerated. Iggy Azalea is an Australian white hip-hop artist who uses â€Å"blaccent (the black accent) in her songs† (Guo). Al Jolson was an American singer and actor best remembered for his performance in the movie The Jazz Singer – the first talking picture. However, in the movie he performs the song â€Å"My Mammy† in blackface which is something that would not happen today because it would be horrendously racist. What Al Jolson did back then is basically the equivalent of what Iggy Azalea is doing now. They are both singing and mimicking a culture not of their own. Al Jolson puts on blackface while Azalea puts on a verbal blackface. In The Jazz Singer, â€Å"jazz† was once the most noticeable form of black music in the 1920s, the way hip-hop is today. 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Decision-making Process of Teens - 786 Words

Teens often have questionable decisions, baffling adults with how they had come up with those choices. The effects of peers, emotions, and parents in a teen’s decision process. In The Tragedy of Romeo and Juliet, a play by William Shakespeare, teens displayed sudden decisions without the thought of consequences. Teenagers get the opportunity to test their abilities through risks to discover themselves. Decisions do not appear automatically, stemming from a series of events taken place in the brain. Parents, peers, and emotions have influence on teens, affecting their decision-making process. The first influence is by parents, which affects the decision-making process of their teenagers through monitoring. Parental monitoring includes expectations made by parents, actions parents take, and ways parents respond to teens. 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Disenchanted isle a casebook on the making of Jennifer Tiptons Tempest. Essay Example For Students

Disenchanted isle: a casebook on the making of Jennifer Tiptons Tempest. Essay Veteran lighting designer  Jenifer Tipton made her debut as a director in October at Minneapolis Guthrie Theater with a harsh, uncompromising production of Shakespeares The Tempest. Her sudden transformation from design artist to director was a bold step that surprised many perhaps no one more than Tipton herself. The project had its beginnings in the spring of 1990, when Guthrie artistic director a Garland Wright was mapping out an upcoming season dealing with illusion and the theatrical imagination. He envisioned Shakespeares romance as a sort of Rosetta stone for the other plays he was eager to produce, among them Corneilles The Illusion and de Mussets Fantasio. But Wright had directed three previous Tempests and felt it was not time for him to attempt the play again. I started dreaming about what other kinds of artists might do The Tempest. Maybe a sculptor or a filmmaker or a painter. Before I could think of anyone who fit those categories the name Jennifer Tipton screamed into my head. And curiously, I found myself wondering why I hadnt thought of her before. It seemed very right, because shes one of the wisest people I know. When first I raised the tempest. Some might have been intimidated by the prospect of making a directorial debut at the Guthrie, hardly an inconspicuous place for a first effort, but Tipton says the theatre, with which she has an ongoing relationship, was one reason she decided to accept the assignment. They have a permanent company and a resident staff that works there year round. Its sort of a built-in support system. In other words, she adds with a laugh, theres someonee around to pat me on the back and hold me up at every step of the way. Jennifers mind always reveals itself through the play, says Wright. She lights from the idea. The lights are ideas. So I know she works from the same fundamental place as a director. Apparently a lot of eyebrows went up when it as announced that she would be directing The Tempest, but Ill lay you money that when those eyebrows came down some of the same people said |Oh, I get it.' Tipton does not come to this assignment completely inexperienced. She choreographed a number of dance works during her student years and more recently was an artistic associate at the Goodman Theatre in Chicago, advising on repertory and play selection. But her real preparation for the role of director, she feels, has been in the classroom. For the past 10 years Tipton has taught every Monday at the the Yale School of Drama, where sshe initiated a course in text anaylsis for students in the lighting program. Though it never occurrd to her at the time, she was laying the groundwork for directing by thinking about dramatic works in a concentrated and systematic way.  After agreeing to take on the project, Tipton began to delve into the play as intensively as her schedule would allow, packing books and research materials in her luggage and grabbing a couple of hour of study here an there on the road. Shee also began bringing together the members of her production team, asking John Con klin, a frequent collaborattor, to create the scenery and costumes. Tipton says she came to the production without any thoughts about the space in which it would take place. Whenthe Guthries dramaturg Michael Lupu first asked what images she had in mind, she replied: I have no images. Only ideas. And showed thee all the qualities o th isle It is an afternoon in late May and a design meeting is about to begin at Tiptons New York loft a few steps off lower Fifth Avenue. The long space is crowded with the souvenirs of a 25-year career in the arts as well as with fax and photocopying machines, drafting tables, computers and rolled-up lighting plots and computers. (A small captains bed placed inconspicuously against one wall reminds the visitor that someone lives here.) Tipton is speaking with Scott Zielinski, a former student who has assistd her on a several shows since leaving Yale and will be lighting The Tempest in Minneapolis. It is a formidablee assignment for the 26-year-old Zielinski creating the lighting for one of the most exacting lighting designers working in theatre and dance today. The first question I asked before accepting, Zielinski confides, was Will you be telling me what to do? Her answer was, No, are you kidding? I have my hands full.' Tipton confirms this: Im leaving it totally in Scott hands and Im amused at myself that Im able to do this. Conklin arrives late from another meeting, the very picture of the overcommitted designer, all professional weariness and nervou energy, his canvas bag bulging with pieces of the other sets he is working on. He and Tipton began their collaboration some months before by poring over a pile of visual material the designer had assembled from his vast collection of picture files and art books, a practice intended to break the ice and spark the imagination. They also flew out to the Guthrie and spend a day sitting out in the house, just wandering around in our heads. Conklin somewhat perversely suggested tht they set the play in the blasted ruins of the Guthrie itself. Though, as often happens in the theatre, the scenic conception would eventually evolve ito something else, a few elements of disintegration remain: a bare wooden platform, the center of which has burned or rotted away, and a sagging piece of gridwork above the stage which seems about to break away from the ceiling of the aud itorium.  Today Conklin begins by setting up the model of the still-evolving design, and takes out a black cardboard box filled with tiny objectsLucite cubes and otheer geometric shapes, pebbles, drops of gold solder, miniature barrels, logs and chairswhich he scatters on the kitchen counter like Monopoly pieces. No sooner is the model in place than Conklin is reconfiguring its elements, retracting his steps and suggesting other possibilities. Perhaps there could be objects that come up through the floor or emit sound an light. Is this something to explore? Things likesuddenly happen. A green glowing something oozes up. He pauses to consider. The long narrow shadow of Robert Wilson momentarily passes over the room. Of course, its all from working with Wilson. In When We Dead Awaken theres one little red rock glowing on stage and its so beautiful. Its nothing but a stupid little piece of Styrofoam with a red light shining on it. Why is it so magical? Its just dumb. He shrugs. The implication is clear: Thats theatre. Ideas fly this way and that. Tipton, relaxed and good-humored, does the yielding from a nearby barstool. Conklin has been reading Jan Kott. Kott describes the island as being something out of Bosch. Like New Jersey. The closest thing to Bosch! Burning smokestacks, polluted rivers, chemical waste. Were back to the idea of glowing objects, says Tipton, not pretty, but radioactive and dangerous. This much is clear of the evolving conception: Prosperos island will be no lost paradise, no pristine new world drenched in tropical sunlight, but a despoiled domain where nature lies vulnerable and exposed. (As ultimately seen in Zielinskis hard, wintry light it will also be a cold place.) Tipton, a longtimee resident of one of the worlds most unenchatnted islands, Manhattan, later says that she could conceived of it no other way: I just cant see how there can be an idyllic place in our world today. I cant find it. Hovering over the miniature model, Conklin i both stage manager and master of revel, a kitchen-counter Prospero, animating the action and infusing the process of selection with a sense of wonder and importance. Sometime he will fall silent in mid-sentence, not necessarily because he has come to the end of a thought or run out of words but to allow the others to enter into his imaginings and ascertain what they are thinking. At other times his suggestions are offered in a wrapping of indecision or self-doubt tha does not conceal the note of hopefulness in his voice.  By now Conklin has covered the stage with logs, white rocks, chais, barrels, transparent geometric shapes andfor some inexplicable reasona tiny gold harp. He reaches for a few pieces of twisted metal. I dont know where these came from. Im just working out of whimsy. His voice drops to a whisper. Perhaps instinct might be a more attractive name for it. Tipton laughs and he turns back to the model. Perhaps. His voice trai ls off. A concentrated silence fills the room. Thee three stare at the miniature stage with such intensity that one would not be suprised if the little pieces began moving by themselves. Tipton: My immediated sense is I like all of it. But. . .its too much. Conklin: Yes. Of course. For yet ere supper time must I perform much business appertaining. Many other issues are put on the table as the afternoon wears on. Tipton has decided to discard the problematic nuptial masque in Act 4 as well as the mythological figures conjured from antiquity at Prosperos command; in their place she will fashion a new text from Shakespeares sonnets. I love the idea of bringin together the cocky yound man who knew his writing was going to last forever and the older man who must have bee in great pain when he wrote The Tempest. She read her selections and they consider how the scene might be staged and costumed. (Eventually four spirits in white veils will move around the darkened stage carrying geometric shapess of frosted glass that glow from within.) Tipton and Conklin also discuss the banquet Prospero causes to appear before his enemies. She envisions a roast beef that begins to bleed or some mouth-watering dish that splits apart into spiders. Conklin sighs: The trouble with that is its so hard to do. . . . Before the meeting breaks up, they ex change ideas about characters, costuming and props and settle on a restricted palette fo both scenery and costumesmostly grays asnd blacks. Up until today, says Zielinski, it was pretty much a free-for-all. We were saying anything is possible. Now the choices are narrowing as the team begins edging toward a final design. Setting a date for their next meeting, however, and getting all their schedules to align is no easy task. Conklin is leaving tomorrow for Paris to oversee his costume designs for Wilsons new Magic Flute at the Opera Bastille. Tipton, who only just returned from Europe, is flying back at the end of the week. The completed design is due in a little over a month. They exchange schedule, addresses and fax numbers, and Conklin makes a hasty retreat. Another production, anothre meeting. Rediscovering the mechanics of life EssayAs the audience enters the theatre in October they find not only the sagging grid and the planked stage with its gaping hole, worn stones and mysterious Plexiglass shapes but a semi-circle of black lacquered chairs silently awaiting the entrance of the actors. The tempest is already building and the sound of wind and sea blends with the muffled conversation of the gathering audience (Kuhn has relented somewhat). Suddenly a lighting instrument drops from the grid, spiling light in a gradually dwindling arc as it swings back and forth over the stage. There is a gasp and then scattered laughter as the audience realizes theyve been taken in. The idea was Zielinskis and its implication is not lost on Tipton, though she admits it wasnt until opening night that the metaphor hit meand I was very embarrassed. The rush of sea and wind grows deafening as the house lights dim and members of the company, dressed in what could be street clothes, file in and take their places. Other actors already in costumethe inhabitants of the island who will be introduced in the second scenestand behind them in the darkness. As the reading begins, an unseen Ariel moves among the actors with two rocks which she claps together, turning the sound of the tempest on and off like a radio. At one point she approaches the actor playing the boatswain, snatches his pages and tosses them in the air. It is as though the tempest had blown the script out of his hands, sweeping him and everyone else into the play. (At the end of the evening, the same character will enter speechless and amazed at having found himself so suddenly transported onto the island; it is not until Ariel places a script in his hand that he finds his voice and the play resumes. In an instant we are reminded both of the artifice of the theatre and wh ere we began.) It was Tiptons original plan to have the stage floor collapse at the end of the scene, with a number of actors falling into the abyss, chairs and all. Ferdinand would have eventually come crawling out, now newly laundered like his fellow passengers, but with blood streaming down his face. None of this happens, at least not literally. Instead, as the ship threatens to break apart in the tempest, Ferdinand leaps out of his chair which bursts into flame and plunges into the hole at the center of the stage. In the tumult, the other actors overturn their chairs, which remain on stage for the rest of the play, becomingalong with a few scattered pages of the scriptthe debris that has washed up on the island. The scene is surprising in so many ways, says Garland Wright. Its cool and formalsilent when you would expect it to be loud and loud when you would expect it to be silent. I cant imagine anyone else but Jennifer taking the initial idea of actors falling through the floor and coming up with this final pictureand making it mean what she means, which is that the very structure of the play and the theatre collapses into chaos, and out of that collapse springs this wholly magic event called The Tempest. O brave new world . . . On the first day of rehearsals Tipton spoke of The Tempest as an ecstatic expression of despair and she has remained true to her initial vision. The world she conjures out of Shakespeares romance is a barren place situated in the shadow of mans darker dreams, blighted by his ambition, cruelty and bitterness. Even the shows moments of spectacle are touched by an element of menace. When the clowns attempt to follow Caliban across the raked platform at the back of the stage, it suddenly veers up, becoming a towering vertical wall that blocks their way-the single chair placed on its surface now pitched at a terrifying angle. When Prospero raises his staff and vows to abjure his magic, smoke and fierce white light burn up through the cracks in the stage floor as if some awesome source of energy lay festering beneath his feet.  The despoiled world one finds here subtly undermines the benevolent and orderly domain that has been created in and around the Guthrie, where well-scrubbed studen ts gather in the rush line that weaves through the foyer and prosperous-looking subscribers greet one another by the overflowing buffet tables that give the inner lobby the feeling of a community bake sale. Just outside the doors of the theatre lies the citys pristine sculpture garden-a perfect little island of life and art with its manicured lawns, carefully laid-out paths and Claes Oldenburgs fanciful Spoonbridge and Cherry, a 52-foot-long spoon topped by a gigantic cherry. Within the theatre, however, nature and art have not fared nearly so well.  The bleakness of Tiptons vision is fully revealed in the plays final scene. Having surrendered the powers of imagination that sustained him during his years on the island, Prospero grows old and enfeebled. The final reconciliation over which he presides is punctuated by the dark laughter of the unrepentant Antonio who literally turns his back on the scene, mocking not only the moving resolution his brother has fashioned but our very c apacity for remorse, forgiveness and joy. The world has not been set right. If anything, the stage is set for the whole cycle of unsurpation and revenge to repeat itselfas a local critic suggested, this brave new world may only be the old world grown colder and meaner. In the final moments of the play Prospero bids those assembled to draw near and the royal party moves slowly past the wreckage of the island into the smoky void that lies beyond, swaying back and forth as they retreat, like prisoners in formation.  During one of their first discussions, Tipton told Michael Lupu, A few nights ago, I dreamed Miranda was pregnant. Momentarily taken aback, Lupu asked, Pregnant by whom, Caliban or Ferdinand? Ah, no, Tipton replied, pregnant with the future. A residue of her vision is contained in the image we now see. As Prospero speaks the final words of the epilogue, the glowing skyline of a modern city appears out of the darkness. The company stands in their flowing robes and Elizabet han collars silently peering across the centuries into the very world that will inherit this play. I wanted desperately for the piece to have a happy ending, says Tipton, but I couldnt find it. So the final image is of the actors walking off into the smog-infested city. The city at night with its lights is very beautiful, but theres a price to pay, and I think thats very much the brave new world. (Back in May, Tipton told Conklin that the distant city should either be Milan or Minneapolis. Conklin replied, They both look more or less alike now.) Prospero joins the others in the shadow of this vast, impersonal future while Caliban, the remaining inhabitant of the island, walks to the edge of the stage and stares out into the auditorium. After a moment, he removes his glasses, wipes them and puts them back on, as if to get a better look at us. He regards his new kingdom and subjectsall inherited by defaultwith detachment as the lights fade. Then to the elements be free and fare thou well! Tipton is back in New York, sitting behind a computer monitor in the auditorium of City Center checking light cues for choreographer Paul Taylors fall season. The Tempest has been running at the Guthrie some three weeks and family members, friends and many of her regular collaborators have been making the journey to Minneapolis. (She flew all her lighting students from Yale in for the opening and then discussed the production with them in class the following Monday.) Local reviews have been respectful, though a number of critics and subscribers have been a bit put off by the severity of her vision. Tipton herself claims to be as satisfied as one can be with the production. I really felt we got deeply into the play. One of the things that surprised me was that my voice was so clear and strong. I ask if she has experienced anything like postpartum depression now that a year of intensive study, planning and rehearsal activity has come to an end. In some sense. As you get closer to the culmination of the process, youve already started distancing yourself and giving the production over to the actors. Actually, Tipton is not quite gonethe newly accredited director seems unable to pull herself away from her creation, and has seen virtually every performance, usually from the audience. Has she been tinkering with the staging or giving notes to the actors? No, I just like seeing their work. I hang on every word. Part of what Ive discovered is that human beings are a lot nicer to work with than lights. Tipton has come away with a deep feeling for the performers who have shared the weeks of exploration and discovery with her. People complain about actors. I myself have complained about actors for years. But I found it was really exciting to invest in them, to challenge and stimulate them. Instead of feeling as many directors do that the actors are messing up their work, I came to realize that theyre what the work is. The productions opening scene might be a metaphor for her personal experience: a group of actors gather together with scripts in hand, slowly and at first tentatively making their way through an unmarked text on a journey of discovery that is at once perilous and exhilarating. I think shes had a very big experience, says Garland Wright, to suddenly stumble upon the other side of this thing she does. She now understands what the investment is, what the labor is, what the pain is. My hope is that she will now want to participate to the fullest. Tipton, who is already thinking about a possible next project, says only, Id love to go into rehearsal tomorrow.

Poverty and Conditional Cash Transfer Essay Example

Poverty and Conditional Cash Transfer Essay A Reaction Paper on the Article Written By Randy David Presented by: JOEFREY C. MIRAFUENTES oOo While the article wished to present the acceptability of the Conditional Cash Transfers as an immediate response of the Philippine Government to the beleaguering effects of poverty, it also presented another reality that cannot be obscured away from discussing such societal problem, and that is the susceptibility of this stimulus program to be exploited as an instrument for corruption. The widespread prevalence of poverty in the Philippines is a major crisis that has been hounding the sincerity of the government for decades. This old- age problem that is already deep-seated within the economy has quickly become an everyday reality for impoverished Filipino families; and one that deserves to have meaningful and long-term solutions from the government. However, lessons in the past reminded us that none of the administrations in the political history of the Philippines had actually delivered a sustainable solution to the problem as it is too evident in the present day situation that the same stigma has been passed on to present generations of Filipinos. Latest survey from the National Statistics Coordination Board (NSCB) even reveals that poverty incidence in the country were up by 16% in 2008 (www. roundreport. com/World/NSCB-Survey-Poverty-increased). Because this problem is so prevalent and widespread in the country, it will be very hard for the Philippine Government to immediately put an end to poverty in the next six years. But hope is still alive for this practically resource-rich nation to stand on its own feet againa word of assurance that the Aquino Administration is currently working on with the promise of a truthful and corrupt-free government. We will write a custom essay sample on Poverty and Conditional Cash Transfer specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Poverty and Conditional Cash Transfer specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Poverty and Conditional Cash Transfer specifically for you FOR ONLY $16.38 $13.9/page Hire Writer A BAND-AID SOLUTION. It is quite obvious that the alleviation of poverty is also at the core of the present administration’s concern. In fact, the increase in budget allocation intended for the Pantawid Pamilyang Pilipino Program (4Ps) or the so-called Conditional Cash Transfer for the poorest of the poor families excellently manifests how the Aquino administration is really resolved on getting every poor Filipino family out of poverty line. Though it exemplifies the effort of a responsive and caring government, it is highly impractical for the government to continue dwelling on strategic program like the 4Ps as long-term solution to poverty. This has to be considered only as quick and temporary intervention for easing the effects of poverty among poor and highly marginalized families while the government is trying to fast-track projects to stimulate development that will alleviate poverty. With a limited budget mostly funded by a loan grant from foreign financial institutions like ADB, the program is not that too accommodating for other people particularly among families, who by virtue could be considered to be poor and marginalized but unfortunately, were not qualified to receive the benefits under the criterion of the National Household Targeting System for Poverty Reduction (NHTS-PR). On the lighter side, this subsidy would somehow spell temporary relief for qualified poor families to get across daily financial constraints, with the assurance that they in return must comply with the conditions set forth by the program. As a short-term poverty reduction and social development strategy, the 4Ps does not necessarily provide a sustainable solution to ending poverty in the country as it would only provide band-aid solution to the effects of the problem and not necessarily to the cause of poverty. Though, this would help assure government that the poor especially women and children are given attention under the program through social assistance to alleviate their immediate needs and social development through health services and free education for their children. The conditional cash transfer program has proven to be an effective way of keeping children healthier and in school as asserted by Camilla Holmemo, ADB Poverty Specialist. However, one could not help but worry also of the idea that this would only create precedence among poor families to be fully reliant on the help xtended by the government and would only prevent them from realizing that they are still in full control of their future. To give cure to this so-called societal decay, the government must seek meaningful ways to fight the decay from the core. The problem on poverty lies on the fact that the poor are denied of equal access to opportunities. While the Aquino government shall continue on extending conditiona l cash assistance to immediately ease hunger among poor families, it must carefully plan strategic ways to address poverty systematically from the grassroots level as the barangay. It must create opportunities where poor families are not deprived and left unattended. As to how these opportunities can be realized is a challenge that has to be shared by all agencies of the government and for government to have more funds and financial aids available. A MILKING COW? One could not help but worry again of the kind of fate this program will have in the future, especially when this government is immediately associated with graft and corrupt practices. This country has its long history of corruption that is why citizens of this republic were already repugnant of the fact that some officials in the government entrusted with public trust and confidence are actually turning government projects into a milking cow for their own personal benefit. For government programs like the 4Ps which has enormous budget allocation, it would not be unlikely that such government subsidy could be susceptible also to waste and leakage. It is an ominous reality that corruption is undeniably an impediment to any directed developmental efforts of the government for the economy and the people. That is why, it is very important for the Aquino government to be sincere on its pursuit for good governance. I laud the Aquino government for its initial steps of rebuilding trust and confidence within the government bureaucracy. To me, it is the important thing as showing the people that change must start from the initiator.

Chronic Obstructive Lung Diseases (Copd) Essays

Chronic Obstructive Lung Diseases (Copd) Essays Chronic Obstructive Lung Diseases (Copd) Paper Chronic Obstructive Lung Diseases (Copd) Paper Chronic Obstructive Lung Diseases (Copd) Introduction: In this paper I am going to discuss Chronic Obstructive lung Diseases (COPDs) which is caused due to partial or complete obstruction by an increase in the resistance to air flow. Excluding tumor and foreign body, the obstructive disorders include: 1. Asthma 2. Emphysema 3. Chronic bronchitis 4. Bronchiectasis 5. Cystic fibrosis 6. Bronchiolitis However Emphysema and chronic bronchitis are the major obstructive pulmonary disorders. In all these diseases, the hall mark is a decreased expiratory flow rate (FEV1: FVC ratio) with either increased or normal total lung capacity. Methodology: In order to complete this paper I searched the internet for various sources, did extensive reading and compared various obstructive pulmonary diseases. Result: In Emphysema destruction of the terminal bronchioles occur leading to abnormal enlargement of air spaces. TYPES: It is classified according to the anatomic distribution of the lesion with in the acinus. a.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Centriacinar: involves upper lobes of lung and apices, usually seen in male smokers along with chronic bronchitis. Bullae may rupture and lead to spontaneous pneumothorax. b.  Ã‚   Panacinar: Predominant in anterior margins of the lungs. It causes uniform destruction and enlargement of the air spaces. It is strongly associated with a-1 antitrypsin deficiency. c.  Ã‚   Paraseptal: involves distal acinus and pleura, in areas of fibrosis and scars. It may lead to spontaneous pneumothorax. d.  Ã‚   Irregular: occurs in cases of old scarred lung from TB, histoplasmosis etc.usually remains   symptom less[1]. Enphysema can be also be classified as 1.  Ã‚   COMPENSATORY EMPHYSEMA: it is a condition in which hyper inflated lungs are found as result of compensation, mostly due to loss of lung substance during unilateral pneumonectomy. 2.  Ã‚   SENIL E EMPHYSEMA: In this type lungs are expanded due to age. It is mostly asymptomatic with no destruction of walls. 3.   Ã‚  OBSTRUCTIVE INFLATION: This condition is due to a tumor or foreign body causing sub total obstruction resulting in lung expansion because of trapped air in the alveolar spaces. Emphysema is aggravated by smoking because smoke particles activate macrophages which in turn recruit neutrophils from the circulation, elastase an enzymes is released from neutrophils which further enhances macrophage elastase activity. An important role is played by free radicals released from activated neutrophils which inactivates a-1 antitrypsin by releasing oxidants. Morphology shows boggy and voluminous lungs. Microscopically air spaces are enlarged, rupture of their thin walls show Honey combing appearance. Capillaries are compressed and contain no blood. Chronic Bronchitis: Described as persistent cough with sputum for atleast 2 consecutive years for atleast 3months.The cause is usually chronic irritation of airways by the substances inhaled esp tobacoo smoke. Smoke illicit bronchitis by eliciting excess mucus secretion with hypertrophy of mucus glands, brochioloitis and metaplasia of bronchiolar epithelium. The injury initiated by smoke is further aggravated by secondary infections[2]. It usually occur in these forms: 1.  Ã‚   Simple chronic bronchitis: It is characterized by marked sputum production, mucoid in nature.The airflow is not obstructed . 2.  Ã‚   Chronic mucopurulent bronchitis: It is mostly after secondary infection followed by simple bronchitis. Sputum contains pus. 3.   Ã‚  Chronic asthmatic Bronchitis: Individuals with hypersensitive airways showing intermittent episodes of asthma and demonstrating chronic bronchitis. Morphology shows a.congestion and edema of mucous membranes of lung, b.hypertrophy of mucus glands, c.filling of air spaces by mucinous secretion, d.mucus plugs, imflamation and fibrosis in bronchioles, e. change of bronchiolar epithelium from columnar to squamous epithelium f. decreased number of cilia Clinical Features Of Copds: Early stage of disease   are asymptomatic because of pulmonary reserve function, later on, with the progression of disease, a wide variety   of symptoms are observed. The spectrum of disease are designated in two extremes, type A and type B. Mostly , features of both type A and type B are present in a single case[3]. Type A patients:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Present with chronic cough either dry or prductive of mucoid f sputum ; progressive dyspnea, and wheezing. They hyperventilate and often sit hunched forward (to bring accessory respirator muscles into action) with mouth open and nostrils dilated in an attempt to overcome the ventilatory difficulty. Their lungs are over inflated with increase anteroposterior diameter of the chest (â€Å"barrel chest†) and flattened diaphragm on chest xray. These patients successfully maintain oxygenation of the blood by hyperventilation. Patients with type A COPD are sometimes called â€Å"pink puffers†. Type B patients: Have marked chronic obstructive bronchitis and canno hyperventilate. There is decreased oxygenation of blood (cyanosis) and increased arterial carbon dioxide content. They also have pulmonary hypertension caused by changes in themicrovasculature of the lung parenchyma. This leads to right ventricular hypertrophy and failure (â€Å"cor pulmonale†), and peripheral edema due to right heart failure is a dominant clinical feature . Type B patients are sometimes called â€Å"blue bloaters† The correlation between these clinical types and pathologic changes is inexact. Type A patients frequently have dominant emphysematous changes while type B patients usually have dominant chronic obstructive bronchitis. Most patients however have varying mixtures of both pathological changes and clinical features. In type B patients with chronic hpercapnia (elevated) Pco2) , the respirator centre becomes insensitive to the Pco2 stimulus and is driven by the hypoxemia. Administration of oxygen in these patients can remove the respiratory centre drive and cause carbon dioxide retention and death (â€Å"carbon dioxide narcosis†)[4]. Pathogenesis The protease antiprotease hypothesis holds that destruction of alveolar walls in emphysema stems form and imbalance between proteases and their inhibitors in the lung. The evidence is as follows:  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Individuals with a hereditary deficiency of the major protease inhibitor, alpha-I-antitrypsin, invariably develop emphysema, and at a younger age if they smoke.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Pulmonary instillation of proteolytic enzymes, including neutrphil elastase, results in emphysema in experimental animals. EMPHYSEMA AND CHRONIC BRONCHITIS Predominant bronchitis Predominant Emphysema Age (yr) 40-45 50-75 Dyspnea Mild, late Severe, early Cough Early, copious sputum Late, scanty sputum Infections Common Occasional Respiratory insufficiencies Repeated Terminal Cor pulmonale Common Rare, terminal Airway resistance Increased Normal or slightly increased Elastic recoil Normal Low Chest radiograph Prominent vessels; large heart Hyperinflation, small heart Appearance Blue bloater Pink Puffer Conclusion:   COPD covers a broad spectrum of pulmonary diseases. One of the most important and preventable leading factor for COPDs is smoking. One should avoid smoking. Work Cited Page: 1.  Ã‚  Ã‚  Ã‚  Ã‚   Quinn, Campion E. 100 Questions Answers About COPD. Jones and Bartlett Publishers, Inc, 2005. 2.  Ã‚  Ã‚  Ã‚  Ã‚   Currie, Graeme P. ABC of COPD. BMJ Books, 2006. 3.  Ã‚  Ã‚  Ã‚  Ã‚   Schneider, Arthur S., Szanta Philip A.Pathology.Lippincott Willians Wilkins. 4.  Ã‚  Ã‚  Ã‚  Ã‚   Cotran, Ramzi S., Vinay Kumar, Tucker Collins. Pathologic Basis of Disease.W.B. Saunders Company. [1] Quinn, Campion E. 100 Questions Answers About COPD. Jones and Bartlett Publishers, Inc, 2005, pp 65-89. [2] Currie, Graeme P. ABC of COPD. BMJ Books, 2006.pp10-35. [3]Schneider,Arthur S., Szanta Philip A.Pathology.Lippincott Willians Wilkins,pp 70-135. [4] Cotran , Ramzi S., Vinay Kumar, Tucker Collins.Pathologic Basis of Disease.W.B. Saunders Company ,pp 134-190.

How effective are Abstinence Programs Essay Example | Topics and Well Written Essays - 1500 words

How effective are Abstinence Programs - Essay Example Teenagers received 336 of those tests. Increases of 273 additional tests were given to teens 14-17 in 2003 than the previous year. This paper will serve to investigate if it is plausible that a countywide holistic abstinence education program, which collaborates with other agencies in the county to offer alternative activities as well as abstinence education, would have helped to reduce the pregnancy rate among teenaged girls in the county during that period. The purpose of this study is to determine if the lack of an abstinence program in Douglas County Georgia, accounted for the increase in pregnancy rate among teenaged girls between 14-17 years of age during 2002 and 2003. The safe sex approach, which advocates contraceptive use, has led teenagers to believe that using contraceptives makes engaging in sexual intercourse a safe behavior ("Sexual Health Update," 2000). Medical evidence indicates that abstinence is the only reliable choice for avoiding pregnancy. In an article that compared the effectiveness of school-based health clinics that distributed birth control and schools that have abstinence programs, evidence showed that abstinence programs were the most effective technique for preventing adolescent sexual activity and pregnancies (Khouzem, 2003). Khouzem cited one study, in particular, that was funded by the U.S. Department of Health and Human Services and conducted by the Institute for Research and Evaluation. The study included almost 7,000 teenagers in grades 7 through 10 who were taught a values-based curriculum. Three Title XX programs were implemented in three school districts and later evaluated. These three curricula, Teen-Aid, Sex Re spect, and Values and Choices, were written to follow the legislative parameters of abstinence as the preventative measure for teenage pregnancy and sexually transmitted diseases. Pre- and posttest data were collected. Participants in each of the programs were administered two scales: the Affirmation of Abstinence and the Rejection of Permissiveness scales. On the Affirmation of Abstinence scale for both junior and senior high students, each of these programs produced a change that was statistically significant at the .000 level for Sex Respect and Teen-Aid and at the .002 level for Values and Choices. Researchers found significant differences for the Values and Choices curriculum and for the Sex Respect and Teen-Aid curricula in positively affecting students' choices regarding abstinence (Khouzem, 2003; DeGaston, Olsen, Prigmore, & Weed, 2001). The Teen-Aid abstinence education curriculum has been used in Edinburg, Washington, for 5 years. Each year, a report is published concerning the effectiveness of this curriculum in reducing "risky behavior and attitudes." This program had a statistically significant impact (p = .000) on the likelihood that participants would not have sexual intercourse before marriage and that the non-virgin teenage participants would cease their sexual activity (p = .001). There was also a statistically significant change (p = .019) in the teenagers' views that waiting until marriage to engage in sexual intercourse

History of Botswana Essay Example | Topics and Well Written Essays - 1250 words

History of Botswana - Essay Example There was a high expectation that the northern region of what was to become the Republic of Botswana was under the British colonies that was protecting it. They were located in the north of the Molopo River and their intention was to merge the protectorate with the south of the region. The southern part of that region was under the colony of Cape. The British controlled the area called Bechuanaland after a request to put it under its protection was influenced by the then tribal leader, Khama III. Khama traveled to the United Kingdom to request the British to put their land under the protection of the crown so that it was not disturbed by their hostile neighbors. To but their land under their protectorate, the colonial secretary requested that it allows the British to construct railway line across their land that later came to be an economic opportunity to their land as it had opened them up to trade. In the early twentieth century, particularly 1910, the Cape politicians wanted to jo in the Bechuanaland and this was influenced by the Union of South Africa, but it would later become a challenge to join the state. Before the Cape politicians could join the Bechuanaland, there was to be a signed agreement between the rulers of Bechuanaland and the British. The grandson of Khama III by the name of Seretse Khama went to the United Kingdom to study at the Oxford University. At that time, their neighbors, South Africa, had introduced apartheid laws that restricted the intermarriage and other fundamental rights between different races.