American Imperialism Essay Example | Topics and Well Written Essays - 750 words - 3

American Imperialism - Essay Example Therefore the main reason for adopting an imperialistic policy was to dominate over economic resources which have always been control by the advanced capitalist countries over the liquid and real economic resources of economically backward areas. Since the easiest way to colonize was to take over main liquid resources as foreign exchange and public and private savings, and real resources consist of agricultural, mineral, transportation, communication, manufacturing, and commercial facilities and other assets, therefore Nationalist economic policy worked. Restricted free trade was monopolized and inhibited the growth of income and economic well-being, but these barriers were lowered by the breakup of the European empires. Such an imperialist policy was rationalized as the trademark of this doctrine was based on the notion that exploitive economic relations between the advanced and backward capitalist countries would not be able survive in a world of politically independent countries (Fann & Hodges, 1971: 24). The countries that were affected by the foreign policy of America were Philippines, the Federated States of Micronesia, Marshall Islands, Palau and Puerto Rico. However across the globe American imperialism in the first half of the nineteenth century presided over Ottoman, Persian and Russian empires thereby expanding its empire towards the northward, westward, and southward while establishing its authority over all parts of its territory (Iriye, 2005). As an imperial state, the nineteenth century for America brought persuasion, coercion, and outright conquest and often insured that tariffs and other taxes were turned over to foreign bondholders. Therefore in the presence of military rule, foreign lending was frequently a precarious undertaking which Latin American countries, witnessed by experiencing an uneven history of bond payments. The deployment of the U.S Imperialist policies, particularly in

National Patient Safety Goals and Leadership Coursework - 1

National Patient Safety Goals and Leadership - Coursework Example As such, there is advancement in the level of leadership capacity as leadership development is incorporated at all levels of nursing education and actual practice both in the clinical and academic environments. With these qualities, individual nurses are able to make logical decisions in regards to the treatments given to patients while at the health facilities. The major issues related to the National Patient Safety Goals are ambulatory health care, behavioral healthcare, critical access hospital and home care. Ambulatory health care plays a vital role in managing emergency situations. Through evidence based practice it is clear that the role of health care given in case of emergency evacuation in the back of an ambulance plays a critical role in determining whether there is an improvement or deterioration in the condition of the patient. From past experiences, we can prove that ambulatory healthcare has an important role to play and has a critical role in improving patient

Critical Analysis Of Two Japanese Designers

Critical Analysis Of Two Japanese Designers In the 1960s, Japanese designers came out from an economic and industrial boom. This was the beginning of the first Asian invasion of the fashion world and by the early 1980s, Rew Kawakubo and Yohji Yamamotos names were wildly popular. Rei Kawakubo and Yohji Yamamoto were the first few Japanese designers that found admiration for Japanese art and idea of modernism through the channels of developing technology, visual imagery and three dimensional figures. They first made a real impression on the fashion world in 1982 with the creation of the Japanese aesthetic. Their entry into the international fashion scene was not only puzzled but was fascinated by many in the fashion industry. This paper will discuss the significance of the designs by Rei Kawakubo and Yojhi Yamamoto on the international fashion catwalks in the nineties with relation to the specific methods of construction and materials they used in their collections. While Kawakubo and Yamamoto have a distinctive point of view on fabric deconstruction, however the two designers share a commonality for creative artistic design collaborations in developing their collections, marketing and image. Evident in Kawakunos designs was the exaggerated and hyperbolic manufactured aesthetics. She collaborated with architecture, Takao Kawasaki, which bought about the designers first Comme des Garcons boutiques (da Cruz, 2004). Kawakubo had a longing to make garments that was an ever changing result of its social cultural environment, showing both the Neo-realism and Futurism in her runway collections and marketing (da Cruz, 2004). Yamamoto on the other hand, was loyal to the Japanese cloth traditions and was famous for his kimono-inspired trench coats and shirts. He had a desire for the pure geometric forms of pure clothing and found ways in integrating modern sportswear constructions into his designs. This technique brings a postmodern street chic feel to his designs and also has the important role of protection and durability. The evolution of fibre technology with the tonal and textual eclecticism gave way to show designers how important their uses of raw materials were in their designs. With the continual movement in fabric and structure of clothing, it directed the concept of drapery in Yamamotos designs and the shrouding, texturing and layering techniques in Kawakunos designs. Seeking to redefine the universal concept of beauty in fashion, Yamamoto demonstrates through the preference for asymmetrical shapes, oversized clothes and models of all ages, challenging the norms of perfection, and body. Most evident was in his refusal to use the traditional forms of feminine glamour and sex appeal through make up, heels, skin baring and fitted clothes. Yamamotos design creations revolutionised the Western fashion for women with its structured figure hugging clothing that sexualised the female body. He also designed garments that wrapped the female body with fabric, ignoring the usual accentuation points and moving the attention to the back. The fashion silhouette and the body/clothing relationship changed from this point onwards. Yamamoto created designs based on breaking down mens clothing to form graceful and stylish womens garments, by playing his garment, he exhibited challenging ideas of how women faced both masculine and feminine sides of being a woman. Many were fascinated in his work of challenging the ambiguity of gender whether this was through the women models in his menswear shows or his refusal to follow the traditional Western definitions of womens wear and menswear. Kawakubo studied fine arts and literature and being untrained as a fashion designer, she communicated her ideas to her patternmakers. She employed the romantic subtleties of historic fashion but yet champions cold synthetic fibres in her finishing designs. The piece that most resembles this tendency was the lace sweaters from the Comme des Garcons fall/ winter 1982-1983 collection. It featured black wool knits distressed with gaping holes to invoke the composition of lace (da Cruz, 2004). She created designs intentionally to create a look that seemed incomplete and had been worn, in order to create something different and extraordinary by resisting to common sense and provide stimulating challenges to the idea of perfection (Kawamura, 2004). The initial reactions of the public look upon with distaste, however over time they grew to admire and astonished with her designs and the look she wanted to create (Baudot, 1999). Kawakubo (in Ayre 1989:11) states that Perfect symmetry is uglyà ¢Ã¢â€š ¬Ã‚ ¦ I always want to destroy symmetry, this was postmodernism applied as its best to fashion. Kawakubo did not apply the traditional clothes- making or fashion design institutions to her work and worked against what was seen as how traditional designers should design. She was one of the first to show designers that the going against the normal processes can also be accepted. Yamamoto often experimented with innovations in technical textiles and new synthetic sand also implemented unconventional natural materials in his designs. According to Yamamoto, I start with the fabric, the actual material, the feel of it. I then move onto the form. Possibly what counts most for me is the feel. And then, when I start working with the material, I think my way into the form it ought to assume. (Vinken) He blurred the boundaries between prà ªt a porter and haute couture fashion (Duncan, 2007). When Yamamoto first started designing clothes, he knew there were two ways. Firstly by working with formal classical shapes, and secondly being casual. Thats what I decided on but I wanted a new kind of casual sportswear that could have the same status as formal clothing (Menkes, 2003). In his 1991 fall/winter collection, a vest and skirt outfit was made entirely of hinged wood slats. This established his dedication to communicating the raw visual distinctions as a designer he w as (da Cruz, 2004). Yamamoto was characterised as hang an anti fashion approach by creating often sculpted asymmetrical, often oversized shapes that are layered and usually black. He was influenced by traditional indigenous Japanese clothing and by historical Western uniforms and industrial work wear. In other words clothes that is functional. His original look was based on his desire to give the kimono a new shape and energy (Duncan, 2007). Paris had a strict couture tradition and bourgeois heritage and was shaken by the vision of Kawakubos work- it was regarded as minimal and nihilistic. In contrast with the opulent gowns, tailored suits and gentle colours of designers like Dior, Kawakubos collection consisted of trousers with sweater cuffs around the ankles, tunics that transformed into shawls, oversized overcoats and shapeless knitwear constructed with holes. She regarded the conventions of fashion as a necessary evil. Kawakubo had an obscure approach to clothing construction echoing the concept of a visual artist more than a fashion designer. She often attempted to translate art styles into clothing- minimalism, abstraction, postmodernism and deconstruction. Kawakubo was praised and criticized for pushing the fashion boundaries forward. Also famous for simple, functional elegance but yet sexy, Yamamotos early garments relied solely on the irregular details like uneven hems and collars, hems with zips, cut outs, pockets or flaps. The label inside stated: There is nothing as boring as a neat and tidy look (Mitchell, 2005). Creating designs that would disagree from the traditional Japanese design philosophy that values the asymmetry and irregularities of nature. Yamamoto believes perfection is ugly, and symmetry not sufficiently human and desires for the scars, failure, disorder, distortion in people to come out and be shown (Duncan, 2007). In the late eighties, his designs evolved into a more structured and fitted silhouette outstanding for their cut, craftsmanship and material originality. From the nineties onwards, his collection displayed a more Westernised fashion aesthetic and showed his ongoing romantic references to historical French couture styles from the Belle Epoque bustle to classic fifties Dior (Duncan, 2 007). During the time where French couturiers ruled the fashion world, black was not considered a colour for day wear; Yamamoto and Kawakubo challenged this norm. Yamamotos designs were consistently monochromatic with emphasis on black. The occasional off white, red, purple, brown and dark blue would make an appearance through his collections but black were usually his preference for his creations. He favoured black because he described black as modest and arrogant at the same time. Black is lazy and easy- but mysterious. It means that many things go together, yet it takes different aspects in many fabrics. You need to have a silhouette. Black can swallow light or make things look sharp. But above all black says this: I dont bother you- dont bother me.'(Duncan, 2007) Like Yamamoto, Kawakubo was also famous for the love of black. She was famous for designing in many shades of black rather than black alone. Her autumn 1988 collection was burst with colour, declaring Red is Black (Quinn, 2002). She has continued to move away from black fabric and stated that its popularity among other designers has diminished its power. Black is no longer strong and has become harder to use, Kawakubo said in an interview with Susannah Frankel (Quinn, 2002). Designers in the 1980s, sought engagement with everyday life, and found inspiration in people the real world. Likewise, Yamamoto also sought a distinct relationship with women who wore his clothes. By looking at the pre-modern consumer, he envisions people dressing for their role in society. Parallels are seen in his desire to make costumes for working women, and how his clothing looked like they have been lived in, as though it had a passion for the past and the hatred for what was new. Both designers broke clothing rules, against the custom 1980s haute couture opulence, traditional ideas of beauty and gender. Yamamotos talent allowed him to construct shapes and forms that naturally adjust with a womans contours and movement. His garments showed Yamamotos commitment to creating fresh and new silhouettes through his sculptural cross-examination of shape and material. This mean his clothes were easy and comfortable to wear. Yamamoto believed the essence of a woman is in her joints (Yamamoto). He tested his boundaries of designs by using his techniques of cutting and cut outs which puts him in par with modern couturiers like Pierre Cardin. His creations were rarely cut close to the figure and this was as fundamental component of Yamamotos designs. Yamamotos design philosophy was there should always be some interaction between the body, the wearer and the essential spirit of the designer. His focus was always on the shape of a feminine body when designing and believed, by looking at the clothes someone is wearing, you are able to get an idea of the personality of a person (Duncan, 2007). Kawakubos talent is working with both deconstructed and reconstructed the vernacular of Western tailoring. In contrast with Yamamotos passions for producing functional clothing, Kawakubo deconstructs clothing by disregarding its function. One of the most famous was a dress that had no openings, making it possible to put on. But Kawakubo insisted it could be worn and was offended when told it could only be used as an apron. She focused on using jacket lapels to design halter neck jackets and scarves. Her mens suits consisted of cropped trousers with double- breasted sports jackets with shawl collars and bleached classic checked fabrics. She challenged the concept of fashion having to be beautiful by slashing and shredding her silhouettes while other designers were cutting and draping theirs. Her habit continued onto adding more than two sleeves to a shirt and turning shapes upside down or inside out, baffled the fashion world but turned her into a pioneer of her stream. Many of her cl othes are also designed to be worn in a variety of unconventional ways. This pushes the boundaries between occasion- specific wear and everyday wear to end (Quinn, 2002). Yamamotos gift was combining traditional Japanese garments, with the use of both the kimono and the obi combined with Modern Western Fashion everyday wear clothing. By creating classical garments which were both sensual and appealing. In his spring /summer 1993 collection, he experimented with new fabrics using the Thai and African fabrics. His designs always stressed the importance of raw materials, enabling him to learn and discover different tones and textures in his work. While he often engaged in working with new fabrics, Yamamoto also used natural fabrics like linen and Herringbone woollen fabrics. While he often said oriental fabric was boring and dull, In Yamamoto 1995 Spring/ Summer Collection he was able to counter this by creating a kimono from exotic flowing gowns inspired by the Japanese art of dying fabric. Through the commonly shared ideas and presence of Yamamoto and Kawakubo on the international catwalks, at first appeared to shake the foundations of the established fashion capitals but in reality have reinforced the supremacy of fashion. Participating in the international fashion catwalks earned them the social, economic and symbolic capital that enabled them to differentiate themselves among other Japanese designers. Kawakubo and Yamamoto have continually put forth their ideas which, in turn significantly contributed and boosted the rise of Japans fashion industry by communicating its visual and artistic designs to the fashion world. Despite their provocative collections, they have revolutionised the industry and paved a way for Japans influence on fashion, easing the path for younger Japanese designers and to a larger extent to the acceptance to Asian designers, in a world previously closed off to them. In respective to the collections, both designers have linked their differing i deas from Western fashion, with the use of Japans rich visual heritage as a foundation for aesthetic, social and political collection of cultures around the world. Kawakubo and Yamamoto runway designs strive towards theatricality, luxury visual and organic movement (da Cruz, 2004). Black is now a palette for day and night wear and both designers have become the leaders of the avant-garde. Today, the dark silhouettes in distressed fabrics common in both designers are worn by women all over the world. Over the past 30 years, Rei Kawakubo and Yohji Yamamoto have proven to the international fashion world with their revolutionary work, proving that Asian designers could be inspiration to others. Cotton dress, Rei Kawakubo Comme des Garà §ons, Autumn/ Winter 1984. Kyoto Costume Institute collection. Photo by Takashi Hatekeyama, courtesy KCI. Felt dress, Yohji Yamamoto, Autumn/Winter 1996. Kyoto Costume Institute collection. Photo by Takashi Hatekeyama, courtesy KCI

Wireless Computing Essay examples -- Education, Teachers

In an attempt to improve the integration of wireless computing, educators and policymakers are reevaluating ways to incorporate technology tools into the grade level performance standards without separating the two educational standards (Collins & Halverson, 2009; Weston & Bain, 2010). Presently, students and teachers at the rural school district under review have the ability to transmit information through wireless technological resources. Francis and Mishra (2008) explained that teaching-learning with wireless computing effectively will demand that classroom teachers are knowledgeable of the security of information. The researchers insisted that teachers need to know about the stored or transmitted information through wireless technology. In addition, teachers will also need to learn the practicality and effectiveness of using such technology for educational purposes. Although both the schools and students possess different wireless technology tools within this southeast rural K–12 district in questioned, the devices are not used to augment new pedagogical strategies due to teachers' technology attitudes, lack adequate training or beliefs (Hayes, 2009). Teachers will continue to be uncomfortable with wireless technology unless their attitudes about technology changes (Hennessy, Harrison & Wamakote, 2010). Teachers' who lack confidence in instructing with wireless technology tools may hesitate to use them (Francis & Mishra, 2008; Teo, 2009). Teachers’ attitudes, awareness, lack of autonomy, lack of skills to assess what wireless technology offers, and technophobia appear to be the primary barriers that hinders teachers from integrating technology into their instructional practices (Hennessy et al., 2010; Ursava... ...udes towards technology and the uses of such technology. In addition, this study will apply quantitative measures to generate numeric quantifiable concrete analyses of the findings (Deeptee and Roshan, 2008; Leedy and Ormrod, 2010). This study attempts to distinguish a concrete analysis between the measurements found and the natural abilities of teachers using available technology during instruction. From those measurements and descriptions, the researcher will design an online support network (OSN) as an instructional resource (Snider, 2009; Hennessy, Harrison & Wamakote, 2010). A professional learning network will assist K–12 teachers with integrating available technology effectively in the classroom. Access to professional learning resources will encourage teachers’ confidence through the use of available technology and help with any possible technophobia.

Deception Point Page 43

Norah took a final look up the incline, grateful for the illuminated pathway home. As she looked out, though, something odd occurred. For an instant, one of the nearest flares entirely disappeared from view. Before Norah could worry that it was dying out, the flare reappeared. If Norah didn't know better, she would assume something had passed between the flare and her location. Certainly nobody else was out here†¦ unless of course the administrator had started to feel guilty and sent a NASA team out after them. Somehow Norah doubted it. Probably nothing, she decided. A gust of wind had momentarily killed the flame. Norah returned to the GPR. â€Å"All lined up?† Tolland shrugged. â€Å"I think so.† Norah went over to the control device on the sled and pressed a button. A sharp buzz emanated from the GPR and then stopped. â€Å"Okay,† she said. â€Å"Done.† â€Å"That's it?† Corky said. â€Å"All the work is in setup. The actual shot takes only a second.† Onboard the sled, the heat-transfer printer had already begun to hum and click. The printer was enclosed in a clear plastic covering and was slowly ejecting a heavy, curled paper. Norah waited until the device had completed printing, and then she reached up under the plastic and removed the printout. They'll see, she thought, carrying the printout over to the flare so that everyone could see it. There won't be any saltwater. Everyone gathered around as Norah stood over the flare, clutching the printout tightly in her gloves. She took a deep breath and uncurled the paper to examine the data. The image on the paper made her recoil in horror. â€Å"Oh, God!† Norah stared, unable to believe what she was looking at. As expected, the printout revealed a clear cross section of the water-filled meteorite shaft. But what Norah had never expected to see was the hazy grayish outline of a humanoid form floating halfway down the shaft. Her blood turned to ice. â€Å"Oh God†¦ there's a body in the extraction pit.† Everyone stared in stunned silence. The ghostlike body was floating head down in the narrow shaft. Billowing around the corpse like some sort of cape was an eerie shroudlike aura. Norah now realized what the aura was. The GPR had captured a faint trace of the victim's heavy coat, what could only be a familiar, long, dense camel hair. â€Å"It's†¦ Ming,† she said in a whisper. â€Å"He must have slipped†¦.† Norah Mangor never imagined that seeing Ming's body in the extraction pit would be the lesser of the two shocks the printout would reveal, but as her eyes traced downward in the shaft, she saw something else. The ice beneath the extraction shaft†¦ Norah stared. Her first thought was that something had gone wrong with the scan. Then, as she studied the image more closely, an unsettling realization began to grow, like the storm gathering around them. The paper's edges flapped wildly in the wind as she turned and looked more intently at the printout. But†¦ that's impossible! Suddenly, the truth came crashing down. The realization felt like it was going to bury her. She forgot all about Ming. Norah now understood. The saltwater in the shaft! She fell to her knees in the snow beside the flare. She could barely breathe. Still clutching the paper in her hands, she began trembling. My God†¦ it didn't even occur to me. Then, with a sudden eruption of rage, she spun her head in the direction of the NASA habisphere. â€Å"You bastards!† she screamed, her voice trailing off in the wind. â€Å"You goddamned bastards!† In the darkness, only fifty yards away, Delta-One held his CrypTalk device to his mouth and spoke only two words to his controller. â€Å"They know.† 49 Norah Mangor was still kneeling on the ice when the bewildered Michael Tolland pulled the Ground Penetrating Radar's printout from her trembling hands. Shaken from seeing the floating body of Ming, Tolland tried to gather his thoughts and decipher the image before him. He saw the cross section of the meteorite shaft descending from the surface down to two hundred feet into the ice. He saw Ming's body floating in the shaft. Tolland's eyes drifted lower now, and he sensed something was amiss. Directly beneath the extraction shaft, a dark column of sea ice extended downward to the open ocean below. The vertical pillar of saltwater ice was massive-the same diameter as the shaft. â€Å"My God!† Rachel yelled, looking over Tolland's shoulder. â€Å"It looks like the meteorite shaft continues all the way through the ice shelf into the ocean!† Tolland stood transfixed, his brain unable to accept what he knew to be the only logical explanation. Corky looked equally alarmed. Norah shouted, â€Å"Someone drilled up under the shelf!† Her eyes were wild with rage. â€Å"Someone intentionally inserted that rock from underneath the ice!† Although the idealist in Tolland wanted to reject Norah's words, the scientist in him knew she could easily be right. The Milne Ice Shelf was floating over the ocean with plenty of clearance for a submersible. Because everything weighed significantly less underwater, even a small submersible not much bigger than Tolland's one-man research Triton easily could have transported the meteorite in its payload arms. The sub could have approached from the ocean, submerged beneath the ice shelf, and drilled upward into the ice. Then, it could have used an extending payload arm or inflatable balloons to push the meteorite up into the shaft. Once the meteorite was in place, the ocean water that had risen into the shaft behind the meteorite would begin to freeze. As soon as the shaft closed enough to hold the meteorite in place, the sub could retract its arm and disappear, leaving Mother Nature to seal the remainder of the tunnel and erase all traces of the deception. â€Å"But why?† Rachel demanded, taking the printout from Tolland and studying it. â€Å"Why would someone do that? Are you sure your GPR is working?† â€Å"Of course, I'm sure! And the printout perfectly explains the presence of phosphorescent bacteria in the water!† Tolland had to admit, Norah's logic was chillingly sound. Phosphorescent dinoflagellates would have followed instinct and swum upward into the meteorite shaft, becoming trapped just beneath the meteorite and freezing into the ice. Later, when Norah heated the meteorite, the ice directly beneath would have melted, releasing the plankton. Again, they would swim upward, this time reaching the surface inside the habisphere, where they would eventually die for lack of saltwater. â€Å"This is crazy!† Corky yelled. â€Å"NASA has a meteorite with extraterrestrial fossils in it. Why would they care where it's found? Why would they go to the trouble to bury it under an ice shelf?† â€Å"Who the hell knows,† Norah fired back, â€Å"but GPR printouts don't lie. We were tricked. That meteorite isn't part of the Jungersol Fall. It was inserted in the ice recently. Within the last year, or the plankton would be dead!† She was already packing up her GPR gear on the sled and fastening it down. â€Å"We've to get back and tell someone! The President is about to go public with all the wrong data! NASA tricked him!† â€Å"Wait a minute!† Rachel yelled. â€Å"We should at least run another scan to make sure. None of this makes sense. Who will believe it?† â€Å"Everyone,† Norah said, preparing her sled. â€Å"When I march into the habisphere and drill another core sample out of the bottom of the meteorite shaft and it comes up as saltwater ice, I guarantee you everyone will believe this!† Norah disengaged the brakes on the equipment sled, redirected it toward the habisphere, and started back up the slope, digging her crampons into the ice and pulling the sled behind her with surprising ease. She was a woman on a mission.

Causes of Teenage Obesity

One of the offshoots of some of the eating disorders is teenage obesity. Obesity is a condition where the fat percentage of a child is over 32% for girls and 35% for boys or when the child's body weight is over by 20% of their ideal weight according to their height. It is not necessarily linked to eating disorders, but eating disorders like Bulimia Nervosa and Binge Eating can be linked to obesity. Also, while obesity can be problem at different stages of life (for example, even a 7 year old child can classed as obese), most eating disorders are related to the teenage years. Obesity amongst children is one of the growing health concerns for parents across the world and this health risk is growing at an alarming rate. Research indicates that most obese children grow up to be obese adults. There are several factors that lead to obesity. Below are some of the key causes of obesity: Physical inactivity: This is one of the biggest causes of teenage obesity. Associated essay: Teenagers and Their Leisure Time With teenagers spending most of their time in front of the television, playing computer games or on mobiles with their friends and lack of interest in extra-curricular activities after school or college and lack of exercise are some of the key causes of teenage obesity. Bad eating habits: Another big reason for teenage obesity is bad eating habits. The surge in the consumption of high fat foods like burgers, chips, fizzy drinks and fries has already been condemned and treated as one of the main causes of child obesity. Genetic Patterns & Family Behaviour: Genetic patterns and family behaviours are also important causes of obesity and it is difficult to separate the two. Whilst the probability of obese parents having obese children is around 30%, it is also true that obese parents often have poor eating habits and condone poor family nutrition, resulting in overweight kids. Chemical or hormonal imbalances: Another major reason for obesity, especially amongst teenagers, is hormonal changes. Teenagers undergo significant hormonal changes as they reach puberty, which could trigger cravings for certain foods or over-consumption of food. Lower metabolism: Some teenagers have the tendency to retain or conserve body energy and this trait is easily visible from early childhood, where growth milestones in a child seem to be much quicker than usual. The first two reasons outlined above (lack of physical activity and lack of proper diet) are the primary reasons for obesity amongst teenagers. As parents, you need o take your teenager's obesity issue very seriously and get medical and professional help if you see your child being unable to partake in any sport or physical activity or if school/college authorities express concern over their weight or feel that your teenager is overweight. In the book â€Å"Solving Teenage Problems†, several tips to deal with teenage obesity have been provided. Along with this the book also touches upon various eating disorders, which can lead to teenage obesity – their causes and tips to solve them.

Mister and Master

Mister and Master Mister and Master Mister and Master By Mark Nichol Yes, mister and master are related, the one originally being a variant of the other. They, and a number of compounds and some associated terms, all derive from the Latin verb magistrare, which means â€Å"subjugate.† Master, which entered the English language from the Old French verb maistrier, came to also mean â€Å"learn all about,† â€Å"become adept at,† or â€Å"overcome.† (It also applies to creating something from which copies will be made.) The Latin noun magister, meaning â€Å"chief† or â€Å"teacher,† led to the use of the word- again, its spelling influenced by the Old French form- to mean â€Å"one in authority.† It now pertains to someone who is or was an exemplar of an artistic or scientific field; a ruler, owner, or employer; a victor or one who has control; a male teacher or an expert artisan or worker; one who has earned a master’s degree; or a commander of a merchant vessel or, formerly, a specialist in navigation aboard a naval sailing ship (see Captain vs. Master). It also refers to devices or mechanisms that control others, or to an original from which copies can be made. Finally, it is a title of respect, though little used today. As an adjective, master means â€Å"excellent† or â€Å"skilled,† or â€Å"dominant† or â€Å"predominant,† or pertains to objects from which others are copied. The adjectives masterful and masterly mean â€Å"indicative of a master,† though some writers prefer to make a distinction between them so that the former is reserved for the sense of â€Å"domineering,† but in prevailing usage they are interchangeable. The adverbial form of the former is masterfully, and masterly also functions as an adverb. The condition of being a master (in the sense of being in control) is mastery. Compound words in which master is the first element (and in which the word’s function is adjectival) include mastermind, meaning â€Å"creative or intellectual organizer† (the word, which at times has a criminal connotation, is also used as a verb in all senses); masterpiece and masterwork, which both describe a crowning creative achievement; and masterstroke, which refers to a clever or otherwise impressive effort or performance. Compounds in which master is the second element (and in which the word functions as a noun) are more common; among them are headmaster (â€Å"head teacher†), postmaster (â€Å"head of a post office†), and taskmaster (â€Å"overbearing boss†). A grandmaster is someone who has achieved the highest level of skill in chess, though in fiction the term also applies to experts in other pursuits, such as martial arts, and as an open compound it pertains to a leadership role in Freemasonry or in a chivalric order. Another compound that has developed additional senses is ringmaster; originally, it referred to the master of ceremonies- abbreviated MC, and emcee is an alternative spelling- who introduces circus performers as they enter the ring. Later, by extension, it acquired the sense of anyone who manages or orchestrates a performance or presentation. Words that retain the middle syllable of the Latin term include magistrate, meaning â€Å"judge,† and the adjectival magisterial, which (like its variant, magistral) pertains to the legal context but also has the neutral sense of â€Å"authoritative† and the pejorative connotation of â€Å"overbearing.† (The similar-sounding majesty is distantly related, from magnus, meaning â€Å"strong.†) Other words derived from magistrare include maestro, from the Italian word for master, referring to music conductors, directors, or composers, and â€Å"maà ®tre d’,† a truncation of maà ®tre d’hà ´tel, meaning â€Å"master of the house† and referring to a restaurant host, as well as mistral, which describes a cold Mediterranean wind. Mister developed as a variation on the use of master as a title, and, like the original, which it superseded in popular use as society became more egalitarian, it has faded from use. (Mister has also been used as a term of direct address when a man’s name is not known to the speaker.) The female equivalent is mistress, which has served as a title of deference, a designation for a governess or teacher, or a euphemism for â€Å"lover†; the dominant sense now is â€Å"female lover of a married man.† (Such social titles and their variations and connotations will be detailed in a later post.) Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:7 English Grammar Rules You Should Know75 Idioms and Expressions That Include â€Å"Break†Writing Styles (with Examples)

How Does Shakespeare Present The Character of Shylock Essays

How Does Shakespeare Present The Character of Shylock Essays How Does Shakespeare Present The Character of Shylock Paper How Does Shakespeare Present The Character of Shylock Paper set in Venice in the late 15th century. Shylock, who is a Jewish moneylender, is trying to make a living in a country that despises him for being Jewish. Before the plot even starts, Shylock is condemned by the audience for being a Jew, and a moneylender. The Christians by religion were unable to lend money and the Jews could basically do nothing else, this made the Christians hate the Jews even more. In Venice there was a great opposition between Christians and Jews, for example the centre of the Venetian community was Christian and around the perimeter of Venice lived the Jews, who were not included in the rest of Venice. Because of their religion, They were portrayed as inferior. The play was a big risk for Shakespeare to take as it showed the prejudice towards the Jews. If his play portrayed Jews too well so that it offended the queen or if any of the audience took offence it may have cost him his life. But cleverly Shakespeare captured understanding and sympathy from the audience towards Shylock. In act 1, scene 3 where Shylock first appears, his first line in the play is Three thousand ducats. We can look at this sentence in two ways; as a cold, greedy man only interested in his money, or as a man making a living at one of the only jobs available for him. Most of the time he fits the cold, greedy character more, because he makes such a big point about locking up the house and really gets annoyed with his daughter for failing to. But then occasionally we see a streak of a man whos lost the person he loved the most, his wife, and whos heart has hardened only by the hate shown towards him. From this manner of his, now Jessica, his only family member is ashamed of him; To be ashamed to be my fathers child. He ends up by striking his daughter, reducing her to tears, making the point of how locking up his house and protecting his possessions are very important. These extreme actions portray him as a man so scared of the outside world and mistreated so much that he feels its necessary to hurt and disrespect the only family he has so as to emphasise the importance of protecting what is his. As Jessica, his daughter, elopes with Lorenzo, Shylock earns pity from the audience when Bassanio is told that, My daughter is my flesh and blood, meaning that by taking her, a part of him has been taken too. But still, in Jessicas defence, her father needed to learn from his harsh actions towards her. When he discovers his daughters disappearance, he screams in rage, finally letting out a deep emotion which we thought Shylock never had, My daughter! O my ducats! O my daughter! Fled with a Christian! Only Christian ducats! . This speech of his could have earned a lot of sympathy from the audience if he didnt mention the ducats. He had compared his own daughter to money, demonstrating that he thought of his money as important, if not more important than his daughter. Which once again outlines this stereotypical, greedy Jewish figure. But the most distinguished sympathy cry in the play is Shylocks famous plea for equality in Act three, Scene Five, which victimises him and lets us see him in a whole new light; Whats his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands organs, dimensions, senses, affections, passions fed with the same food, hurt with the same weapons. This equality speech is meant to soften the audience towards Shylock, even if it is only momentarily, since he proceeds to carry out his bond in which hes able to legally commit murder to Antonio. The court scene is Shylocks only chance for some justice, if only as a way of revenge for how he has been treated all his life. The court is very biased from the minute Shylock is ordered in by the judge; Go on, and call the Jew into the court! . Thus, Shylock is having an unfair trail. He is being judged in a Christian court, not a court of law. Shylock had lent Bassanio three thousand ducats in order that Antonio would pay him back within a month. Antonio and Shylock made a bond together that meant that if Antonio could not pay back the money, Shylock could claim a pound of flesh nearest to Antonios heart. Due to Antonios bad luck, he could not pay back the money. Which gave Shylock the right to carry out his bond. Shylock is now on the very point of cutting into Antonios skin when Portia, dressed as a doctor of law, stops him and proclaims that the bond was for him to cut only a pound of flesh. The bond doth give thee here no jot of blood. From this she reveals that there is a flaw in the bond and Shylock is to take a pound of flesh without spilling a drop of blood, which of course is impossible; If thou doest shed one drop of Christian blood, thy lands and goods are, by the laws of Venice, confiscated unto the state of Venice. His own bond has ruined his chances of revenge. He could still kill Antonio, but would then loose everything that is and ever was dear to him. This gave him no choice but to resign from the bond and loose his chance of revenge that he was so sure he would achieve. Shylock is, at this point, I think more humiliated than he had been at any other point in the play. Shylock has his possessions taken away because of the attempted murder of Antonio, who made two conditions of his life: he must, firstly, become a Christian and, secondly, leave all of his possessions to Jessica and Lorenzo in his will. So, besides him being converted to a Christian and humiliated in court, loosing his possessions and daughter, his friend Tubal left him. Shylock is iscolated not only from Christans but also from Jews. In a way it is quite ironic how the one thing that ruined him, is the one thing that he is left with; Christianity. I think Shylock had been sent right to the point of insanity, he had been victimised all his life. And maybe he only acts in such a horrible manner in a reflex to how he had been treated. So, if racism hadnt victimised him then maybe his temperament would be gentler. I think that Shakespeare presented Shylock in many different aspects and it will depend on the eyes of the individual to which side is seen more clearly. I think Shylock is presented as a comical character to some and both victimised and a villian.

How to Write the University of Minnesota, Twin Cities Essays 2018-2019

The University of Minnesota — Twin Cities is a large public university, offering a huge variety of resources across two campuses in two cities: Minneapolis and St. Paul, sister cities that are approximately three miles apart. In the 2017-2018 school year, UM – Twin Cities enrolled just over 51,000 students, about 31,000 of whom were undergraduates. UM — Twin cities offers top-caliber research, with faculty including 29 Nobel Prize winners. It is currently ranked #79 on the US News and World Report’s National Universities list and is ranked #30 on the US News Top Public Schools list . UM — Twin Cities typically accepts about 45% of applicants; accepted students’ average GPA is 3.78 and their SAT scores average a 1360 composite. UM — Twin Cities requires supplemental essays only for specific majors. Prospective dance majors and mortuary science majors are required to answer an array of questions specific to their field. Responses to all applicable questions must fit onto two double-spaced pages. Dance majors are required to answer three questions: What has brought you to dance? Why do you plan to pursue a degree in dance? How do you imagine the relationship between writing about dance and dancing? Additionally, there is an optional question about diversity, which asks you to explain how you might contribute to, or benefit from, UM – Twin Cities’ diverse community of scholars. Prospective Mortuary Science majors must answer four questions. The first asks about a time when you handled a difficult situation professionally. The second asks for an example of your compassion or empathy making a difference in another person’s life. The third asks for an example of your tact and level-headedness under pressure. The fourth asks you to describe a time when you made an important decision and the impact of that decision on yourself and others. There are also additional essays for applicants to the Freshman Nursing Guarantee Program . These consist of three 250-word essays. One question asks you to explain why you have chosen to pursue a nursing career. The next asks about how your studies and activities have prepared you to be a nurse. The last question asks you to reflect on why the Freshman Nursing Guarantee Program fits your degree and career plans. This question is an intentionally broad starter question: the admissions committee is giving you the chance to open your two-page response with a â€Å"thesis† of sorts about your deepest motivations or most personal connections to dance. While you can–and should–include specific stories or the timeline of your dance discovery in your response, you should begin by taking a step back and consider your high-level strategy. Also, keep in mind that â€Å"brought you to† can be interpreted in two ways: in a strict sense, as the literal thing or person that introduced you to dance; or, more broadly, as the thing that really made you passionate about or committed to dance. Your essay ideation process should include three basic elements: Below, these steps are outlined in the order they are listed above. However, these steps can be somewhat modulated. Some writers will already know that they want to tell a story–for example, one about how their older sister introduced them to dance. Other writers might have a clear idea of how they’d like to open but need to think more about what their underlying thesis might be. What really matters is completing all three points before you begin writing. This is the theoretical core of your essay: the essential information about you that you want to make sure your readers understand. This thesis, however, is not something that you will necessarily write as a â€Å"topic sentence† at the end of your paragraph. Instead, your thesis is something to guide your thought process as you plan your essay so that you have a clear idea in your mind of what you are trying to get your reader to understand. Of course, some writers will include more explicit thesis statements than others–and that can work well.   However, for planning purposes, you should think of your thesis as something that you want the reader to understand from the story you tell . As you might have already guessed, if you’ve had some experience with college essays, this means showing not telling (more on this later!). Now, how do you actually come up with a thesis? Try responding to a slightly different question from the one that the prompt asks. Ask yourself: what do you love about dancing? Or, what is meaningful to you about dance? The answer to these questions is, ultimately, what your essay should convey. This thesis could be something very simple: dancing makes me happier than anything else. Or, it could be a little more complex: dancing makes my mind and body feel connected. It could also be more external: dance is a language that allows me to communicate my experiences with others, and understand their pain and joy. Before you figure out what structure your essay will take, you need to consider what anecdote, story, or example you can use to show the reader your thesis. At this point, you should feel free to dive into your early memories of dance, or even more recent ones that you feel really crystallized your love for the art. Do you have just one moment you want to share or a few different memories? Is there a particular person who introduced you to the world of dance? With each anecdote you consider, ask yourself, â€Å"Can this convey my thesis? If so, how?† Thesis: Dance has allowed you to find a sort of inner peace. Anecdote(s): For a thesis like this, you likely will need to convey some sort of change over time. You could open with a story about your early childhood; perhaps you were tempestuous in elementary school, struggling to acclimate socially or academically. Pick a specific â€Å"moment† from those days to illustrate these tendencies–this could be a classroom argument, a test you did poorly on, or a moment when you felt left out. Then, you could describe your first dance class, contrasting the peace you felt with your instructor and peers Thesis: You were able to work through personal hardship with the help of dance. Anecdote(s): To show the reader this thesis, you’ll need to think of a specific time that dance really helped you through hardship. For example, you could discuss how you processed a parent’s sickness or a difficult relationship by pouring your emotions into dance. Perhaps before this, dance was merely a hobby for you. Use a detailed depiction of this painful experience–and how you danced through that pain–to show the reader how dance became more than just a hobby for you, that is, to show how this experience â€Å"brought you† to dance as a true passion. The particular anecdotes you choose, along with your thesis, will ultimately determine the length of your essay. If you want to simply articulate how happy dancing makes you, then telling a short story about the first time you felt that pleasure might be the perfect choice. If you want to explain how you’ve learned to communicate through dance, your narrative might need to involve a few anecdotes that show this progression. The key is to center your essay around a â€Å"moment† or â€Å"moments† that depict the core of what dance means to you, and what has made you choose it as your major. This prompt asks a more concrete version of the question asked in the first prompt. This actually will make your response to this second prompt easier, since you will have already touched on the deepest reasons why you love to dance. Now, you have a chance to build on that initial response with a practical description of your interests in a dance degree. There are three main approaches that you can take to this prompt: Of course, there can be endless variation and intermingling in these broad buckets. However, these categories can be a good starting point for brainstorming as you consider what approach to take to this essay. If one of these categories speaks directly to you, it can help you define the approach that you’ll take to this essay, which will help you focus and expedite your drafting process. Take a step back and ask yourself: What goals will I fulfill by earning a dance degree? Some of these goals are likely too general or too random to fit cohesively into a focused essay for a specialized program (for example the general satisfaction and usefulness of having a college degree or the excitement of getting to tell people you studied dance). Other goals, though, will link to one of the broader approaches mentioned above. Perhaps you want to help people express themselves; perhaps you want to teach dance; perhaps you want to direct arts programs in your community; perhaps you want to become an academic who studies dance, too; perhaps you want to study something you are truly passionate about. Though you’ll likely think of a number of goals, you should choose just a few that fit well together. For example, teaching dance and promoting arts could easily be synthesized in one essay–however, it might be too much to try to thread together aspirations to pursue a formal academic career, a career as a dance teacher, and a career as an arts program director. Once you’ve come up with a goal, you need to explain how this particular program can help you achieve that goal. This will require doing some research into the program’s offerings and requirements. Find specific resources, and explain how those resources, part of a dance degree, will enable you to reach your goal. If you want to become a dance teacher, you should mention specific pedagogical resources available through UM — Twin City’s dance program. You could discuss how the practical aspects of the program (actual dancing) will refine your own technique and personal experience of dance instruction; then, you could transition to discuss how the theoretical aspects of the program would give you a rich understanding of dance’s history, thereby enabling you to give your students an appreciation of their art’s significance and potential. If your goal is to help others express themselves, you might acknowledge that you won’t necessarily stay in the â€Å"dance world† forever. Therefore, you might identify particular aspects of the program (courses, internships, talks) that focus on how dance can facilitate broader personal expression. In an essay focused on a broader goal like this, your overall approach should be to focus on the skills and knowledge that this program provides, describing how these skills can be transferred to domains beyond dance. The purpose of this question is pretty straightforward: you are applying to an academic program, to receive a degree in dance. This means that you will not only be dancing, but also doing scholarly work on dance–that is, theorizing about dance, reading about dance, discussing dance, and writing about dance (and, of course, dancing). For many applicants, this will be new terrain. Most high schoolers do not take academic courses where they get to discuss and write about dance (or any arts) in-depth, from a theoretical and analytical perspective. The admissions committee knows that you’ll likely be jumping into something new: combining two parts of your life that might have been separate up to this point–your academic endeavors with your passion for dance. They want to hear your best argument for why you’re prepared to merge these two spheres. Of course, this question isn’t phrased as â€Å"Convince us you can write about dance, and that you want to do it, too†Ã¢â‚¬â€œthe use of the word â€Å"imagine† in the prompt invites you to be a bit creative, too (even though you absolutely should convince the reader of those things). So with this baseline approach, how do you proceed? A good first step would be to familiarize yourself a little bit with the sort of writing and reading on dance that you’ll be required to do in this program. This means reading through course syllabi, skimming scholarly articles or more general pieces on dance, and thinking about which strategies and approaches to writing about dance you find to be meaningful and effective. If you’ve already written extensively about dance, or are familiar with formal and informal writing on dance, you might be able to skip or truncate this step. Then, as you consider both any experience you have writing about dance and others’ writing on the topic, ask yourself: What do I like? Why do I like it? How does writing help me understand dance? What relationship do I see between writing and dance? Note that my suggestions so far assume that your focus will be on writing about dance . However, keep in mind that the relationship can also go the other way: you can talk about how writing (potentially not directly about dance) inspires your dance or shapes your understanding of dance. However, keep in mind that your response should touch on the more analytical aspects of writing about dance, since (as mentioned above) this will be a component of your experience as a dance major. Once you’ve developed an answer to this question, it’s time to come up with a thesis. At this point, you should come up with a clear â€Å"thesis† in answer to the prompt. Here are a few example theses: Once you’ve developed a thesis, try to think of concrete examples of either how you’ve already experienced this relationship or of how you imagine this relationship will play out in your future. If your thesis is focused on explaining your love of dance through writing, you could tell about a time that you wrote a piece in your school paper describing a performance, in hopes of encouraging your peers to come, but also just to share your art form with them. If your thesis is focused on sharing the power of dance with the general public, you could describe, using specific examples, your ongoing frustration with the low attendance at local dance performances. Then, you could describe–again, using specific examples linked to the problem you identified–how you believe more writing on dance could encourage both academics and the general public to take dance more seriously. Avoid an overly-theoretical, impersonal response. With a somewhat abstract prompt like this, it’s far too easy to write a response that’s replete with broad statements and about writing and dance–but includes no concrete examples.   Take care to not make wide overgeneralizations about dance and writing (â€Å"Writing has long allowed non-dancers to understand the mysterious world of dance†¦Ã¢â‚¬ ) and avoid obvious, broad comparisons between the two (â€Å"Writing and dance could not seem more different–but, in fact, they are both art forms†¦Ã¢â‚¬ ). Your response should certainly have a strong theoretical component, and can even reference other writers, dancers, or thinkers. However, this broader thesis should be conveyed as your personal view (remember, the prompt asks â€Å"how do you imagine†), and substantiated by personal experiences and examples. As is almost always the case when it comes to â€Å"optional† college essays, this essay is not really optional. You should view every essay as a precious opportunity to share a little more about yourself. There are only two reasons not to write this essay. First, remember that you’re limited to two double-spaced pages for all your responses. If you need every line for your major-specific essays, skipping this one would be acceptable. Second, it’s better not to respond to this prompt than to write something tone-deaf or downright offensive in response (more on that later). This prompt is a classic example of the â€Å"diversity question† that a number of universities now include in their applications. The intention is to get a sense of how you think about diversity–and, more importantly, how you will engage with your peers in an unfamiliar environment populated by people who are different from you in myriad ways. Your goal should be to: thoughtfully convey (1) your appreciation for and understanding of diversity, along with (2) your practical knowledge of how to navigate and grow in/contribute to a diverse environment. You should begin by considering whether you want to focus on what you’ll contribute to, or what you stand to gain from, a diverse community of scholars. If you come from a group typically underrepresented in higher education, your angle on this essay might be somewhat easy to find. For example, most college campuses have very low numbers of Native Americans enrolled. If you are of Native American heritage, writing about your own experiences and traditions and how you could share those with your peers could be very powerful. After all, it’s almost guaranteed that the very grounds students will walk on each day were once trodden by Native Americans–as such, there are a number of points you could make about the value of adding this underrepresented historical perspective to the campus community. (Note that, for this particular example, your heritage should be verifiable, preferably through tribal membership, not just speculative. Many families have stories about Native American ancestors, which, though powerful for that particular family, do not meet institutional standards for claiming a Native American identity, and, in a drastic case, might make it look like you’ve misrepresented yourself.)    If you don’t have an obvious â€Å"diversity hook,† there’s no need to worry. Take a step back and consider how you fit into your community, who you enjoy interacting with–or even any â€Å"blind spots† you have. A carefully-constructed essay focusing on a non-traditional type of diversity (are you the only literary geek in your STEM-focused school?) could work here, though you need to be careful not to write an essay that implies that you misunderstand or undervalue â€Å"diversity† in the more traditional sense of the word. Excellent responses on this topic also can address the self-awareness that you haven’t experienced much diversity yet. Do you attend an almost all-white, single-gender private school, where most students are from similar economic backgrounds? You could use a detailed description of this environment as a jumping off point to describe your eagerness to experience a more diverse setting and your awareness of how much you have to learn. Keep in mind that, in a case like this, you shouldn’t strive to put down your current environment, but rather to express an eagerness for new experiences. No matter what your level of diversity or experience with diversity, there is an â€Å"angle† for you here. The key is to ensure that you make it clear that you understand the value of diversity and have something to contribute to or learn from it. This means that the only â€Å"wrong† answers are answers that woefully misconstrue diversity (i.e. focusing myopically on your own feeling of being â€Å"different† without drawing broader connections to the myriad ways that people in college will be diverse) or discount its value. Like most essays, your response to this prompt should have a strong thesis–that is, a central theme that guides your writing, and a main, high-level claim that you want to convey to the reader, even if you don’t explicitly state it. Note that this is not a typical five-paragraph high school essay, so this thesis does not need to be stated at the end of your introductory paragraph. After you’ve thought about how you engage with diversity, take a step back and state, just for your own â€Å"framing† purposes, what you think your thesis should be. In this process, you should decide whether you want to focus on â€Å"contributing to† or â€Å"benefitting from† diversity–or both. Here are a few strong examples of experiences you could draw on and theses you could develop from those theses: Sentences like these should not necessarily be included in your essay. These thesis sentences are not statements to be inserted in your essay . Rather, they are the guiding principle that could build a strong essay. Once you’ve developed this thesis, you can begin outlining and drafting your essay This response will likely be fairly short, but you should still start off with an outline. As usual, the best way to convey your thesis is to â€Å"show not tell,† so begin thinking of an example or anecdote that can show your experience with or perspective on diversity. For the first example thesis given above, this could mean describing a policy discussion that the writer has had with his/her friends, in which he realized that, though they offered intelligent thoughts, they all shared the same experience/perspective. For the second example thesis given above, this could mean describing a moment during football practice when the writer was reminded of his different ethnic identity by a well-meaning, but perhaps inconsiderate, teammate. Examples like these usually works best near the start of the essay, though they certainly can be integrated throughout. Next, consider how you’ll frame your example: perhaps you want to use it to introduce the reader to your relationship to diversity; perhaps you want to use it to elaborate on a point later in the essay; perhaps you want to use it to close out your essay with a powerful image. Once you’ve decided how to use your example(s), you can begin to flesh out the rest of the outline. What other crucial information do you need to convey? Specific information about what you want to learn in college? A particular perspective that you hope to share with others? Carefully consider how this information will interact with your example, and then structure your outline around this relationship. Once your outline is done, you’ll be ready to start writing! Submit your essay and we’ll get back to you with helpful edits. Mortuary Science is a specialized program for those who want to dedicate their lives to helping others through the loss of a loved one. Committing to a life path like this in high school is not something to take lightly, and requires a certain serious, professional character that, frankly, most students will not sufficiently develop in high school. As a professional in this industry, you’ll need to deal with incredibly difficult situations on a daily basis–situations that aren’t about you, but rather about the family has suffered a loss. This will require professionalism, empathy, but also stoicism: your job will not to be to weep with the family, but rather to remain steady throughout emotional turbulence. This reality informs all of these Mortuary Science prompts: their purpose is to test out your maturity, professionalism and thought process, to see if you have the instincts and learned character traits necessary for such a delicate, emotionally demanding career. This does not mean that you need to pick examples of times that you comforted friends or relatives who had recently experienced a personal loss. However, you should focus on specific examples of times that you remained cool (yet caring), decisive and compassionate, in situations of stress and emotional difficulty. The above points apply to all four Mortuary Science prompts. In the case of this particular prompt, note that the focus is on professionalism. This means that you should begin by thinking about your understanding of professionalism, particularly in the context of dealing with customers/clients who are in the midst of a difficult experience. Note that, for this question, an example from your family or personal life might not be a good fit, since it is not typically very appropriate to treat close family and friends with â€Å"professionalism.† Note also that this prompt asks about â€Å"a time,† which means that they are clearly looking for a concrete, detailed description of a single example. While it might be tempting to offer a smattering of stories to show how professional you are, resist this urge: in general, it’s better to focus on quality, not quantity in college essays–and when the prompt explicitly asks about a time , you should absolutely adhere to this guideline. With this basic understanding in mind, it’s time to dive in and choose a particular example. Aside from the basic guidelines I’ve listed above–sticking to just one example, not choosing personal or family scenarios–there’s a lot of leeway in terms of what example could fit. In fact, it’s not so much that the example itself matters. What really matters is what you do with it–which we’ll get to next. With that said, try to start by considering your professional experiences. Do you have a job? Or have you held an internship or research position? If so, these are natural scenarios where you’ve likely had to stay professional in the face of some sort of challenge. Here are some examples of scenarios you could choose, and what aspects you should focus on to best tailor your response to the prompt: Luckily, with a prompt like this one, most of your work will be done once you’ve picked and developed your central example. All that’s left to do is to write the essay, which should take up about  ¼ of a double-spaced page (a fairly short essay). This means that you’ll need to really dive in and show not tell . Focus on giving basic background information to orient the reader as part of your description . Don’t waste words on summary sentences (â€Å"Last summer I worked at a local print shop, in a managerial role†¦Ã¢â‚¬ ). Instead, dive right into the example and incorporate details that make this context clear (â€Å"As I walked up to the print shop where I worked, I heard a noise†¦Ã¢â‚¬ ). Your focus should be on (1) concisely depicting the difficulty of the situation, (2) concisely depicting how you managed your own feelings and deliberately chose which actions to take and (3) depicting the outcome (as applicable). The overall purpose described above, for the first Mortuary Science prompt, applies here. Keep this in mind as you move forward with this essay. This essay is, similarly, asking you to pick a particular example–in this case, an experience that shows your compassion and empathy. As the prompt indicates, the key here is to convey your ability to sense and respond to others’ emotions–not just in an abstract way, but with purpose and action that â€Å"made a concrete difference.† Like the first prompt, this prompt will require a concise, focused response that centers around your depiction of a particular anecdote. As such, your main task will be choosing one specific example. For this question, it’s fine to consider more personal examples–in fact, the strongest responses are likely to be about times you comforted and helped those close to you, though a discussion of a time when you showed compassion and/or empathy to a stranger could also be very effective. The key is to come up with an example that both shows your feeling and ability to respond to others and shows the efficacy of that response. Many people try to reach out to and help others, but this prompt is asking for something more: evidence that you can actually make a difference to those in pain. Here are a few examples of potentially strong responses: Much like the first Mortuary Science prompt, this will be a relatively simple process once you’ve chosen your central example. As much as possible, strive to â€Å"show not tell.† Be sure that you hit on the following points: (1) Offer sufficient background to make sure the reader understands the severity of the situation, and why you felt a need to intervene; (2) offer a specific depiction of your thought process–that is, how you put yourself in someone else’s shoes in order to consider how to best help them (this is how you show your compassion/empathy); and (3) offer concrete examples of the concrete impact that this had on the other person . The high-level logic behind this essay is much the same as that of the first two essays. Your main goal here is to relate one particular scenario in which you stayed calm under pressure. This prompt is, actually, quite similar to the first prompt, since a large component of â€Å"professionalism† is staying calm and collected no matter what you face. As such, you should strive to pick a different kind of example for this prompt. Rather than focusing specifically on a professional situation, try to think of examples from new areas of your life, that you haven’t covered in your first two responses, which can illustrate more than just your professional sensibilities. Here, you have the chance to take the reader a little deeper and show your overall temperament and general conduct in wider areas of your life.    With this in mind, consider what areas of your life you haven’t yet covered with the examples you’ve given so far. You can broadly think of the different areas of your life as work, academics, extracurriculars, personal life, and miscellaneous. If you touched on work in your first example and your personal life in the second, then it might be a good idea to think about your academics, extracurriculars, or miscellaneous experiences. This last category could include travel experiences, artistic or performance endeavors, or unexpected crises. Note that it’s also OK to pick an example from a category you’ve already covered, too. The key, however, is to make sure that your example doesn’t feel redundant. Two examples of work crises or two examples of times you’ve comforted a loved one will â€Å"show† the same dimension of your character, and so won’t be an optimal use of the limited space you have. Here are a few examples of a good potential instance, and how you could develop each one: As in the first and second essays, once you’ve chosen your example and thought out how it fits each aspect of the prompt, you’ll already have done most of the hard work. The key here is to write your essay in a way that zooms in on the â€Å"moment,† showing the reader: (1) your tact, (2) your level-headedness, and (3) the positive results that came directly from those two attributes. Many of the principles that applied to the first three essays apply here: you need to zero in on one particular moment to answer the prompt, and you should be focused on how your example reflects on your ability to pursue a mortuary science-related career. However, this prompt isn’t trying to assess traits like professionalism, compassion/empathy, calm under pressure, or tact: it’s trying to assess your decision-making ability, particularly under pressure. It’s useful to consider why this matters for prospective Mortuary Science majors before we move on. Firstly, there is the â€Å"meta point†: you’re making a big decision at a young age by choosing such a specialized major. The admissions committee wants to see an example of your ability to make weighty decisions; essentially, they’re trying to assess whether or not you have the awareness of what constitutes a weighty decision and the experience in making weighty decisions that they deem necessary to make one here–that is, in the weighty decision of choosing your major/career. Secondly, the admissions committee is trying to assess your ability to make decisions that impact others. As a mortician or funeral director, you will regularly be confronted with choices that impact others–particularly those in a vulnerable state due to the recent loss of a loved one. The best way to convince your reader that you’re both prepared to make this academic/career decision for yourself and to make potential decisions for future customers is to choose a strong example. There are two major pitfalls here to avoid. The first is picking an example that is too trite or immature. If you choose to describe a time that you picked out a birthday gift for a friend or a color to paint your room, you likely will give the impression that you really don’t have the serious decision-making experience necessary to enter the program. The second pitfall is that you pick an example that either only impacts someone else or only impacts you. The key here is to pick a â€Å"two for one† example, as the prompt asks: one that had tangible impacts (that you will discuss in your response) on both you and someone else. Try to think of decisions that you’ve made that you feel have shaped your â€Å"life path† or seriously altered someone else’s experience or worldview. Needless to say, these examples should, generally, be of â€Å"good† decisions, though some â€Å"mixed† examples–that is, a time when you made a choice that had a combination of positive and more negative results–could also work in some scenarios. Here are some strong potential topics, along with explanations of how they would need to be tailored to fit the prompt: As before, once you’ve chosen and worked through an example to fit it to the prompt, your work will be almost done. As you write, be sure to â€Å"show not tell,† and to hit these three points: (1) Provide the context that shows the importance of the decision; (3) show how it affected someone else. This question, like most questions for specialized or guaranteed-admission programs, is intended to assess your commitment to a difficult, long-term path–as a high school senior. As such, your primary focus here should be to convey, with concise focus and concrete examples, your commitment to and passion for this path. Furthermore, in such a short space, it’s crucial that you remain focused. There might be a million reasons that you want to be a nurse–and that’s great! Just don’t list them all here. Your reader won’t assume that this response is an exhaustive list of all the reasons you want to be a nurse–instead, they’ll assume that you’ve chosen one or two of the most compelling experiences you’ve had to illustrate the core motivation behind this aspiration. This brings me to the final important thing to note: With why -driven essays, your focus should be on digging beyond basic explanation. Try to show not only the experiences that have inspired you but also what your deepest motivations and aspirations are. What drives you? What makes you tick? What do you aspire to do with your life? Use specific examples to offer insight into these important, deeply personal questions, even as you explain why you want to be a nurse. Though strong responses will have an abstract/aspirational dimension, your response should still be grounded in concrete examples. This means that your writing process should still begin with some brainstorming as you search for concrete examples. Think back: is there an obvious experience that made you go â€Å"Aha! I want to be a nurse?† Strong experiences to focus on can include: The experiences you choose to depict should be vivid and meaningful enough that you can offer a brief, but detailed, description that shows the reader how they impacted you. As such, a brief glimpse of a nurse on a break from work or an impression you got from watching a TV show might be too superficial to develop as an experience that â€Å"shaped your decision.† One note of caution: Note that the next prompt asks about how your â€Å"studies and activities† have prepared you for a career in nursing. This means that you’ll get a chance later to focus on specific academic or extracurricular things that have given you the skills and knowledge to dive into nursing studies. Here, your focus should be on motivations and interests, not preparation. Once you’ve chosen your example, take a moment to consider what this experience touched in you. Was it your desire to help others? Your anger at the suffering in the world? Your fascination with biology and the mechanisms of the human body? These sorts of more abstract motivations are what, ultimately, will provide a deep, satisfying answer to this question’s â€Å"why.† However, you need to â€Å"pull† these sorts of deeper points out of your examples. A strong response will seamlessly interweave introspection/deeper reflection and concrete examples. In order to plan your essay, you should consider the relationship between your motivations/interests and the example(s) you’re giving. It’s sort of a â€Å"chicken and egg† question, but your job is to decide which came first. This is a fairly straightforward question. However, as with the previous question, the key here is to not go overboard. Your focus should not be to exhaustively list everything that has prepared you in any way for a career in nursing. Instead, pick 2-4 specific academic and/or extracurricular activities to discuss. Crucially, this should not just be a list: for each example, go into detail. Explain what specific skills or information each experience you cite has given you; explain how this has prepared you to become a nurse. This essay should cite specific studies and activities, so your first order of business should be to pick which studies or activities you want to discuss. However, your examples shouldn’t be chosen just because they â€Å"seem† like the good nursing prep. Instead, try working backward. First, think about what skills and knowledge you have that would make you a good nurse. Then, think about how you acquired these competencies. Whatever comes out of this last reflection will be a potential â€Å"study or activity† to include in your response. Given the framing of the prompt, however, you should try to focus on clearly defined things, like courses or extracurriculars, rather than on personal experiences. Importantly, avoid choosing redundant examples. Each course or activity that you describe should touch on a different aspect of your preparation. Once you’ve chosen your examples, the key is just to weave them together. The key, however, is to make sure that for every example you give, you do three things: (1) Explain the study experience activity in some detail; (2) describe what skills or knowledge you gained; and (3) explain how this has prepared you to become a nurse. If several of your examples do show similar knowledge/skills, you can group them together. If your examples all feel quite disparate, that’s fine. Each paragraph can focus on a different skill/area of knowledge–just be sure that all three components (example, detailed description, and explanation of how this will allow you to be a good nurse) are present. Then, try to add transitions and tie all your examples together in a strong, specific, personal conclusion. First, a note about what this prompt is not asking: This prompt is not asking you to explain why you want to be a nurse (you’ve already done that, hopefully, in your first response!) or why you like the University of Minnesota in a broad sense. This is a very specific question about why this particular program fits your degree and career plans . Given this, your response should contain three elements: (1) A statement of your career and degree plans; (2) a reflection on key elements of the University of Minnesota’s Freshman Nursing Guarantee Program; and (3) an explanation of how these elements facilitate the achievement of your plans). These elements can be combined in different ways, but all strong essays will contain all three in some form . Unlike most essays here, this one doesn’t require the incorporation of specific examples, though you might end up giving specific examples of what you aspire to do with your life. Instead, you should begin stating your goals. What undergraduate degree do you want to get? What do you aspire to do with your nursing degree? Note that you need to go beyond â€Å"I want to be a nurse† as your career plan–this is already self-evident. Instead, you should explain the particular kind of nursing you want to practice, or, more abstractly, the kind of impact you want to have on your patients. Furthermore, you might also mention aspirations beyond simply working as a nurse: perhaps you would like to eventually advocate for better nursing practices on a policy level, or work in a more managerial or administrative role in a hospital. Feel free to be as specific as you like here. The more clearly you set your â€Å"targets,† the more focused, personal and powerful your essay will be. Though you are hopefully already familiar with the program, take some time to brush up on its essential features. Identify particular requirements that really fit your goals. Go beyond what is readily accessible on their website’s front page. Try making a list of all the unique features of the program that excite you and that you know you couldn’t find on a regular undergrad-nursing school path. Then, dig a bit deeper. Find specific mentors, courses, labs, etc., that really excite you. Once you have this list, go back to the goals that you’ve defined. Which of these resources fit your goals? Can you draw a line from one particular offering of UMTC’s Freshman Nursing Guarantee Program to achieving that aspiration? This brings us to the final step: explaining exactly how the features of the Freshman Nursing Guarantee Program fit your goals. Remember, the key here is to show how this program will better fit your aspirations than a normal path (undergrad, then nursing school). You should not spend too many words explicitly making negative statements about a â€Å"normal† path–however, you should avoid elaborating on things that a â€Å"regular† path could also provide to you. Want help on your University of Minnesota -Twin Cities application or essays? Learn about our College Apps Program . Want us to quickly edit your college essay? Submit it to our Rapid Review program , and we’ll get it back to you quickly with comments from our expert team.

Overthrow By Stephen Kinzer Essay Example | Topics and Well Written Essays - 1250 words

Overthrow By Stephen Kinzer - Essay Example US Regime Change: Changing Tactics, Causes and Results Stay the Same The first thing one must do to understand the series of regime changes represented in Overthrow is to note the ways and reasons the methods of regime change differed throughout history. The first set of regime changes during the Imperial Era, were marked by a unique combination of willingness to use military force and a frankness about the fact that the United States had in fact orchestrated the changes in power. One can see an example of both principles in the regime change orchestrated in Panama in the early 20th century. At the outset of the 20th century, Panama was a colony of Columbia, and the Columbian government was unwilling to allow Americans to build a canal across part of their country, and rejected a treaty that would have given America the right to build one. In response to this America undertook military action in support of a rebellion it started, including sending warships to blockade ports in Panama. This rebellion, with American military support, was eventually succ essful, leading to a pro-American government in Panama. When questioned about this forceful ousting of the Columbian regime, then president Roosevelt simply said that it was Columbia’s own fault for ignoring â€Å"the plainest warnings† that America would take power if Columbia did not capitulate. This shows the way that in this Era, America was more than happy to use military force, and was so bold to even freely admit it would depose regimes who opposed American interests. Following the close of the Second World War and the outbreak of the Cold War, America had to start becoming more discreet about the ways it took power. During this period, the Soviet Union â€Å"limited [American] freedom of action,†4 because America could not risk undertaking activities which could bring on a Soviet reaction, which could possibly escalate to a war between the Soviet Union and America – a â€Å"cataclysmic† nuclear war neither side would truly win.5 These meant American operations were driven underground – covert operations such as financing opposition rebels or political parties (as Nixon did when trying to oust Allende)6 or secret assassinations (such as the â€Å"several times the CIA has tried to kill† Fidel Castro).7 Following World War II America could no longer openly attack foreign leaders, and could no longer admit to their actions publicly. With the winding down of military tensions and the eventual downfall of the Soviet Union, the major restriction on American military might was removed. The United States responded by engaging in an ever more forceful foreign policy, Probably the first instance of this new willingness to engage in full blown military conflict was the American Invasion of Grenada, conducted in 1983.8 One of the major distinguishing features of Warfare during the era of Invasion was that, though militarily America could once again act with impunity, the ideology of both the world and American

Topic needed Essay Example | Topics and Well Written Essays - 2000 words

Topic needed - Essay Example In the recent TV dramas â€Å"Dollhouse† ad â€Å"Lost† time runs in a non-typical way: it either does not exist due to memory erasing or does not matter due to the crash of civilization. In these challenging circumstances gender identity is shaped in a different way: lacking temporal and social determination gender (feminine) identity becomes problematic and even unpredictable. Creating his â€Å"Dollhouse† Whedon aimed to raise an important philosophical question of the relationships between body representation and identity, and gender identity in particular. He author was always interested in overcoming stereotypical perception of women in his works, and this TV drama did not become an exception. The programs main assumption is that the individuals character can be literally extracted from the person`s body and saved as the information on hard drive. While the remaining hollow organism (which is perceived as a â€Å"doll† as it is devoid of any personality) can be â€Å"imprinted† with a new identity. This mechanism makes the main hero of the series - Echo – a person with no permanent inner self. That is why it leaves her in the space without time, as one of the major characteristic of time perception is development, growth, and change. The concept of such transformation creates a serious question whether a person devoid of id entity, emotions and thoughts can be considered a woman, a human. The main character, the human being which was transformed into Echo, is the one who is real (whose name is different- Caroline) gets stuck in her body unable to make her soul and inner self evolve because her body is used as capsule for other identities. It is interesting the creators of the series realized that the absence of the character`s gradual development was the reason of popularity loss and that this why the series was cancelled. That is why it is possible to suggest that on some deeper level the lack of coherent identity was perceived by

Ethical issues in Health Care Management Essay Example | Topics and Well Written Essays - 500 words

Ethical issues in Health Care Management - Essay Example One of the most baffling and difficult potential causes for ethical issues in the healthcare system is the doctor-patient relationship. Let’s take for example a fictitious healthcare center. In any case the issue of doctor-patient relationship can extend much more in reality and can indulge even the healthcare personnel – nurses, caregivers and medical assistants. We can discover multi-layer ethical issues arising on the grounds of giver-receiver relation. This relationship is radically distinctive in the sense that one has the advantage of possessing certain knowledge and the other is exposed, vulnerable and intimidated to trust. In order to prevent misuse of the giver (medical personnel and doctors) and imposing his dominance over the receiver (the patient) ethic codes and value must be solidly instilled. There are several causes for ethical issues in the doctor – patient model. The first cause is the information availability. We can look at two examples. On one hand due to the nature of the healthcare institution, the personnel is able to extract details from the patient which is any other situation would be considered invasive. Thus, the healthcare institution is obliged to keep high confidentiality to preserve the patients’ rights and privacy. On the other hand, possessing the knowledge allows doctors to withhold sensitive information in order to protect the patient. A fine line needs to be created and ethical codes in healthcare centers try to achieve the ethical violations. Klugman and Dalinis (2008) give a distinctive commentary on the healthcare issues and practices in the rural areas and how they differ from the urban settings. They comment that rural practitioners are physically placed in small, closed communities where socializing with their patients is necessary outside of the healthcare center. Residents in the rural areas have different

Criminal Justice Essay Example | Topics and Well Written Essays - 1000 words - 6

Criminal Justice - Essay Example Prior to the arrest, a magistrate who has no interest in the case has to have given permission for the warrant to be issued. This ensures that the arrest is supported on a legal foundation. The next step after the arrest is booking the suspect. In this process, the individual is fingerprinted, photographed, and expected to provide personal information. In cases where th charges include the abuse of alcoholic substances, the suspect can be allowed to enroll in a suitable diversionary program like that of alcohol rehabilitation (Spano, Freilich, & Bolland, 2008). In such cases, the suspect has to abide by the regulations of the program or continue to the following criminal justice system stage for the continuation of the process of booking. After booking, the suspected person will be given a definite date on which he or she I scheduled to appear before a judge in court. Usually, this will happen in a couple of hours after the arrest. During this process, the suspect is informed of his or her right to be released, prior to the trial date, on his or her individual recognizance. A suspect could also be released when he or she posts bail. It is up to the judge to determine the amount that will be requested in the bail. This decision is often based on the brutality of the crime as well as the suspect’s potential to escape. The judge also considers the criminal background of the suspect before deciding on the amount for bail. In cases where bail is posted, the suspect will be required to provide the court with his or her passport. In the next stage, there is an arraignment hearing in which a judge will determine if a crime was actually carried out and if the accused person could be responsible for it. If it is found that the accused could have committed the crime, there will be an indictment (Spano, Freilich, & Bolland, 2008). On his or her next arraignment in court, the suspect has to enter a no contest, guilty, or not guilty plea. In cases where

Religious Uncertainty and the Cycle of Life and Death in the Poems of Research Paper

Religious Uncertainty and the Cycle of Life and Death in the Poems of Dylan Thomas - Research Paper Example His works, published in his teenage between 1930 and 1934, portray the struggle between crisis of his life, like finding his own identity which is typical of teenage, and himself. His musical writing style was infatuated with the sound and rhythm of words, and their manifold meanings. The richness of meaning often became illogical, and the innovatory syntax depicting celestial and sexual descriptions made his poetry somewhat hard to understand. The themes of religious uncertainty and the cycle of life and death may have arisen from some catastrophic life events, like the marriage of his love and his relationship with his father. When he travelled to London and Wales between 1934 and 1936, the years of publication of Eighteen Poems and Twenty-five poems respectively, he met a lot of literary personalities and started an affair with the poet and novelist, Pamela Hansford Johnson, who later on got married to the novelist C.P. Snow. This incident made Thomas a heart-broken hard drinker. Thomas had always felt a lot of difficulty in writing first-rate poetry and to be considered as a poet (Poetry Foundation). This also led him to plagiarize at times. Thomas started bringing elements of sadness, war, and financial failures in his poetry when he moved to a borrowed house in Wales with his wife. When Thomas married Caitlin Macnamara in 1937, they were impoverished. They moved to Laugharne, Wales and remained there till Thomas died in 1953. The monetary troubles that they encountered, like the recurrent borrowing of lodgings, started overlapping his artistic style of writing. Admirers and critics started seeing a drift in his poetry in which he, then, talked about his love for his wife, child, dwelling, and death. War, which broke out in Europe in 1939, became a noticeable subject of his poetry published in his third book, the Map of Love. However, due to war, the work was a failure. These external circumstances added to his conception of life and death, and religious u ncertainties that showed themselves in his later works. Thomas’s relationship with his father is also of particular interest in understanding his style of writing (Kabra, Mutoko and Mendonca). ‘Do Not Go Gentle into That Good Night’, is a villanelle he wrote in 1945 for his father, D.J. Thomas, who was struggling with cancer. It was a 19-line poem and consisted of five tercets and a quatrain on two rhymes. The first and third lines of the first tercet recurred alternately as a catchphrase finishing the subsequent stanzas, and connected as the last couplet of the quatrain. In this poem, Thomas addressed his own father as he moved toward sightlessness and death. The relationship showed Thomas's philosophical admiration for his father's adamant intellectual autonomy, which was now under control of poor health. Having emotionally moved and agitated, Thomas made himself show his emotions and respect in the intricate structure of the villanelle. His musical writing sty le made the five tercets lead by a quatrain, with the opening and ending lines of the stanza coming alternately as the ending lines of the next stanzas. The recurring lines collected into a couplet at the last part of the quatrain. We see only two rhymes and ten syllables in each line. He talked about wild men, good men, and grave men in this

The Structure and Function of the Endocrine System in the Body Essay

The Structure and Function of the Endocrine System in the Body - Essay Example Release of hormones is slow or fast. Hormone production ceases on attainment of the required physiological activity. The endocrine system regulates almost all the other structures of the body. The circulatory system carries the secreted hormones to all the target tissues and organs. The main function of the endocrine system is homeostasis. Homeostasis is the maintenance of the internal environment at a constant state for proper function of cells. Individual hormones affect cells that contain a specific genetic program that allow them to respond. The secretion of hormones by the endocrine glands causes specific responses that led to corrective measures (Falvo, 2013:374). Endocrine system functions by feedback mechanisms. The hypothalamus releases a hormone that triggers the pituitary gland to produce stimulating hormones. The stimulating hormone acts on the specific gland making it to secrete its hormone (Sherwood, 2012a, p19). When the level of this hormone increases in the blood, the hypothalamus and pituitary gland stop their secretion. The secretion by the target gland eventually stops. The cells contain receptors on the membrane. The hormones bind to specific receptors trough the key-lock mechanism. Polar hormones generate a chemical signal through a second massager because they are unable to penetrate through the cell membrane (Falvo, 2013:378). The second massager activates the response of the target cell. The target cell begins the triggered activity. The non-polar hormones like the steroids enter the cell and bind to their receptors found in the cell cytoplasm. When it gets into the cell, it binds to the receptors on the nuclear membrane. This activates the hormone receptor complex, which in turn binds to the DNA stimulating specific genes to produce proteins. The following are the major glands that integrate for the proper functioning of the endocrine system. They include the hypothalamus, pituitary gland, parathyroid gland, pancreas, ovaries,