No title

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Russian 75

A long, long time ago in an unimaginably horrible place, a peon stared at a decrepit, filthy wall, wondering why and how his life had come to such a disgraceful end. Imprisoned for life, the peon had ample time to think about what he had done and why he had done it; but he could not figure it out. Age crept up on the old peon. It had been fifty years of introspection and profound recollection before the peon realized that he was not at fault for the death of the young girl. The peon decided to recount the events of that tragic day one last time, weighing all possibilities before he was incapable of doing so.

It was a beautiful, summer day, when the high-spirited peon decided to go for a walk in the forest near his abode alongside a gully. Little did the peon know, this particular gully was enchanted. The peon began skipping rocks and was interrupted all of a sudden by a dark, mysterious voice. "You will kill the one of my desire," was the command of the anonymous voice. Petrified yet intrigued, the peon slowly walked toward the voice. The peon came upon a caterpillar as miniscule as a baby's baby toe and immediately began to laugh. Assuming that the mysterious voice came from the caterpillar, the peon laughed hysterically. "What's so funny," the caterpillar intervened. The peon replied, "You are the one who has summoned me. You want me to kill someone of your desire?" The caterpillar stared at the peon without the slightest emotional expression. The peon continued, "And what if I don't?" The caterpillar abruptly laughed and said in a soft but malevolent voice, "Why don't you take a look at what's behind me?" An enormous silhouette arose from the subterfuge of the trees; its shadow enshrouding all the peon could see. The peon trembled in utter fear. The monstrous figure approached the peon, frightening him so much, he entered a state of temporary paralysis. The peon's lips continued to quiver uncontrollably as the monster drew closer until it was within inches him, leaving the peon motionless. The monster leaned down so it could see eye to eye with the peon. The peon was so scared he could not see straight, so he did not clearly see what the monster looked like, which, in retrospect, may have been to his advantage. He knew a monster of that size, power, and evil could have haunted him for the rest of his days. The monster whispered something in an indiscernible tongue. The peon had never heard such frontier gibberish, but somehow understood what it was he was supposed to do.

The monster had cast a spell upon the peon, leaving him in a trance-like state, with no control of himself, physically or cognitively. The peon found himself in a scarcely inhabited, rural village, consisting only of decent and generous people. Although the peon was in the village with only evil intentions and had no communicative skills whatsoever, the villagers welcomed him and took him in. A feast was prepared and a celebration was in store for the newcomer. The peon wandered the village during the party, seemingly aimlessly, but the peon, controlled by the monster, had one thing on his mind death. An innocent little child walked toward the peon. Possessed, the peon could barely determine the appearance of the child, but there was something about the child's soft, sweet voice that was appealing to the peon. He listened intently as the little girl rambled incoherently about the sun, flowers, and other things that made her happy. The peon kept hearing the monster's voice instructing him to kill the little girl simultaneously as the girl was talking. This is where the story becomes unclear. The peon blacks out at this point and awakes in prison. However, for this final recollection, everything that transpired that day became clear. The peon recalled panicking, picking up the child to keep her safe from the monster, and running frantically toward the central district of the village to gather the other villagers in an attempt to prevent the monster from causing any harm to the child. A strange thing happened when the peon did this. The child was fussing and fighting, screaming and kicking as if the peon was trying to harm her. As the peon ran with the child in his arms, the child's remarkable strength and stubbornness allowed her to break free of the peon's grip, as if someone or something had possessed her. The child then fell to the ground, hit her head, and was unconscious, and the peon was blamed. The peon had an epiphany maybe the monster made the child behave in such an unusual way. The peon also remembered the previously insignificant fact that the body of the child disappeared, and she was only presumed to be dead, never officially buried. What could have happened to the body? Was she dead or not, the peon thought to himself. Then it hit him. The caterpillar had a strikingly similar voice as the child when she was throwing a fit when the peon was trying to save her. The peon was outraged. He had spent decades in solitary confinement for no reason. He began to scream. He noticed the wall of his cell crumble somewhat as he screamed so he proceeded to bellow as loudly as he could. The entire wall of his cell collapsed, and the peon was free. The peon was amazed temporarily, but he knew what must be done so he set out for the enchanted gully, hoping that the child was still okay.

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He arrived at the gully to find that it was infested with caterpillars, all with similar voices. The monster had been casting spells on older men, possessing them to either kill or if unsuccessful kidnap the child. After killed or kidnapped the monster could turn the child into a caterpillar making it an eternal slave of his domain (the enchanted gully). The peon did not receive a warm welcome. Every caterpillar screeched to warn the monster of the peon's unexpected arrival. The monster appeared out of thin air, and was bigger and stronger than ever. Its power increased with every man he subdued, and child the subdued man kidnapped or killed. However, the peon was fearless. The monster towered over the peon and stood over him in an attempt to intimidate him. Not a word was said. The monster stood over the peon breathing heavily and the peon stood his ground staring back into the monster's eyes. The peon knew the monster would have to say something witty or frightening before it killed him. As the monster began to talk the peon intuitively removed a sword from a sheath hidden under his cloth apparel and struck the monster what seemed to be its ankle. The monster laughed, and said "You are no match for me, cease your futile attempts." The peon was not discouraged. He continued to strike. The peons relentless attacks seemed to do nothing, and the monster just stood there and laughed. The aged peon eventually grew tired, and stopped attacking. As the peon sat down he crushed several caterpillars and noticed the monster cringed in pain. The peon immediately gathered up what strength was left in him and began stepping on every caterpillar he could find. His sword was flailing as he stomped erratically, almost fortuitously killing more caterpillars. The monster was decomposing more and more with every dead caterpillar and was unable to fight back. The peon did not even bother to look at the monster as he decimated the plethora of caterpillars. It was not long before the monster had decomposed into nothing.

The peon had defeated the monster. Shortly after his victory, the peon's skin began to return to its original state on the day of the encounter with the monster and the caterpillars transformed back into children. The only problem was finding a home and caretakers for the children. There had to be two thousand of them. The peon did a very brave and generous thing. He took the children in; worked day and night to raise every single one of them, and lived to see each one of them become an adult and start a life of his or her own.

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The Killer Angels Paper

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"The killer Angels" my feelings on this book are the same since the first day I sat down to read or look over it. I would have to say that this book was put together more as a way to describe the emotional and psychological aspect of war rather then the actual fighting and killing. This book deals with the struggle of fighting your own friends and family in this war. I also believe it to be an account of the war as tragic and somehow made 'sacred' by the enormity of the courage, suffering, and sacrifice. If you do not win the battle or war was it even worth it?

When I first heard the title "The Killer Angels" on a handout presented to me I had no idea what to expect. The subject to Michael Shaara's book is not at all evident in the title. When I finally got my hands on the actual book itself and read through its chapters is that I realized what that title actually meant. Sharra tells of a war where it is clear that many of its men are almost fighting a war inside themselves to fight a war against there own brothers. I good example of this thought is present in a quote Sharra presented to us in the forward from Robert E. Lee. It says

With all my devotion to the Union and the feeling of loyalty and duty of an American citizen. I have not been able to raise my hand against my relatives, my children, my home. I have therefore resigned my commission in the Army….

With this quote from a letter, it is very clear that Robert E. Lee could not stand the fact that he has to fight against people from his own family and that he has to do it on his homeland. It also sounds as if this war, by many does not even want to be fought. In Monday, June , 186 Chamberlain episode this line explains why many of the men are there fighting.

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Some of us volunteered to fight for the Union. Some came in mainly because we were bored at home and this looked like it might be fun. Some came because we were ashamed not to. Many of us came… because it was the right thing to do. All of us have seen men die. Most of us never saw a black man back home. We think on that, too. But freedom… is not just a word.

With that line in mind it sounds as if many of the men there are not even the least bit concerned with the actual meaning of the war. It sounded to me like a game of "follow the leader". If he goes then I should go as well. This line also in Chamberlain episode makes it sound as if many of the men are new to the meaning of the war or at least confused.

This is a different kind of army. If you look at history you'll see men fight for pay, or women, or some other kind of loot. They fight for land, or because a king makes them, or just because they like killing. But we're here for something new. I don't … this hasn't happened much in the history of the world. We're in an army going out to set other men free.

Since in my perspective many of the men who were brought into the war were not sure why they were there it brought to mind that during and after the war they had to be thinking to themselves "Is this fighting even worth it?" or "Why the heck am I risking my life for this?" In July , 186, episode 5 Longstreet says "They had all died for nothing and he had sent them in." It sounds to me that he fully regrets sending his men in like that. He feels that so many men had just lost their lives for something that might not have even been worth it.

It seems to me that war is blind, pathetic, and absurd as wars must always be. This line is stated in Friday, July , 186, Chamberlain episode

He sat looking down at his bloody leg, feeling the gentle wind, the heat from the south, seeing Kilrain dead on a litter, no more the steady presence. Sometimes he believed in a Heaven, mostly he believed in a Heaven; there ought to be a Heaven for young soldiers, especially young soldiers, but just as surely for the old soldier; there ought to be more than just that metallic end, and then silence, then the worms…

When I first read this line I was almost disgusted by it. It just really hit me the way they must have felt whenever they were injured or one of their collegues is lying there dead next to them. I can only imagine what it was like to wake in the morning happy that you made it through the night alive. All that could have been avoided and that is one of the biggest reasons that I feel war is blind, pathetic, and absurd. Although many are now considered hero's for their acts in war, the disputes that they war was over could have been settled in some other way and the outcome could have been even better then the one that prevailed.

Michael Shaara did a great job in portraying the feelings and emotions of war heroes to the readers of "The Killer Angels". He not only grasped the emotional aspect of the soldiers he was also able to almost dive into their minds and get a physicological view as well. It brought to view how much pain and suffering a soldier goes through for their country and why they are considered heroes.

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Collaboration in Teaching

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Collaboration in today's diverse classrooms is essential if the needs of all students are to be met. Collaboration in teaching today means that teachers share a joint responsibility to teach the students under their care. Due to the many changes in schools today such as inclusion and least restrictive environment, collaborative teaching is able to address the needs of all students, with or without disabilities. Increasingly, teachers are realizing the many benefits of teamwork. Advocates of this method say that collaboration "promotes active learning, critical thinking, conceptual understanding, long-term retention of material, and high levels of student satisfaction" (Unknown, 14). But in order to accomplish these goals and be successful, teachers must overcome obstacles inherent to working with another teacher. They must learn to be more flexible, to focus on each other's strengths, and to maintain communication above all else. Preparation is also key in successful co-teaching. Ideas and concerns should be discussed daily so that students' needs are met. Everyone involved must work to enhance the classroom climate, being careful no to radically change it. Integration of individual expertise in content areas and pedagogy through collaborative teaching produces teachers who are more capable of working with diverse groups of students. Co-planning and co-teaching, when done well, can result in the building of trust between not only teacher to teacher, but student to teacher as well. Other results are a learned flexibility, formation of partnerships, team problem solving, and an amazing ability to meet the needs of all students. Above all, we must keep the faith and believe that what we are doing is in the best interest of our students.

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Ukiyo-e prints

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Varieties of Subject Matter in Ukiyo-e Prints

The Japanese woodblock print has been one of the more fascinating aspects

of Japanese aesthetic expression to western culture. Ukiyo originally was the Buddhist term for the fleeting secular world in contrast with the spiritual reality of Buddhism (Munsterberg 16) though in the Edo period the term was appropriated to designate in particular the red-light pleasure district of Edo, the Yoshiwara. This floating world of pleasure and amusement, often of an erotic type was the setting for a large number of ukiyo-e prints. (Munsterberg 16). Ukiyo-e prints in particular emphasized three primary subjects; the depiction of women and actors, genre scenes of daily Japanese life, and the depiction of nature. This range of subjects is represented by the six great masters of the ukiyo-e tradition, and formed the aesthetic foundation of Japanese printmaking for the next two hundred years.

The depiction of the women and actors of the floating world was the most predominant subject matter among the six great masters of the ukiyo-e print. Kitagawa Utamuro, Suzuki Harunobu, and Torii Kiyonaga were all interested in particular in the depiction of women in the floating world. Each of the three artists whose primary subjects were women portrayed them in a unique style peculiar to their own aesthetic sensibilities, though Utamuro is generally acknowledged to be the greatest artist of womanhood (Paine 66). Utamuro particularly excelled in his portrayal of erotic subject matter; it has been said that he is probably the greatest master of this genre in the entire history of the Japanese print. This however was not the only aspect of womanhood he portrayed. Utamuros women have been said to be more a vision of the artists notion of ideal beauty than of the beauty of any particular women he painted; he portrayed women beautiful as types rather than as individuals (Paine 66). The vision of ideal beauty which Utamuros women exhibited was unlike the typical Japanese girl of the times, women who were tall and slender and who were well aware of their erotic appeal and elegant beauty, which exercised such a fascination over men (Munsteberg 8). The print Mother and Child was one of Utamuros non-erotic prints genre where he portrays the delicate relationship between mother and child. Robert Paine describes his ability such that nor has any other Japanese artist handled the tender relationship of mothers and babies so ably and yet without sentimentality (Paine 67).

Suzuki Harunobu the youngest of the six great masters; his women were characterized by graceful, delicate, willowy beauty (Munsterberg 4). His prints have been described as containing a poetic mood as well as sheer delicacy and charm (Munsterberg 50). This is especially evident in the print Girl on a Temple Stairs Performing an O-Hyakudo Dance where the lyricism and delicacy of Harunobus women is evident, as well as the interplay of a curving figure against straight lines (Paine 65).

Torii Kiyonaga is another of the great masters whose primary subject was the portrayal of women. Kiyonaga depicted tall, stately women who by Victorian writers like Fenellosa were compared to Greek goddesses (Munsterberg 80-1). His style combined realism and idealism, producing a simple grandeur and perfection (Munsterberg 80). Like all of the great masters his women were idealistically portrayed, which perhaps may be attributed to the sense of unreality in the floating world. These characteristics are especially evident in the print The Wind (c. 1780) in the hashira-e style (Takahashi 7). The verticality and simplistic, emotionally neutral beauty of the woman is characteristic of the comparison people have made between Greek goddesses and Kiyonagas women.

Along with the emphasis on the women of the floating world, the kubuki actors who inhabited the Yoshiwara were a subject which was explored by the great masters of ukiyo-e printing. The prints, called yakusha-e (Takahashi 7), were the focus in particular of the great master Toshusai Sharaku. Unlike the masters of ukiyo-e printing who focused on their attentions on women subjects, Sharaku doesnt idealize his subjects; he is a staunch realist. His portrayals of the actors of kabuki theater showing the actor as he actually looked rather than being an idealized portrait of him, they have a truthfulness and psychological depth not usually found in Japanese art (Munsterberg 101). His portrayal of the actors without their usual idealized glamour (Munsterberg 101) angered the public, and this may have been the reason why these prints did not enjoy the same popularity as did the very idealized portrayals of courtesans that Utamuro was producing at the same time (Munsterberg 10). His print The Actor Otani Oniji III is striking for its depiction of psychological depth, in particular anger, which was not often depicted in Japanese art.

Genre scenes were another important subject matter among the great masters of ukiyo-e printing, particularly in the work of Katsushika Hokusai. Though Hokusai created a large number of landscape prints, his emphasis was always on the relationship of man and nature Hugo Munsterberg writes that

Hokusai mirrors the entire world of contemporary Japan drawn in a very spirited, informal manner with a wonderful use of line. The emphasis is on the people shown in all kinds of occupations and positions working and sleeping, wrestling, fighting and making love, elegant ladies and poor beggars, ordinary laborers and farmers, as well as ghosts and grotesque monsters. In addition there are landscapes and buildings, birds and animals, flowers and trees, as well as scenes from history and legend- a whole encyclopedia of Japan in the Edo period (Munsterberg 11).

His print Fugi from a Lumberyard from Thirty Six Views of Fuji (c. 185) combines a narrative description of Japanese life while at the same time, with the presence of Mount Fugi, emphasizes the distinctively Japanese nature of the scene.

Nature also was a theme of ukiyo-e printmaking which was represented by the great masters, in particular, Ichiryusai Hiroshige.

In contrast with Hokusai, who was more interested in the human activity taking place in his pictures than in the aspects of nature, Hiroshige was primarily concerned with the impressions he got from the landscape at various times of the year (11).

Hiroshige is generally credited with (along with Hoksai) reestablishing the traditional focus of Japanese aesthetics as one based upon an appreciation of the natural world.

In his print Sudden Shower at Ohashi from One Hundred Views of Edo (c. 1857) Hiroshige captures the sensitivity and lyrical quality of the Japanese view of nature. No one up to that time had ever brought the scenery of Japan the sensitivity and poetic temperament of this artist (Munsterberg 1). Unlike Hokusai, whose paintings of the natural world were more concerned still with man as the focus of the print, Hiroshige fully restores nature as the focal point of Japanese aesthetics. When people appear in Hiroshiges works, such as in Sudden Shower at Ohashi, they are in harmony with nature rather than struggling against it, despite what might often be thought of as adverse conditions.

The variety and sophistication of Japanese woodblock prints has made them one of the most popular and treasured forms of Japanese aesthetic expression, particularly in western culture, where the prints have been seen to nearly epitomize the Japanese sensibility.

Munsterberg, Hugo. The Japanese Print. New York Weatherhill, 11. Pine, Robert Treat, Soper, Alexander. The Art and Architecture of Japan. Hong Kong Penguin, 158.

Takahashi, Seiichiro, tr. by Richard Stanley Baker. Traditional Woodblock Prints of Japan. New York Weatherhill, 17.

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Tai Chi Philosophies

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Tai Chi is a style of movements that is based on the meridian system which is also used in acupuncture. Most styles of tai chi are grounded in martial application; the most popular styles of the martial tai chi are the Chen, Yang, the Wu, Hao, and Sun style. The first style was the Chen style and the other styles soon followed.

"Whoever practices Tai Chi regularly will in time gain the suppleness of a child, the health of a frontier man, and the peace of mind of a sage." (Unknown).

As the quote says you should practice tai chi on a regular basis because of the great health benefits. Some health benefits that cannot be clearly seen are the relief of stress, imbalances in the body, and disease, among others. To achieve good health from tai chi is to balance the energy, to balance the energy there are a series of forms, and each form has a series of movements with a set beginning and end. While moving through these postures or forms the knees should always be slightly bent, the head lifted, and the spine straight, this is done so the chi can flow freely, and harmony can be reached between the two opposing forces of yin and yang. When there is a harmony between these two forces that is when there is a balance and the health benefits occur.

The Eastern and Western thought can be combined to achieve holistic health because the Eastern is the tai chi, or exercise part and the Western is the diet. If you combine the exercise which causes the energy to flow and relieve pain with the right diet your body will be in the perfect balance it needs to be.

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"The study of Eastern philosophies provides a life path for compassion, peacefulness, reflection, energetic healing, and enlightment." (Unknown).

The philosophy I believe in is the Taoist Philosophy which is based on the teachings of Lao Tzu. The Taoist philosophy emphasizes the belief that continuous change is necessary for life. The Taoist principles apply not just to beauty but to function, and people as well. "The great unity of all that exists is called Tao, and change is the only thing constant in Tao. (Ray Wood). From the beginning of creation non violence, non aggression, non competition and compassion have always been the essence of Tao. The philosophy also states that "to move and act spontaneously from your nature and without purpose is the only way you can become one with the universe." The Tao moves by flowing its nature according to its own principles. It flows effortlessly, without purpose, and without a goal. As I think of my lifestyle I believe in the same thing. I never get too attached to something, I always live for the moment and I am very spontaneous.

The basic principles of movement are Straighten the Head, Use the Mind to Direct the flow of Energy, Focus on continuous movement, Coordinate Upper and Lower body Parts, and Weight Distribution. All five of these principles are important when doing tai chi because first your head needs to be straight so the energy can flow. Once you feel the chi that is when you use your mind to direct the energy and focus on continuous movement to keep the energy flowing. By coordinating your upper and lower body movements it allows you to learn the movements and keeps your body from ceasing. Last is the weight distribution this helps your body to flow with agility, ease and lightness. If the proper weight is not distributed evenly your body will not move properly causing you to have pain. Also you will have no balance and your opponent will be able to move you easily.

"Each movement is a chance for us to make peace with the world,

to make peace possible for the world, to make happiness possible

for the world." (Thich Nhat Hanh).

Meditation is the practice of being silent, it develops a greater awareness, clarity, and peace in you life. Meditation also produces an inner revolution in every individual. This leads to right consciousness, right breathing, right sleep, and right sexuality. (Ray Wood). The main purpose for meditation is to make your mind peaceful and recharge your energy. Some Chinese philosophies believe that if you achieve a high level of meditation it is to be believed that you can develop healing powers. During meditation you will feel the chi flowing inside your body. When the meridian channels are clear the chi will be very strong and that is when the healing begins. When engaging in meditation your mind will become peaceful. You will be free from worries, and mental discomfort, and after time resulting in true happiness. Eventually through continuous training you will be able to stay happy all the time, no matter what your worries, or thoughts may be. By performing meditation you create an inner space and clarity that enables you to control your mind. By meditating often you develop a mental equilibrium. Eventually you will be able to eliminate the delusions that are the cause of your problems.

Please note that this sample paper on Tai Chi Philosophies is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Tai Chi Philosophies, we are here to assist you. Your persuasive essay on Tai Chi Philosophies will be written from scratch, so you do not have to worry about its originality.

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Employer Attitudes and Hiring Practices of Workers with Disabilities

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Running Head WORKERS WITH DISABILITIES

Employer Attitudes and Hiring Practices of Workers with Disabilities

Kristen J. Parsons

Park University

Employer Attitudes and Hiring Practices of Workers with Disabilities

Employer Attitudes

According to the U.S. Bureau of the Census (as cited in Hernandez, 000), there are roughly 54 million workers that possess physical, intellectual, or psychiatric disabilities not institutionalized. The range of disabilities can include epilepsy, intellectual and learning disabilities, mental retardation, physical, psychiatric, sensory disabilities, and disabilities in general. With more disabled workers entering the workforce, employers have been forced to alter their attitudes and hiring techniques concerning this vast, untapped resource. In a study by Cornell University (000), researchers surveyed federal and private employers to determine their attitudes and responses to the employment of individuals with disabilities. They have found that a significant portion of the employers' supervisors and associates had negative attitudes towards individuals with disabilities. According to Susanne Bruyere, Ph.D. (000), the principle investigator and director of Cornell's Program on Employment and Disability, the obstacles that hinder employees with disabilities exist largely due to negative workplace attitudes and supervisor's lack of training and information on the Americans with Disabilities Act (ADA). Despite an increase of laws intended to address employment discrimination and provide workplace accommodations for qualified workers with disabilities, the employment rate of individuals with disabilities has increased only a small amount since the late 180's (Unger, 00). Employer attitudes towards people with disabilities are an important factor in the high unemployment rate of individuals with disabilities. Several studies have examined employer attitudes toward individuals with disabilities in the workplace, according to the type of disability the individual has. Prior to employer compliance of Title I regulations of the ADA, Minskoff, Sautter, Hoffman, and Hawks (as cited in Unger, 00) assessed employers across nine different industries concerning their attitudes toward individuals with learning disabilities. One third of those surveyed specified that they would not knowingly hire an interviewee with a learning disability. Employers from a variety of businesses and industries believed that workers with mental and emotional disabilities were of a greater concern than those employees with physical or communication disabilities. Employers expressed little concern about coworker acceptance or the ability of workers with disabilities to interact with other workers in the organization. They were least of all worried about the ability of persons with physical disabilities to socialize with other workers and work as part of a team. The good news is that more employers are starting to express positive attitudes toward hiring workers with severe disabilities, as well as seeing these individuals as dependable, productive workers who can interact socially and promote positive attitudes in their coworkers.

Hiring Practices

According to the U. S. Department of Labor ("What You Need to Know", 00), the first thing employers need to recognize when marketing to people with disabilities, is that they have the same preferences, attitudes, and needs that people without disabilities have when looking for employment. Employers interested in employing people with disabilities can use a variety of strategies when attempting to recruit individuals with disabilities. There are a number of services available which provide employers assistance when searching specifically for qualified workers with disabilities. The U. S. Department of Labor's Office of Disability Employment Policy has contracted for the Employment Assistance Referral Network (EARN), which provides all employers with a direct connection to the local employment provider ("Recruitment", 001). This national referral service will receive a toll-free call from the employer requesting a qualified, disabled applicant. The EARN personnel then takes the employer's information and relays it to a local employment provider, who has contact with the appropriate job candidate. Once the providers are recognized, EARN calls the employer back and provides the employer with the appropriate contact information. EARN is also an informational referral resource that provides employers with support related to the employment of individuals with disabilities. This assistance could be in regard to tax credits, laws, interviewing techniques, recruitment, as well as, ways of handling coworker attitudes, and reasonable accommodations for people with disabilities.

Another service, which provides information about job accommodations and the employability of people with disabilities, is the Job Accommodation Network (JAN). JAN is a service of the Office of Disability Employment Policy (ODEP) of the U.S. Department of Labor ("Welcome to the JAN", 00). Their mission is to assist in the employment and preservation of workers with disabilities by offering employers and employment providers information concerning job accommodations, and the ADA. JAN helps employers hire, promote and retain employees with disabilities as well as assisting in educating them about their responsibilities under the ADA and Rehabilitation Act. According to the ADA, once an employer has 15 or more employees they are required to provide qualified individuals with disabilities an equal opportunity to benefit from the full range of employment-related opportunities available to others. Employers must comply with specific requirements related to reasonable modifications to policies, practices, and procedures; effective communication with people with hearing, vision, or speech disabilities; and other access requirements ("Guide to Disability Rights", 00).

Disability still remains a barrier to entrance to the workplace. Unfortunately, people with disabilities are underrepresented in the job market, despite their desire and ability to work. Employers are becoming more willing to employ people with disabilities; however, they still seem to have many misconceptions regarding the hiring and accommodating of individuals with disabilities.

References

Americans with Disabilities Act (ADA), (Accessed 1 October 00), A Guide to Disability Rights Laws.

http//www.usdoj.gov/crt/ada/cguide.htm

Cornell University (Accessed 17 September 00), Americans with Disabilities Act Implementation in Federal and Private Workplaces.

http//www.ilr.cornell.edu/iws/ada_wi.pdf

Hernandez, B. (Accessed 17 September 00), Employer Attitudes Toward Workers with Disabilities and their ADA Employment Rights A Literature Review.

http//www.findarticles.com/cf_0/m085/4_66/6886540/print.jhtml

Office of Disability Employment Policy (Accessed 0 September 00), Job Accommodation Network Homepage.

http//www.jan.wvu.edu/

Unger, D. (Accessed 1 October 00), Employer's Attitudes Toward Persons with Disabilities in the Workplace Myths or Realities?

http//www.worksupport.com/Main/proed17.asp

U.S. Department of Labor (Accessed 1 October 00), Marketing to Customers with Disabilities.

http//www.dol.gov/odep/pubs/ek7/market.htm

U.S. Department of Labor (Accessed 1 October 00), Recruitment! Recruitment! Recruitment!

http//www.dol.gov/odep/pubs/ek01/recruit.htm

Please note that this sample paper on Employer Attitudes and Hiring Practices of Workers with Disabilities is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Employer Attitudes and Hiring Practices of Workers with Disabilities, we are here to assist you. Your cheap custom college paper on Employer Attitudes and Hiring Practices of Workers with Disabilities will be written from scratch, so you do not have to worry about its originality.

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Dada Kamera: Performance Response

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IN ON IT

Performance Response

Dada Kamera's performance In On It showcased in the Fresh Terrain Festival is a powerful performance of two gay men, This One and That One, who are working on play within a play. The play they are working on is the story of a man who has just found out that he is terminally ill and only has a short time to live. He tries to tell his son who shuts him out. He tries to tell his wife, and she leaves him for another man. In the end, just before he drives his "blue Mercedes Benz" into oncoming traffic, he leaves his life insurance policy to the wife and son of the man who left with his wife. This One and That One are victims of the "accident" because one of them is driving the car that the man hits, leaving the other to tell the tragic story. The play confronts issues of relationships, both homosexual and heterosexual. These two cultures collide in the end - literally. Although it is merely by chance, it still points out the conflicted intersection of these two cultures. But more importantly, it reminds me to cherish every moment. It is through powerful lighting design that I am able to follow the complexity of the play and the various storylines that emerge.

The two characters work in three different realities and storylines - moving back and forth from one to another. One reality is the two men working on a play in front of the audience and even breaking the fourth wall at times. Another reality is the characters within the play they are working on. The final reality is the remembered thoughts of the men about their own relationship. The ability to move in and out of these realities could be confusing but are seamless to me, due largely to the light designs choices.

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As the show begins, the more than sufficient bright white house lights fade to complete blackness as a single ray of deep, blue light rises. It is focused tightly on something on the floor. My eyes slowly begin to adjust to the darkness, and I can make out a man's jacket lying on the floor. I don't know the importance of the jacket, but the light draws my attention to it. Even though I do not know what the jacket's ultimate meaning is to the characters, this light design choice accomplished its goal getting me to wonder, "what is so important about this jacket?" From this point on, I'll watch the jacket. This One and That One put it on, taking on a role of the terminal man in the play which they are writing. The jacket tells me what character they are playing. It becomes an emotional item when That One tells This One, during an argument, that the jacket is his favorite because This One told him that he looked good in it the first time they met. At the end of the show, as the sounds of the car accident disappear, the lights fade to darkness, and the single deep blue light rises as This One takes the jacket and places it back on the floor and exits. I'm left again, staring at the jacket on the floor, but it now has meaning, completing a cycle and reminding me of the small things that are so important in life. The importance of the jacket is highlighted by this light design choice. Because the designer focused only one deeply saturated light on the jacket, I am forced to pay attention to it and understand the meaning it conveys.

At the first moment the two men are both on the stage together, they are lit with lights that are shuttered and focused to create a square area of light. This square area of light is created by multiple lights shuttered at right angles, so that smaller areas can be created with the same rigid effect. The edges help provide a stage area that the two men never leave. The area is quite small in comparison to the size of the theatre. This helps me focus in and feel more intimate with the characters. I think the best way to describe the sensation would be like looking through a camera and zooming in from a panoramic view to a close-up. This square area of light is the basic look for the reality of the two men working on the play. Although this area may change in size, it is generally larger than the other realities. This reality is also lit with a somewhat warm colorless look that comes from typical theatre lighting equipment.

As the two men speak about the play they are working on, This One and That One narrate the story and then choose a role to step into. This One takes off the jacket and reveals a white shirt, becoming the doctor for a scene. That One puts on the jacket, grabs a chair, and sits as he takes the role of the terminally ill man. It is clear that the reality has changed because as they set up the scene, a smaller cool area of light is left contrasting from the larger warm area of the other reality. This is typical of the reality of the play within the play. Within this reality they always step into the roles of these characters by stepping into a smaller area of light, which tends to be cooler white/blue light in a smaller concentrated area. The lights are still shuttered at right angles so that the men, at many times, are standing or sitting only in one square shaft of light. If the first reality gave me a sense of a close-up, this reality tends to be almost invasive into the character. The small squares shafts of light also seem to isolate the characters. At one moment, a terminally ill man sits in a chair facing forward with one square shaft of light on him. On the other side of the stage sits his son in a single square shaft of light. Darkness separates the characters as the father tells his son that he is dying. This design choice allows me to see into the eyes of both characters and see them as individuals in an extreme close-up, but at the same time it creates isolation for the two characters. Eventually, the scene ends and the lights return to a larger warm square area of light, and This One and That One can interact directly with each other again.

The other reality of the two men remembering moments of their own relationship is handled in a similar manner. The major difference is that the two are seldom separated by darkness, and the area tends to be a bridge of light between the two making the shape of a thin rectangle on the floor. The two men tend to face each other as they are in this reality, and the audience seems to disappear to them just as it does in the reality of the play within the play. The color of light varies in this reality but tends to be more saturated, warm colors in comparison to the rest of the play. As the memory passes, the lights rise again to the larger, colorless square, and the men step immediately back into the present reality of working on the play.

The scenes tend to move from this present reality into the other realities seldom cutting from the play within the play to scenes of the remembered past. The lights go from a large square area to individual, small areas where the men are already standing. They never leave the light, but the light just seems to intensify where they stand and disappear in the space between them. As the scene ends, the lights rise again to the larger square until they either return to the play within the play, with its small, isolated lights, or they turn to face each other as the lights dim into a narrow bridge of light between them. The space seems to breathe as the lights expand and contract over and over again. The repetition of the light patterns in their respective realities adds to the continuity and fluidity of the performance. The performance moves in and out of these realities but the lights help to make it seamless.

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A land remembered

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For Help On Flatland, Heres A Little Bit Of Help!

posted by CrippleEverette on 5/17 05 AM

This was an assignment we got. It includes the questions, not a summary but itll help in some way hopefully

1. When was Flatland originally published?

Flatland was originally published in London in 1884.

. What did Edwin A. Abbott do for a living and what was his avocation?

Edwin A. Abbott was an English clergyman and author. His avocation was his love for mathematics.

. Why did Abbott publish Flatland under a pseudonym?

Edwin A. Abbott published Flatland under a pseudonym because he was afraid that it might besmirch the dignity of his formal writings.

4. What is the name of the narrator of Flatland?

A. Square is the narrator of Flatland.

5. Describe the narrators parents.

The narrator, A. Square, had a line for a mother and a triangle for a father.

6. What is the narrators profession?

The narrator, A. Square, is a lawyer.

7. Describe the plot of the second half of Flatland.

In a dream, A. Square finds himself in Lineland. He chats with the king, who is trapped inside a one dimensional body. A. Square encounters the same problem when he dreams of Pointland. Ironically, a stranger comes to visit him later in the story. The creature, a sphere, claims he has something for A. Square. He has trouble understanding the concept past his two dimensional world, just as the those in Lineland and Pointland could not understand past their one-dimensional world. But unlike the king, A. Square is able to go to Shapeland. The sphere then begins to reveal the mysteries of Spaceland. He then orders A. Square to return to Flatland and preach his findings to the rest of the people. A. Square experiences three dimensions to much joy. After returning to Flatland, he tries to explain his findings to his hexagon grandson. A. Square tries to teach the mysteries of Spaceland, but no one else in Flatland believes him.

8. Discuss the role of women in Flatland. Discuss this role as it appears in the doctrine of priests as well as other observations made in the book. Is this social satire? How? Do you agree with this view? Does the narrator agree? Does the author agree?

The women of Flatland are treated harshly as many women of Islamic countries in the Arabian peninsula area. They are the lowest of the all classes and have to follow certain rules. They must enter the house at a certain door and can not enter the other wing of the house, the mans room. If a women is sick, she to be immediately killed. A women also can not evolve as men can. Women will always be a line.

The social structure of Flatland is satire. It is not fair that a women cannot achieve or do half of the things a man can. I do not agree with the social structure of Flatland, especially pertaining to women. Though they are the simplest of all figures, that does not mean they should be treated with no respect. I believe the narrator has some degree of sympathy for women, as he says, ...so they shall have no memory to recall, and no forethought to anticipate, the miseries and humiliations which are at once necessity of their existence and the basis of their existence... (14). The author, Abbott, does not agree with the lifestyle of women during the late 1800s, as they are still the regular housewives that raise children. Though he cares to think about the women, he will do nothing as it is almost law in the land for women to be treated the way they are.

. How does reading Flatland enhance your study of Geometry and perhaps take it outside the boundaries of your textbook? What new insights about Mathematics in general and Geometry in particular have you gained? How has your knowledge been broadened? How do you feel about this?

Flatland has also made me more familiar with my shapes and the dimensions of certain shapes. It has sharpened my knowledge of angles and triangles. It makes you rethink already learned formulas and theorems of circles, squares, and other shapes. It gives you a different point of view of them besides the straight text form, which will benefit any one looking to help their geometry skills.

By reading Flatland, my train of thought and way of perceiving ideas, thoughts, and learning materials has changed. It makes you broad your two-dimensional mind and think further to understand shapes in Geometry. It is another way of learning besides the basic text form of formulas and theorems of the textbook. Flatland is not just of Geometry, it is about life and has made think rethink the ways of treating other people.

Please note that this sample paper on A land remembered is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on A land remembered, we are here to assist you. Your cheap research papers on A land remembered will be written from scratch, so you do not have to worry about its originality.

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Music

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Firstly, teachers could increase their teaching level and enrich their knowledge by studying aboard. For teachers of a language institute, this kind of experience is really necessary. Teachers would consider that as a kind of prize and therefore work harder for that. Secondly, our institute could be benefited from doing that. Since we could provide the overseas-studying chance for our teachers, graduates with high score in the Normal Colleges are more willing to come to our institute. Thirdly, that will help our students. Our last years survey showed that 65% of our students prefer the language teachers who had overseas-studying experience.

Im very happy to hear that a famous author has donated considerable money to our institute. And I think we could use it to establish an education fund to aid our teachers to study abroad.

With the development of our modern society, peoples living conditions become much more comfortable. But along with intense competition, parents have less time to consider childrens needs in all-round. One method to solve this ontradiction is to give children some pocket money. Pocket money is useful to children. But whether the children are considerable enough to make correct use of these money. There are two viewpoints about the pocket money. Some people think that giving children pocket money will make them become luxurious. Others think that will not lead to such disadvantage. In my opinion, both of them are partially reasonable¡¡Someone believe that giving children pocket money really has many advantages. With pocket money, children can buy their daily necessities such as pencils, little toys, and snack food they like. It will give children a certain freedom to select what they want, make them aware rules of the equivalent exchange. Since time to parents is very precious, giving pocket money to children help them to save time spent in shopping, but used in busy working and earning money.

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Beat! beat! drums!

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In the poem tilted, Beat! Beat! Drums!, written by Walt Whitman, Whitman uses a fierce tone to emphasize his expressions and views of war. At the beginning of each stanza, Whitman repeats the phrase, beat! beat! drums!- blow! bugles! blow! in order to allow his readers to picture how important the loud noise is and that the drums are never ending. Whitman's poem focuses on the idea of war rather than war itself, and its force into people's lives. The structure of the poem reflects that urgency rises and rushes itself of sound. Through the windows, through doors, burst like a ruthless force, () into the solemn church, and scatter the congregation, () into the school where the scholar is studying. (4) These are just a few examples of Whitman trying to express the symbolism between the loud noise and its entrance in the world.

In this poem Whitman signifies the sounds of war. As the narrator listens to the banging of war drums and shrill sounds of bugles, relates the interruption these war sounds have on people's lives. Whitman uses the sounds of drums as an audible image to show its effects on the common people, as described specifically in the beginning of the poem. Imagery is applied in this poem when Whitman uses the loud banging of drums and the blows of bugles that creates a war atmosphere throughout the poem. Whitman expresses his view on the sound of war by making the sound seem to get louder and louder as the poem is read. "So fierce you whirr and pound you drums-so shrill you bugles blow. (7) Whitman brings upon the readers two different levels of affection against war. In the beginning Whitman shows of how the sounds of war effect the personal lives of the people. He uses imagery to make the sounds seem like they are traveling. "Through the windows-through doors-burst like a ruthless force," () as if the drums and bugles are shattering through the homes of the citizens.

There is a lot more said to Whitman's descriptions about the outcome of war. For an example, Whitman uses images to show how the war affects people's jobs. "No bargainers by day-no brokers or speculators-would they continue?" (11) This tells us that even wealthy people of a community cannot carry on with their jobs. The meaning of this specifically states that because of war an economic depression could occur in the future. Turning each section into a part of war, Whitman explains how war would take its place in a community. In the beginning Whitman mentions all quiet and peaceful places; "church", "school", and "field." The drums disrupt these calm places. By the end the drums get louder and the war gets more concerning. "Over the traffic of cities-over the rumble of wheels in the streets." () This states that the noise is now so loud that it can be heard over the sounds of large cities. Whitman then uses more imagery of jobs in the city to note that war is taking over all aspects of the common people's lives. "Would the talkers be talking? Would a singer attempt to sing? / Would the lawyer rise in court to state his case before the judge?" (1) (1) He is simply asking would these people be willing to continue with their lives even though they have these feelings and emotions that have corrupted their lives. At the end of the second stanza Whitman refers back to the drums and bugles getting louder and heavier. "Then rattle quicker, heavier drums-you bugles wilder blow."

In the last stanza Whitman uses sarcasm in lines 16-1. He tries to express that the war has no desire to stop and will progress until it decides to stop. Mind not the timid-mind not the weeper or prayer." (17) Whitman is saying not to pay any mind to the things that people may try to stop the war because the war will keep going and people will have to keep their lives on hold. Whitman also uses an "old" man and a "young" man to show that the war takes on all kinds of people and affects every age group. "Mind not the old man beseeching the young man." (18) In the next line Whitman tries to get the point across that the drums will stop for no one and the war will continue until its resolved. At the end of the poem Whitman states the sound of war once more. "So strong you thump O terrible drums-so loud you bugles blow.

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With all of the imagery Whitman uses throughout this poem he expresses the true terrors of war. This poem presents itself with the horrible effects of war. War not only has negative effects on the citizens but negative effects on the future as well. Whitman's strong points stated in this particular poem gives the reader a different view of war and not only how it can interrupt daily activities, but can involve in a major conflict that could take time to resolve. The sound of war can be frightening, but there is nothing that is more frightening when it actually approaches.

Please note that this sample paper on beat! beat! drums! is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on beat! beat! drums!, we are here to assist you. Your persuasive essay on beat! beat! drums! will be written from scratch, so you do not have to worry about its originality.

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CommercialBanks Vs. Thrifts

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Commercial Bank vs. Thrift Institution

Commercial banks are considered to be the largest group of depository institutions when measured by asset size; they are very distinguishable from savings institutions and credit unions in the size, regulation and composition of their loans and deposits. Deposits are the main source of funding for commercial banks while their liabilities may include various non-deposit funds such as subordinated notes and debentures.

Commercial banks have two main assets on their balance sheet; loans and investment securities. Loans are responsible for the majority of assets held by commercial banks and are considered to be the most important revenue generator. The four main types of commercial bank loans are; business loans, real-estate loans, individual loans, and various other loans, which may be loans to emerging countries. Real-estate loans rank as the largest asset of the four main types of loans. Investment securities represent the second major asset on a commercial bank balance sheet. These consist of items such as; interest bearing deposit purchases from other financial institutions, federal funds sold to other banks, repurchase agreements and U.S. Treasury securities, just to mention a few. Investment securities benefit commercial banks in liquidity management, generation of interest income, low default risk and are effectively traded in the secondary market. Due to the high levels of liquidity risk for commercial banks, they usually hold large amounts of cash and investment securities in order to meet the claims of their liability customers, upon liquidation. In the event of loan default the losses are charged off against the bank equity, thus reducing retained earnings and the equity of the bank.

Commercial banks have two main sources of funds, deposits and borrowed money, which are represented as liabilities on their balance sheet. Deposit accounts are comprised of four major sections; non-transaction accounts and transaction accounts, which include the sum of non-interest bearing demand deposits and interest bearing checking accounts, make up the first section. A second section is retail or household savings and time deposits; normally these are individual account holdings of less than one- hundred dollars. Large time deposits in excess of one hundred dollars make up the third section; these are usually negotiable certificates of deposit that can be sold in the secondary market to outside investors. A final section is nondeposit liabilities, which include instruments such as repurchase agreements and federal fund purchases. When examining a commercial bank balance sheet an interesting aspect that distinguishes them from other financial institutions is their high debt to assets ratio, which implies that a very large amount assets is funded by debt, either being deposits or borrowed funds.

Commercial bank balance sheets also consist of off balance sheet activities. These may be various fee-generating activities such as issuing letters of credit or engaging in futures, forwards, options and swap contracts. When an off-balance-sheet asset occurs it is recognized on the asset side of the balance sheet or income will be attributed to the income statement. On the other hand when an off-balance-sheet liability occurs this item is represented on the liability side of the balance sheet or an expense is recognized on the income statement. Off-balance-sheet activities are beneficial to banks in that they allow banks to earn additional fees to complement declining business margins. Since reserve requirements and deposit insurance premiums are not taxed on off-balance-sheet activities this creates a tax incentive for commercial banks.

The commercial banking industry has become highly competitive due to the rapid advancements in technology, bank mergers, and the increase in the number of non-bank institutions. One of the most significant technological advances made by commercial banks has been the automated teller machine; this has made banking much easier for customers, 4 hours a day. Online banking has also been a major competitive tool for commercial banks; customers are now able to satisfy the majority of their banking online. Technology has not been the only reason for job declines in commercial banks; mergers and bank failures have also had a major effect on commercial banking. Mergers lead to fewer jobs because similar operations are consolidated.

Deregulation in commercial banks began in 180 when congress passed the Depository Institutions Deregulatory and Monetary Control Act. This act gradually abolished the restrictions on interest rates, and allowed the Growth of ATM's over state lines. Prior to this act banks had been subject to a ceiling on the level of interest paid to depositors. With the elimination of this ceiling interest rates became a major selling point, thus increasing competition among banks.

With commercial banks mainly focusing on the needs of businesses, thrift institutions were introduced in the early 1800's to serve the needs of individuals wanting to purchase homes. There are three main types of thrift institutions savings associations, savings banks, and credit unions.

Savings associations and savings banks specialize in real estate lending, particularly loans for single-family homes and other residential properties. Shareholders or depositors and borrowers can own these two types of thrifts. These institutions are referred to as thrifts, because they originally offered only savings accounts, or time deposits. Over the past two decades, however, they have acquired a wide range of financial powers, and now offer checking accounts and make business and consumer loans as well as mortgages, just as commercial banks.

Both saving associations and savings banks may be chartered by either the federal Office of Thrift Supervision (OTS) or by a state government regulator. Generally, the Savings Association Insurance Fund (SAIF) insures savings and loan associations, and the Bank Insurance Fund (BIF) insures savings banks.

Savings institutions must hold a certain percentage of their loan portfolio in housing-related assets to retain their charter, as well as their membership in the Federal Home Loan Bank System. This is called the qualified thrift lender (QTL) test. Savings institutions must maintain 65% of their portfolio in housing-related or other qualified assets to maintain their status.

Credit unions (Cus) are not-for-profit depository institutions, owned by their members, and accept deposits in a variety of accounts. Unlike commercial banks credit unions are prohibited from serving the general public, members are required to have a common bond such as having a university affiliation. All credit unions' offer savings accounts, or time deposits; the larger institutions also offer checking and money market accounts, similar to commercial banks. Credit unions financial powers have expanded to include almost anything a bank or savings association can do, including making home loans, issuing credit cards, and even making some commercial loans. Credit unions are exempt from federal taxation and sometimes receive subsidies, in the form of free space or supplies, from their sponsoring organizations.

The number of thrifts declined dramatically in the late 180's and early 10's. The savings and loan crisis of the 180's forced many institutions to close or merge with others, at great costs to the federal government. However, there has been a resurgence of thrifts in recent years.

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The significance of colors in the scarlet letter

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Hawthorne also gives symbolic meanings to the colors that he

employs in the novel. The dark, sober, sable garments that

Hester wears represent her dull and gloomy life filled with grief,

guilt, and sorrow.

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In contrast, she dresses Pearl in bright colors, especially

crimson, in defiance of the scarlet letter and as a symbol of the

childs free spirit. The color of the letter carries special

significance. It is red because that is the color associated with

the devil, and the Puritans believed that Hesters sin was a mark

of Satan.

The title is significant to every chapter of the book, as the

scarlet letter is displayed in many forms. First, Hester is made to

wear the scarlet letter on the bodice of her dress as a public

acknowledgment of her adultery. In seeming defiance of her

punishment, she proudly embroiders the scarlet A with

threads of gold, which make the letter attract even more

attention. Throughout the book the scarlet letter is seen standing

out on her dress against the drab gray colors of her clothing, a

constant reminder of her sin. As she proudly walks through

town with her head held high, the Puritans point at the A and

scoff at its wearer.

Chillingworths role changes in this chapter from human to inhuman. Before he was only described as evil, now he is being compared to Satan stealing mens souls. Pearl adds to this impression by calling him the Black Man, another word for the devil, and telling her mother that he already has captured Dimmesdales soul.

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Electro Convulsive Therapy: Restoring the Mind

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Electroshock Therapy, Restoring The Mind

By Ellen Bloom

Modern psychiatry began in the latter half of the 1th century with the identification, by European neuropsychiatrists, of separate mental disorders. At the time three mental illnesses dominated the clinical scene, neurosyphisis, described as dementia paralytica, dementia praecox (schizophrenia today), and manic depressive insanity. Caretakers of the mentally ill commonly resorted to chains, restraining chairs, cold and hot baths, and seclusion. Morphine, bromides, barbiturates, and chloral hydrate kept patients asleep but did little to heal their illnesses. The mentally ill were housed in large state supported hospitals with full authority to treat inmates. Many experimental and unsafe treatments were done. Bodily infections were considered a cause of mental disorder, so teeth, tonsils, gall bladder and large sections of the colon were removed. Many patients died. Surgical removal of sexual organs, salpingectomy and vasectomy was another treatment. It became mandatory to sterilize criminals, idiots, imbeciles and rapists in 0 states in 1040.

Ladislas Meduna, a physician trained in neurology and neuropathology, was examining human postmortem specimens at the Hungarian Psychiatric Research Institute in Budapest. He observed that patients with dementia had fewer than the normal number of neuroglia and that the brains of patients with epilepsy had markedly more. The neuroglia are the myriads of branched cells in the central nervous system that provide a supporting network for the neurons, the main cells of the brain that are the basis for thought, memory, emotion and action. He surmised that if he could develop epileptic seizures in patients he would reduce dementia. The first seizure therapy was done by injecting camphor-in-oil and his patient recovered without harm, and improved mental state. The Metrazol therapy was a frightening event because of the severe side effects, and at the University Hospital in Rome a year old man was admitted for the first ECT procedure ever done. A team headed by Ugo Cerletti and Luigi Bini applied a current that produced a grand mal seizure and the patient improved and recovered.

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Now electroshock is a treatment for severe and persistent emotional disorders. The physician, following a prescribed procedure, induces an epileptic seizure in the brain,. By making sure that the patient's lungs are filled with oxygen, the physician precludes the gasping and difficult breathing that accompanies an epileptic seizure. The physiologic functions of the body are monitored, and anything out of the ordinary is immediately treated.

The treatment is safe for patients of all ages, from children to the elderly, for people with debilitating systemic illnesses and for pregnant women. It relieves symptoms more quickly and lastingly than the use of psychotropic drugs. Treatments are usually given three times a weed for two to seven weeks. To sustain recovery, weekly or biweekly treatments are administered for several months. The duration of a course of electroconvulsive therapy is similar to that of the psychotropic medications frequently used for the same condition.

Electroshock treatment is an option when the emotional disorder is acute in onset, when there are pronounced changes in mood, thought, and motor activities, when the cause is believed to be biochemical or physiological, when the condition is so severe that it interferes with the patient's daily life, or when other treatments have failed.

Modern ECT uses a square-wave form of energy which has a slight, effect on memory. The frequency of the square waves varies from 0 to 60 cycles per second, with a pulse of 0.5, 1.0, or .0 milliseconds. The duration of the stimulation varies between 0. to 8.0 seconds, and delivers from 5 to 500 millicoulombs of energy. Amplifiers record the EEG and the ECG during the seizure, permitting the doctor to evaluate the quality of each treatment.

Treatments are usually given in the morning. Because some people become nauseated by anesthetic, the patient consumes no food or liquid after midnight. The patient is administered a general anesthetic, and monitoring electrodes are attached to the body. After the preparations are completed, the patient is asked to breathe deeply as oxygen is given through a mask. A sedative is administered through the intravenous line and puts the patient to sleep. Blood pressure is monitored. A stimulator, applied to a nerve in the face, arm or leg will show whether the muscle is relaxed. When the twitches stop the muscles are properly relaxed for treatment. The mouth guard is put in the mouth to prevent damage to the teeth or jaw during the electrical stimulus. The stimulus is then passed, and the brain seizure stimulate. The patient is not aware of the passage of current, the seizure or any aspect of the actual treatment.

The patient breaths unassisted within three minutes after the treatment is completed. As he awakens, he is asked to give his name, date and the mane of the hospital. Awareness improves rapidly within 15 minutes. Older patients, however may require observation for a few days. If the patient complains of a backache or muscle stiffness, the muscle relaxant was not adequate.

Melancholic patients with psychosis who are adequately treated have an immediate and excellent response. For those who experience a sudden onset of a manic delirium or rapid-cycling manic, the results are excellent, provided the treatment course is intensive. Frequently that means daily treatments. Patients who have been psychotic for months and years may respond so slowly that the course will not show effects until they have had three to five weeks of treatment. The catatonic patient treated almost always finds relief after two or four sessions. Absence of relief is probably the result of inadequate treatment.

What most people don't know is that ECT has fewer risks than does treatment with psychotropic drugs. Sixty years ago patients risked fractures, recurrent seizures, and memory changes, but modern procedures have eliminated those risks. Fractious or recurrent seizures are rare and usually reflect technical errors. The risk of death during ECT is rare.

The prevalent belief that ETC impairs memory is based on the early experiences of patients who were treated without anesthesia or ventilation. Such treatments were associated with sever and persistent memory losses. But present practice is no longer associated with those devastating complaints. It is the mental illness that impairs the knowledge of the patient.

ECT therapy has long suffered from a controversial and bizarre public image, a reputation that has effectively removed it as treatment options for many patients. But 45 years of clinical and research experience says that ETC therapy is now a safe, effective, painless and sometimes lifesaving treatment for emotional and mental disorders.

References

Convulsive Therapy

Lothar Kalinowsky 188

Sage Publications

Fifty Years in Neurology

AE Bennet

Continental Book Publishing Company 17

Convulsive Therapy Theory and Practice

M. Fink

Raven Press 18

Undercurrents A Therapist's Reckoning with Depression

M. Manning

Harper Collins, New York 14

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Personal Goals as a UOP Student

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The University of Phoenix represents an institution full of academic resources. During my years at UOP, I intend to use those resources to obtain the necessary knowledge to succeed in my Management degree. One of its many benefits is that this institution gives me the ability to maintain my full time career and personal life as well. I have been in the Workforce Management industry for three years and my work experience is what triggered my interest in the degree of B.S. in Management from UOP. I intend to maintain a high academic record of achievement during my years in this reputable University, and I will use that academic record to achieve goals I have set for myself. As a privilege of my high academic achievement, I intend to enhance my managerial skills such as effective planning, organization and time management, while simultaneously furthering my character traits of leadership, dependability, and determination. I have learned throughout the years to apply myself in order to achieve the objectives I have set for myself and learn all the necessary skills to become a successful manager. A Bachelor of Science degree in Management from the University of Phoenix brings together skills and character traits that ensure my success in life.

The primary step I will use to achieve my personal goals as a University of Phoenix student is motivation. Without motivation one cannot accomplish anything in life. I am motivated to drive twice a week from Sanford to the East Orlando area to attend class and meet my study group.

My secondary objective is determination. I am determined to attend full time until I obtain my degree. I intend to stay focused the entire time I am attending University of Phoenix and by giving all my undivided attention to the class sessions and participating in class.

The third step I will use will be diligence. I will give 150 percent to be a successful student, even if that means sacrificing the little pleasures in life such as watching too much TV. I will work hard by trading those not so important hobbies to more important ones pertaining to my future like reading and writing while blooming into a visionary manager.

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My last and most important objective is commitment. I am committed to meet with the study group at least once a week no matter what other things might come up in my professional or personal life. I am committed to being working on the assignments in a timely manner in order to be able to turn them all in at one time.

I am also committed to overcoming any challenges (i.e. exhaustion from working full time, dedicating time to my family, fighting traffic and driving 0 miles to school) that might keep me from being a successful student at University of Phoenix. Another challenge I am willing to conquer is fear of public speaking. I have been avoiding speech and math all my life. However, math is a whole another paper. In order for me to become a successful manager, I have to be able to effectively speak in front of an audience. I intend to use this fear of public speaking as an opportunity to grow into a fully successful manager and possibly a successful orator. I challenge myself to excel in my presentations and teamwork.

As a University of Phoenix student, I will embrace the college experience. College is not just about attending classes and study groups. Being a college student entails developing many skills that allow an promising individual to juggle daily commitments with a focused mind at all times while succeeding at each task at hand. It is necessary to demonstrate the ability to perform under pressure and practice excellent time-management skills and self-discipline while learning new subject matters. The most exciting part about being a University of Phoenix student while simultaneously a professional is that I have a wonderful opportunity to apply knowledge gained in the classroom and from my peers to my daily professional tasks. This is how true learning occurs and I am grateful for the opportunity presented to me.

As a University of Phoenix student, I will apply my organizational skills, research skills and technical knowledge toward obtaining and excelling my degree, in each classroom and each group session. I am determined, motivated, will apply my resourcefulness and thoroughness to achieve what I have committed myself to. I will use the four steps above combined with my work experience and the knowledge I will gain from my instructors and fellow students here at University of Phoenix to become a brilliant student and evolve into a successful manager in life.

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The Christian Mind

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What is a Christian mind? I would have to agree with pretty much everything that John Stott said in this excerpt. I liked it when he brought the two different but similar lists of 6 marks of a Christian mind together and he said, "I have personally found it yet more helpful to adopt the framework provided by Scripture as a whole. For the truly Christian mind has repented of 'proof-texting' … and instead saturates itself in the fullness of Scripture" (50). I have personal issues with closed systems regarding my relationship with Christ. I absolutely despise things like "5 easy steps to salvation" or "ways to make your prayer life successful." What gives people the right to distinguish prayer as an entirely different life apart from the rest of someone's life? But that is a different discussion for a rainy day. The Christian mind…I don't know if I should come up with a definition, but I think the Christian mind sort of comes with the package. When a person engages in a personal relationship with Jesus Christ, the mind and mentality comes with the relationship. It's like love and marriage; you can't have one without the other. I don't think you really can define the Christian mind, except it is what it is. That might seem crazy at first, but I think it's true. Look at a Christiana true child of Godand get a glimpse of their mind…and that's it. Sure, there are characteristics, like its awareness of evil and its conception of truth, but those are just what we seewhat is evident. There might be so much more…I know there is because I have a Christian mind. The part of the Christian mind that was not mentioned was the personal partthe part that does not apply to everyone. That is the very nature of a personal relationship, that Iyouanyoneshares things with God that no one else does. I think that's all. Bible

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