Hershey Essay

The Hershey’s company mission is â€Å"Bringing sweet moments of Hershey happiness to the world every day. † Hershey’s mission statement is short and sweet. They are able to address the majority of the nine components of the mission Statement with one sentence. Their customers are the world, their product is Hershey, their market is the world, their philosophy is to bring happiness, and their self-concept is that they perceive themselves as a company that can bring happy moments to individuals who use their products across the world everyday. There are nine component of mission statement ,whisch is Customers, Products/Services, Geographic Markets, Technology, Concern for Survival, Philosophy, Public Image and EmployeesDistinctive Competence. The mission statement needs to include some description of the function of the business. For example, â€Å"to promote industrial excellence,† tells customers and employees nothing. A more effective description would be â€Å"To provide management consulting services. † An effective mission statement sets out, in broad terms, the target market. A manufacturer that makes nuts and bolts might set its target market as retail hardware stores, machine manufacturers, or both. The business must determine what region it serves best and relay that information by way of the mission statement. A garage, for example, might limit its target region to the community while a magazine company might target an entire country. Mission statements typically include a statement of company values. Values such as customer service, efficiency and eco-consciousness often appear on lists of company values. At their best, company values should express principles the company explicitly tries to affirm in day-to-day operations. For businesses that rely heavily on technology, the mission statement should include a description of the essential technology the company does or plans to employ. If nothing else, this directs purchasing agents toward the appropriate vendors for goods and services. Every company has a policy regarding its relationship with employees. A mission statement provides an opportunity to describe that policy in brief so employees know the essentials of where they stand. Effective mission statements also include a brief description of the business’s strategic position within the market. For example, the company might excel at serving residential clients and seek to maximize that strategic advantage. For for-profit ventures, businesses require clear financial objectives. A start-up company might set one of its financial objectives as making an initial public offering of common stock within two years. This lets the employees and potential investors know the company intends to go public, with all of the legal and record keeping ramifications that entails. Like people, companies develop public images. Careful companies craft the public image they want to establish and lay out the major features of it in the mission statement. This helps managers direct employees that stray from the sanctioned public image. Hershey’s objectives * To promote the health benefits of Hershey Chocolate * Help the consumers change their mind-set that chocolates are unhealthy * To spread awareness and increase sales of product Critically analysis the strategic objective of Hersheys company. Answer : Hersheys as the popular chocolate company has provided a good list of objectives of their company. Firstly, Hersheys company try to give an effort on promoting the health benefits of their product to shared it with thier customer. For the example, Hersheys company win their customer by influence them to make a choice Hersheys chocolate as the best healthy chocolate. This parallel to the second objective of Hersheys company that to bring hope to help the consumers to change their mind-set about the unhealthy of taking chocolate. So that, by implement the first and second strategy Hersheys company can increase sales of product and spread awareness well. Based on Specific, Measurable, Attainable, Responsible person and Time specific (SMART) Hersheys Company not follow the technique wisely. For the Specific part, Hershey company fail to specific their goals. They must try to answer the questions of how much and what kind with each goal writen. On part Measurable, the company must set the goals that stated in quantifiable terms, or otherwise they’re only good intentions. Measurable goals facilitate management planning, implementation, and control. Hershey shown the implement to getting the customers that has mind-set of chocolate is a healthy junk food. Besides that, the third aspect of SMART technique is Attainable that talk about the goals must provide a stretch that inspires people to aim higher and make sure the goals must be achievable, or they’re a set-up for failure. For the Hershey company, they objective or goals that want to change customer mind-set about taking chocolate is a good habits that inspired their customers to increase their loyalty. Fourth aspect is the responsible person or group of department to take the responsibility to run the objectives. The goals must be assigned to a person or a department. But just because a person is assigned to a goal doesn’t mean that she’s solely responsible for its achievement. Hershey company did not state clearly who or what department must take the important part of implement the objective of the company. Lastly, aspect of time specific which is reference to time, the goals must include a timeline of when the goals should be accomplished. The Hershey did not state it in their objective. This is make the goals can become flexible to achieve that never based on time setting. Besides that, Hershey company also has their own strategy as an backup of their objective which is entering new market in Canada, United States, Mexico,Brazil and other international locations(India,The Philippines ,Japan and China), producing new products with new brand name, expanding its global presence via joint venture and merger, supporting environmental and social projects, increase sales using promotional materials and the last is roducing healthy chocolates.

Four Types of Informative Speeches Essay

The last part of chapter 14 is a bit confusing as it attempts to categorize the different approaches to Informative Speaking. For our purposes, we will assign Informative Speeches to the following four (4) types, and this is to REPLACE pages 337-344. Use these, and NOT the ones in the text, to guide you in the development of the Informative Speech. 4 Types of Informative Speeches 1) Descriptive – in the most general sense, you are trying to get the audience to experience something through you. There are 2 approaches to do this: a) the â€Å"real† speech- this is the description of a real, tangible, and physical that is so vivid and precise that the audience can picture it in their mind. The subject could be a place, an object, a person, etc and is described so clearly that the audience can accurately visualize it. b) The â€Å"mood† speech- this is where you attempt to convey just how a particular emotion or feeling feels; and the successful mood speech has the audience actually experiencing that emotional state. For instance, when answering the question â€Å"How does it feel when you are depressed?† the speaker does not simply list other synonymous labels for depression such as ‘down’, ‘bummed’, ‘low’, but focuses instead upon the physiological ( weak, listless), mental (slower thinking, confusion), psychological( joyless, hating self), social( rejected, friendless) aspects. A good contemporary example is the TV ad about ADHD that likens this condition to trying to watch TV with the channels changing every second while showing a rapidly changing TV in the background. Mood speeches are difficult to maintain and develop as the entire speech, and are used many times as a segment of a â€Å"report† speech on that topic. 2) Report – the Report speech is a vastly different speech from the mood speech in that it deals with hard facts and precise data in a very analytical way. It also can be used in a myriad of ways: the life cycle of a flea, a biography of a person, a report giving information about a culture, country, religion, event, medical condition, etc. Even topics of some controversy can be informative in this category: compare/contrast prescription & generic drugs, the legal history of Roe v. Wade, pros/cons of legalizing prostitution/pot/gambling; school uniforms. The over-riding goal here is to remain fair and objective, the audience should not be able to tell what the speaker’s personal position on the topic happens to be. It is unethical to hide a persuasive agenda under the auspices of an Informative speech, so avoid â€Å"I want to inform you why prostitution should be legal† and/or â€Å"†¦so you can see that since the ‘pros’ greatly outweigh the ‘cons’ we should do this†¦Ã¢â‚¬  or to limit the discussion to only the ‘pros’ (or ‘cons’) without fairly and honestly including the ‘cons’ (or ‘pros’). 3) Explanation- the speech of Explanation defines a process. This is NOT a â€Å"how to† speech; it explains how and/or why some process occurs. This is very much like a tour guide at the mint telling their group how coins are made. This is a more intellectual approach to a process- how diamonds are formed, how the AIDS virus invades T-helper cells, how wood becomes petrified, the water cycle, photosynthesis, how microwaves cook food, any surgical procedure, how the brain stores memories, how viruses infect computers, what makes a curveball curve- the list is endless. Think of all the processes you understand, any of them have the potential to be a good explanation speech. 4) Instruction – this IS the traditional â€Å"How to† speech, and this is where the process is actually performed, or we are taught how to do it. This has a ‘hands-on’ feel to it: how to write a good resume, how to save money/gas/time, how to pack for a vacation, how to debug your computer, how to throw a curveball. Sometimes the process can easily be demonstrated within the time limits of a speech; other processes my take longer than the allotted time. If that is the case, then have the successive steps/stages pre-done so you can move easily form one to the next. The audience really doesn’t need to watch you slice six carrots for a salad instead have all of them pre-sliced and just demonstrate a few cuts and then move on, nor do we need to wait until the paint dries. Take a hint from the professionals that do the hobby/craft/cooking shows on TV, a bit of careful planning beforehand can result in a polished presentation of even a very complex process. These are the categories of Informative Speaking. You do not have to stay within just one type, they can be combined as you see fit. For example, in speech that is primarily Explanation, there may be a section where you need to Describe what something looks like and there may be some elements of Report if you discuss the history of it. There is an easy way to consolidate the points of the text with these 4 types of informative speeches. Think of the categories listed in the text as general topic areas from which an Informative Speech topic could be found. Once a topic has been selected, then its development can be guided and focused by the 4 types of informative speeches. For example, one might choose to do a speech about a person (Salvador Dali); it could be Descriptive (describing his physical attributes) or a Report (a biographical speech about his life) or an Explanation (how he created his works) or even some combination of these. The topic is, in all of these cases, ‘a person’ but it has the potential for different types of development; all leading to very different types of speeches. INFORMATIVE SPEAKING TOPICTYPES of AREASSPEECHES PeopleDescriptive Objects real Places mood EventsReport ProcessesExplanation ConceptsInstruction Conditions Issues

Reaction paper of the film Take the Lead Essay

Take the lead is based on a true story, the movie tells us of the struggle of a dance teacher, Pierre Dulain. It is the real story of a dance teacher who believed in the talent of a group of problem kids. This film not only gives us a fun and relaxation but it also gives us knowledge about modern dancing and model dancing. Not only that, the film gives us the morality as teacher. How relationship between teacher and student should be in school as well as in their personal encounter. One day In New York, the polite dance instructor Pierre Dulaine sees a black teenager vandalizing the car of the director of a public school and on the next day he volunteers to teach dance to students to give respect, dignity, self-confidence, trust and teamwork. The reluctant director Augustine James offers the troublemakers that are in detention expecting Pierre to give-up of his intentions. Initially, the delinquents did not care about ballroom dancing, but after Pierre gives them a demonstration with his top dance student Morgan, the kids grew interested into the idea of ballroom dancing. He enters the kids in a city wide dance competition and by the end of the day, succeeds in turning the delinquents into respectful and well-mannered, young ladies and gentlemen. Yes as a dance teacher Pierre Dulaine bring the children in a new state of life. He teaches them how to appreciate a dance. There are so many dances that they studied: Salsa, Waltz, Foxtrot, Quickstep, Cha Cha, Rumba, Samba, Wedding Dance, Viennese Waltz, danceTONE Warmup, Jive, Swing , Paso Doble, Tango, Merengue, Bachata and other dance music genres!. He himself also learns to appreciate their model dance. In this great world consist thousand of people each of them have difference way to appreciate an art as well as made an art. An art work might valuable to this person but reject by the other. The importance is to understand, to appreciate, to enjoy an art as well as the one create it. We all know that treat a person like trash and he will become trash. When the school delinquent were treated like incorrigible criminals, they chose to act as obnoxious and as rude as possible. But when they were trusted and respected and shown the dignity of being creative, they learned to reciprocate with the kindness and gentleness. Even the most notorious and delinquent persons can metamorphose into productive and decent members of society if we show them respect, give them value, appreciate their talents and teach them to contribute towards the betterment of themselves and other people around them. Pierre Dulaine is an excellent archetype of a mentor for character transformation; unconventional enough to allow flexibility, firm enough to command respect, patient enough to extend sympathy, talented enough to demand excellence and human enough to connect with those who refuse to listen. For people trying to form values and personhood, much can be learned from Dulaine’s approach – which basically is to treat a person as a person, notwithstanding his faults and flaws. However, the film is better watched with a mature adult because of the nonchalant rudeness demonstrated by the story’s teenage protagonists which might negatively influence young audiences. As a teacher Pierre Dulaine not only teach them how to dance but also help them to have a confidence in life. A teacher concern what student is needs, a take a have responsibilities toward their children. Look for way how to give them an environment to grow their personality, their knowledge. Give hem an opportunity to express their problems and need. Give them an advisable that will help them develop their attitude. To became good value of life. To guide them become good citizens, Christian, to built the healthy good relationship with the other. They should be the second parents to them. Pierre struggles against the prejudice and ignorance of the students, parents and other teachers, but wins his battle when the group accepts to compete in a ballroom dance contest. He teach with love and hope. What you sow you reap. Pierre Dulaine: A renowned ballroom dance instructor who gets a job as a teacher for the delinquents in detention. A gentleman who treats everyone, especially the ladies, with respect and to teach the delinquents about respect, manners and dealing with personal issues through dancing. Director: Antonio Banderas – Pierre Dulaine: A renowned ballroom dance instructor who gets a job as a teacher for the delinquents in detention. A gentleman who treats everyone, especially the ladies, with respect and to teach the delinquents about respect, manners and dealing with personal issues through dancing. Initially, the delinquents did not care about ballroom dancing, but after Pierre gives them a demonstration with his top dance student Morgan, the kids grew interested into the idea of ballroom dancing. He enters the kids in a city wide dance competition and by the end of the day, succeeds in turning the delinquents into respectful and well-mannered, young ladies and gentlemen. n a public school of lower middle class neighborhood of New York, high school kids are having an organized party and Rock (Rob Brown) is refused admission. In a spit of rage, he wrecks the car of their school principal. Suave and well-mannered ballroom dance instructor Pierre Dulaine (Antonio Banderas) w itnesses this on his way home and decides he needs to help trouble kids like him. The next morning, he finds his way to the principal’s schools and presents himself as a volunteer dance teacher for the school’s most notorious students. Day after day, he confronts the school â€Å"rejects† during their daily detention time and gently infuses into them manners, teamwork, respect and self-confidence through the routines of Salsa, Waltz and Tango as he slowly transforms the delinquent students into ballroom champions. For a film that is supposedly based on a true to life story, the plot is full of unbelievable twists and implausible scenes. The scripting is a bit shallow and fails to delve into the character’s motivations and emotions. Characters are too caricaturish to be believable. The idea of the fusion of ballroom with street dancing could have been better developed and the resulting dances better choreographed. Cinematography and editing are choppy and rough. The choreographies were not exciting enough and the camera angles fail to capture the exquisiteness of some dancers. Only the charm of ballroom and Banderas save the film from being a bore. Over-all, the movie entertains to some extent with its dance routines. Treat a person like trash and he will become trash. When the school delinquent were treated like incorrigible criminals, they chose to act as obnoxious and as rude as possible. But when they were trusted and respected and shown the dignity of being creative, they learned to reciprocate with the kindness and gentleness. Even the most notorious and delinquent persons can metamorphose into productive and decent members of society if we show them respect, give them value, appreciate their talents and teach them to contribute towards the betterment of themselves and other people around them. Pierre Dulaine is an excellent archetype of a mentor for character transformation; unconventional enough to allow flexibility, firm enough to command respect, patient enough to extend sympathy, talented enough to demand excellence and human enough to connect with those who refuse to listen. For people trying to form values and personhood, much can be learned from Dulaine’s approach – which basically is to treat a person as a person, notwithstanding his faults and flaws. However, the film is better watched with a mature adult because of the nonchalant rudeness demonstrated by the story’s teenage protagonists which might negatively influence young audiences.

The Effect of Lobbying on Public Opinion Research Paper - 1

The Effect of Lobbying on Public Opinion - Research Paper Example A big extent is the use of the right public relations tools to inform and more crucially, shape opinion. It involves influencing the public process of debates, discussions, and consultations in order to have good or favorable public opinion. In today's modern society, there is widespread use of lobbyists who are either volunteers or some people paid to speak on one's behalf as an advocate. In this regard, part of lobbying is the intent of influencing the legislative process by having favorable laws enacted in relation to a persons or groups special interests. Before a bill becomes a law, drafts are passed around with their justifications and aimed to judge a public reaction (OECD, 2009, p. 160). The public process – lobbyists are required to meet legislators several times. In some cases, lobbying brings about good results as it raises public awareness of certain issues. A good example is recent laws regarding the prevalence and dangers of school bullying which had not been noticed before until some students committed suicides due to bullying. In this instance, the parents are now re-assured their kids are safe at school because of the advocacy or lobbying by a parent of a bullying victim to introduce new laws or to persuade a legislator to vote in a certain way to approve the proposed bill against school bullying (Walston-Dunham, 2008, p. 63). On the other hand, the legislator has gotten a good idea of how public opinion stands on certain issues as relayed to him or her by the lobbyist or advocacy groups.  

Sharing Microeconomic Insights with Non-Specialist Audiences Assignment

Sharing Microeconomic Insights with Non-Specialist Audiences - Assignment Example On 26th February 2013 the New York Times presented an article titled, ‘Are We in Danger of a Beer Monopoly?’ From the article, it’s possible to learn more about formation, pricing, regulation and operation of monopolies. Most companies are established with the primary aim being to maximize profit. A monopoly is a profit maximizer, to do this they reduce supply of the products, and this raises the prices of the scarce products. For firm’s that operate near monopoly condition they enjoy economies of scale that enable them set their prices profitably, and they can control the prices of other smaller companies. In 1988 when Miller and Coors reduced their beer prices AB InBev also reduced the prices of its beer forcing Miller and Coors to abandon their price cut. This shows the firm’s dominance in this industry and all firms have to pay attention to this market leader. This further indicates AB InBev intention to scare away the small existing firms and hence force them to exit this industry. AB InBev has the powers to set its prices if the competitors reduce their prices it also reduces its prices to ensure it competes efficient. AB InBev aims to acquire Grupo Modelo’s Corona since it hinders it from setting high prices. The acquisition was it to happen will hence give AB InBev the powers to raise its price as it wishes and hence operate under monopoly conditions. AB InBev will hence be a price setter. There are different ways that a company can gain monopoly power. First is by government regulations prohibiting entrance of other firms in that industry, they can result from controlling a significant resource. Monopolies may also arise from economies of scale, availability of production technology and capital or mergers and acquisition. In this case AB InBev was developed on the concept of technological innovation and managerial efficiency. Since its establishment in 1999 the company has

Body Diversity in the Media, Body Types, Obesity in the Media Essay

Body Diversity in the Media, Body Types, Obesity in the Media - Essay Example vanelli and Ostertag, this is the concept of panopticism taking effect in which people alter their behavior due the feeling that other people are constantly observing and judging them (p.1). In fact, these changed attitudes have been incorporated in almost all sectors of contemporary societies such as media hence gaining greater acceptance as time advances. In relation to body diversities such as obesity, people tend to take the one sided view seeking to lay all blame on the victims. Obesity is heavily associated with lack of discipline and self-control with the basic believe that it is the victims’ fault. As such there seems to be no much harm in discriminating against obese people. In fact, having negative attitudes towards obese people is in most instances regarded different from other discriminations such as against race or gender among others. Additionally, unlike lines of discrimination, there are no federal laws or significant measures to defend the rights of fat people except in Michigan where there is ban on discrimination on basis of weight (Brown 2010, para. 2). This explains the shared negative attitude towards fat people that allows people to blatantly comment about them oblivious of the personal harm that may be caused to the victims. Social settings have seemingly no platform for fat people to express themselves and the amount of judgment is unmeasurable. Although in general all fat people receive a significant amount discrimination, there seems to be focus on women. A comparison between obese men and women shows that women are more harshly treated than men. This can be attributed to the definitions of femininity that have become so deeply rooted in people’s minds over time. Women in most societies are expected to be keen about their physical appearances in which body size is at the top of the list. Taking greater focus on Western cultures, there is a general notion that dissociates beauty from fat bodies. To some extent this explains the

Report on photosynthesis lab Example | Topics and Well Written Essays - 2000 words

On photosynthesis - Lab Report Example Classically the effects of temperature on photosynthetic rates follow a parabolic relationship, with rates being low at extremely low and high temperatures and high at moderate temperatures (Rabinowitch and Govindjee, 1969). Consequent to this relationship, plant growth and productivity is often limited by extremes of temperature, with either too low or high temperatures affecting the growth and productivity of plants (Rabinowitch and Govindjee, 1969; Govindjee, 1975). Obviously it appears that extremes of temperature could adversely affect the apparent photosynthetic rate of leaves. Further, while tissue respiration rates may remain unaltered under extreme temperatures, decrease in the photosynthetic rates can lead to a negative carbon balance in the plant (Hipkins, 1987). Under such conditions, the growth and productivity and consequently the adaptability of plants would be jeopardized. These arguments pre-suppose that plant species in nature have an optimum temperature at which th eir photosynthetic rates are maximized. Extreme temperatures either too low or too high depress the photosynthetic rates. In recent years, there has been renewed interest in evaluating plant responses to elevated temperature owing to the green house effect. In this paper we explicitly examine the hypothesis that within a limited range of temperatures, the photosynthetic rates of leaves would scale positively with temperature. We discuss the results in the light of existing knowledge on the role of temperature in influencing apparent photosynthetic rates in species and how such relation could have implications for plant growth and productivity. Materials and Methods Rationale of the experiment The experiments were performed on spinach leaf disks. Leaf disks contain spongy mesophyll layer of cells, which largely comprise of large air spaces. By depleting the air spaces under vacuum, the leaf disks sink in water. However, under sufficiently lighted conditions when the leaf disks photosynthesize, the air spaces are refilled with oxygen (a product of photosynthetic oxygen evolution) and tend to float again. The rate at which the leaf disks begin to float can be used as a surrogate measure of the photosynthetic rate of the leaf disks. Thus leaf disks that fail to float are those in which photosynthetic oxygen evolution has not occurred (and hence in which photosynthesis is absent). On the other hand and keeping everything else constant, it can be inferred that leaf disks that float slowly are those were the photosynthetic rates are relatively slow compared to disks that float rapidly. Preparation of leaf disks for incubation Leaf disks were made using a hole puncher. About 60 leaf disks were prepared from 2 or 3 fresh leaves of spinach at each effort. With the help of a surgical syringe, air was removed from the spongy tissue of the leaf disks by creating vacum and replaced with sodium bicarbonate solution (0.2 percent w/v). After this process, most of the disks sink to the bottom of the syringe, indicating that in these disks the air spaces were successfully evacuated and replaced with bicarbonate solution. Disks that remained afloat were discarded. The sunken disks were transferred to fresh sodium bicarbona

Personal Statement of Ethics Essay Example | Topics and Well Written Essays - 500 words

Personal Statement of Ethics - Essay Example When I was a child, my concept of ethics has been confined in being good and right to the people within my small circle. However, as I grew older and exposed to the realities of this world, I begin to learn that ethics is more than just pleasing the people which are around me. I realize that in order to maintain my integrity and credibility as an individual, I should be able to establish my own ethical standards backed by what I believe to be morally excellent. As I go about making my own stand, I learn that upholding my ethical beliefs is a struggle where I need to battle with the conflicting ideologies of the people around me. I begin to understand that what my parents taught me are quite shallow compared to what I learn with my various experiences yet they provide a good foundation of how to decide whether something is acceptable or not. My definition of ethics goes beyond what is socially acceptable as right. Looking at the current world situation, it now appears that our society have tolerated and absorbed previously unethical behaviors and added them into our value system. For instance, I strongly assert that gay marriage is not ethically because it destroys the original purpose of a woman's creation that is, to be the completeness of a man.

Nursing Qualitative research Proposal Essay Example | Topics and Well Written Essays - 2500 words

Nursing Qualitative research Proposal - Essay Example This reality shock occurs due to the transition from the educational to the service setting, which poses different priorities and pressures. Researchers have suggested that factors that cause the exit of new nurses can be related to work environment, lack of power, lack of opportunity for career development, lack of support from RNs, patient care issues and work schedules. Researchers have also suggested that mentoring and professional development opportunities are very important factors for new nurses' job satisfaction. For the purpose of this study I will use a qualitative approach to explore the research question. The use of qualitative research is appropriate since it helps in gaining a better understanding of an existing phenomenon. By conducting this research I hope to contribute to the existing literature by identifying factors that positively and negatively impact graduate nurses' experience. Although this phenomenon has received some attention in literature, it is still not very widely explored especially in its influence in the acute care setting. By conducting this research I also attempt to come up with recommendations on how the negative experiences can be mitigated to retain the nursing staff. By using the perspective of Parse's Human Becoming Theory I hope to be able to make sense of such nursing experiences and hope to apply them in a practical way. Research Design Qualitative research is proposed for conducting the proposed study. This will require qualitative data to be collected which will be based on narratives, impressions, ideas, concerns and attitudes of new graduate nurses, interviewed and observed in various interactions. As qualitative research seeks illumination and understanding it is considered appropriate for this study since it will help understand the phenomena of new graduate nurse experience. A qualitative descriptive design will be used for this study and Spradley's (1979) domain analysis approach will be used to conduct this qualitative research .In addition, historical analysis will also be undertaken. Domain analysis requires the following steps: Identification of domains that reflect the concerns of the interviewees rather than the researcher's own notions. A domain, is a collection of categories that share a certain kind of relationship. In order to familiarize with the issues that really concern the interviewees the researcher needs to read the data several times. Semantic relationships are then defined as suggested by Spradley (1979). An example of how semantics are described by Spradley is given below. Table - Identifying Semantics using Spradley (1980) Doctor Nurse is a part of

Selected Retailer in Tesco Case Study Example | Topics and Well Written Essays - 4500 words

Selected Retailer in Tesco - Case Study Example Its customer data –base includes not only details about its client’s interests, and but also contains of an assorted variety of other food-associate services and non-food services and products and also the life-style and demographic details of its shoppers which include total dollars expended on food products in its stores and the customer response to its product promotion and allied programs. (Shajahan 2006:205). For the first time in the year 2005, Tesco achieved the thirty percent market share in the grocery market in UK.TESCO is the first retailer in UK to report revenues more than  £ 2 billion. This is really astonishing as this means that every  £8 spent by UK shoppers, about  £1 will be spent in Tesco stores. TESCO during 2008/09 recorded net sales of  £ 1.9 billion and its profit during the year touched a new height of  £ 109 million. TESCO online shopping website is the top five most visited retail websites on the global level, and it attracts about 3.3 million visitors on a weekly basis. TESCO is distributing about 12 million catalogues during a year and receives about 475,000 orders per week. It has the most effective distribution system and has about 2000 home delivery vans and offers employment for more than 20000 individuals. (Wade-Gery 2009). Tesco’s online retail sales are on the increase on an annual basis. Total online sales by adult population were just 17% in 2003, which jumped to a whooping figure of 62 percent in 2010. Though, Tesco’s online sale is only 7% of total retail sales of UK, but there is a still bright prospect for growth potential in this sector. (Wade-Gery 2009). TESCO’s online business is not only large but also rapidly developing. Online business adds more revenue to Tesco, and it has a competitive advantage as a multi-channel offers are being made. TESCO online business is of low capital intensity in nature but with high returns. Further, the  the online grocery market presents plenty of growth to Tesco as Tesco has penetrated about 3% of overall online grocery market in UK but only about 6.7% of Tesco’s grocery sales are made through online.

Proposal for PHD in business Essay Example | Topics and Well Written Essays - 750 words

Proposal for PHD in business - Essay Example In case the cash invested results in wealth creation but by an amount less than the cash invested and the resources used, society is poorer to the extent of the loss, as the borrower must repay the debt by compensating for the loss out of existing wealth owned or acquired by him/her. The same applies to cases in which invested cash is totally lost, no wealth creation having taken place. In both cases a redistribution of wealth in favor of the creditors is involved" (Siddiqi, 2007). This paper is an examination of actual investment has increased in the past few years that the tawarruq system is in place. Investment is one the path through which wealth creation can occur. We expect the tawarruq system to aid business process and investment so as to further improve the economy. Other variables that may be affected in the process are interest rates, exchange rates, consumption and bank's profitability. The three are macroeconomic variables while the last is a microeconomic variables. We particularly desire that people do not owe money for consumption purposes alone but for investment. The research will commence with the review of related literature. ... B. Research Questions a. What is the tawarruq system's impact on Saudi Arabia's over-all level of investment b. What is the tawarruq system's impact on Saudi Arabia's over-all level of consumption c. What is the effect of the tawarruq system on Saudi Arabia's interest rates d. What is the effect of the tawarruq system on Saudi Arabia's exchange rate e. What is the impact of the tawarruq system on banks' profitability C. Methods and Procedures The research will commence with the review of related literature. This is where we identify the gaps in the study that need to be filled. The literature review will also provide us a knowledge of the depth of current and previous researches on the topic. The review will also include desk research of recent news about the conduct of the business and the related figures. Data mining for the necessary figures will follow. We will particularly mine the data for the over-all tawarruq level of lending (the amount of lending per year) for the last 10 years, the figures for investment, consumption, interest rate and exchange rate for the last 10 years. To establish the relationship between these variables, we will use simple regression of the time series analysis. An econometric software, Eviews 4 will be particularly used to test the relationship. The possible outcomes are significant or not significant and whether the direction is positive or negative. D. Goals and Objectives This paper wishes to trace the practice of the tawarruq lending system in Saudi Arabia and its impact on wealth creation primarily the investment variable. Lending is a path to consumption or investment and it is said to create wealth if it goes to the latter. In this paper we particularly examine

Renaissance Notes Essay Example for Free

Renaissance Notes Essay The 15th century artistic developments in Italy matured during the 16th century. The 15th century is thus designated the â€Å"Early Renaissance† and the 16th century the â€Å"High Renaissance†. Although there is no single style that defines the period, there is a distinct level of technical and artistic mastery that does. This is the age of Leonardo da Vinci, Raphael, Michelangelo, and Titian, artists whose works exhibit such authority, that later generations of artists relied on these works for instruction. These exemplary artistic creations further elevated the prestige of artists. Artists could claim divine inspiration, thereby raising visual art to a status formerly only given to poetry. Painters, sculptors, and architects were elevated to a new level and they claimed for their work a high position among the fine arts. Leonardo da Vinci (1452 1519) was born in the small town of Vinci, near Florence. He trained in the studio of Andrea del Verrocchio. He was brilliant man with many interests. His directions foreshadowed those that art and science would take in the future. A discussion of his many interests enhances our understanding of his artistic production. Those interests are seen in his Romulus sketchbooks filled with drawings and notes from his studies of the human body and natural world. He explored optics in-depth, allowing him to understand perspective, light, and color. His scientific drawings are artworks themselves. Leonardo’s ambition in painting, as well as science, was to discover the laws underlying the processes and flux of nature. Leonardo believed that reality in its absolute sense is inaccessible, and that humans can only know it through its changing images. He considered the eyes the most vital organs and sight the most essential function. In his notes, he repeatedly stated that all his scientific investigations made him a better painter. Around 1481, Leonardo left Florence, offering his services to Ludovico Sforza, duke of Milan. In his offer he highlighted his competence as a military engineer, mentioning his artistic abilities only at the end. This provided Leonardo with increased financial security and highlights the period’s instability. During his first trip to Milan Leonardo painted Virgin on the Rocks as a central panel of an altarpiece for the chapel of the confraternity of the Immaculate Conception in San Francesco Grande. The painting builds on Masaccio’s understanding and usage of Chiaroscuro. Modeling with light and shadow and expressing emotional states were, for Leonardo, the heart of painting. A good painting has two chief objects to paint man and the intention of his soul. The former is easy, the latter hard, for it must be expressed by gestures and the movement of the limbs A painting will only be wonderful for the beholder by making that which is not so appear raised and detached from the wall. Leonardo presented the figures in Virgin of the Rocks in a pyramidal grouping and more notably, as sharing the same environment. This groundbreaking achievement the unified representation of objects in an atmospheric setting was a manifestation of scientific curiosity about the invisible substance surrounding things. The Madonna, Christ Child, infant John the Baptist, and angel emerge through nuances of light and shade from the half light of the cavernous visionary landscape. Light veils and reveals the forms, immersing them in a layer of atmosphere that exists between them and the viewer. Atmospheric perspective is in full view. The figures actions unite them; prayer, pointing, and blessing. The angel points to the infant John. His outward glance involves spectators out of view, perhaps the viewers of the painting. John prays to the Christ Child and is blessed in return. The Virgin herself completes the series of interlocking gestures, her left hand resting protectively on John’s shoulder. The mood of tenderness, enhanced by caressing light, suffuses the entire composition. Leonardo succeeded in expressing â€Å"the intention of his soul.† For the refectory of the church of Santa Maria delle Grazie in Milan, Leonardo painted Last Supper. Despite its ruined state (in part from Leonardo’s unfortunate experiments with his materials) and although it has often been restored ineptly, the painting is Leonardo’s most formally and emotionally impressive work. Christ and his twelve disciples are seated at a long table set parallel to the picture plane in a simple, spacious room. Leonardo amplified the drama by placing it in an austere room. Christ with outstretched hands, has just said, â€Å"one of you is about to betray me† Matt 26:21. A wave of intense excitement passes through the group as each disciple asks himself or his neighbor, â€Å"Is it I?† In the center, Christ appears isolated from the disciples and in perfect repose, while emotion swirls around him. The central window in the back frames Christ and has a curving pediment above it. The arc serves as a diffused halo. Christ’s head is the location of the single vanishing point on which the orthogonals converge, further emphasizing Christ. Leonardo presented the agitated disciples in four groups of three, united among and within themselves by the figures’ gestures and postures. The artist sacrificed traditional iconography to pictorial and dramatic consistency by placing Judas on the same side of the table as Jesus and the other disciples. His face in shadow, Judas clutches a money bag in his right hand and reaches his left forward to fulfill the Master’s declaration† :But yeah behold, the hand of him that betrayeth me is on the table† Luke 22:21. The two disciples on the end contain the action by their quiet composure. Leonardo’s, Mona Lisa is the world’s most famous portrait. The sitter’s identity is not certain, but Vasari asserted that she is Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine hence, â€Å"Mona (an Italian contraction of ma donna, â€Å"my lady†) Lisa.† It is notable because it is a convincing representation of an individual, rather than serving as an icon of status. The ambiguity of the famous â€Å"smile† is really the consequence of Leonardo’s fascination and skill with chiaroscuro and atmospheric perspective. Her they serve to disguise rather than reveal a human psyche. The artist subtly adjusted the light and blurred precise planes Leonardo’s famous smokey sfumato (misty haziness) rendering the facial expression hard to determine. The lingering appeal of Mona Lisa derives in large part from Leonardo’s decision to set his subject against the backdrop of a mysterious uninhabited landscape. Originally Leonardo represented Mona Lisa in a loggia with columns. The painting was cropped later on (not by Leonardo) and the columns were eliminated. The remains of the column bases may still be seen to the left and right of Mona’s shoulders. Leonardo completed very few paintings; his perfectionism, relentless experimentation, and far ranging curiosity diffused his efforts. The drawings in his notebooks preserve an extensive record of his ideas. His interests focused increasingly on science in his later years, and he embraced knowledge of all facets of the natural world. One example is The Fetus and Lining of the Uterus, although not up to 20th century standards for accuracy, it was an astounding achievement in its day. Though not the first scientist, Leonardo certainly originated a method of scientific illustration, especially cutaway and exploded views. Scholars have long recognized the importance of these drawings for the development of anatomy as a science, especially in an age predating photographic methods such a X rays. Leonardo was well known as an architect and sculptor in his lifetime, but no existing building or sculptures can be attributed to him. From his drawings he was interested in the central style plan of buildings. Leonardo left numerous drawings of monumental equestrian statues of which one was made into a full scale model for a monument to Francesco Sforza (Ludovico’s). The French used it for a target and shot it to pieces when they occupied Milan in 1499. Due to the French, Leonardo left Milan and served for a while as a military engineer for Caesar Borgia, who, with the support of his father, Pope Alexander VI, who tried to conquer the cities of the Romagna region in North Central Italy and create a Borgia duchy. At a later date, Leonardo returned to Milan in the service of the French. At the invitation of King Francis I, he then went to France, where he died at the Chateau of Cloux in 1519. Julius II: The Warrior Pope Pope Julius II (Giuliano della Rovere (1503 1513), was an individual whose interests and activities effected the course of the High Renaissance. Julius II was a very ambitious man who indulged his enthusiasm for battle in a supposed quest to expand the church and the Kingdom of Heaven by worldly means. This earned him a designation as the â€Å"warrior pope†. He selected his name Julius after Julius Caesar, and he ran the papacy using the Roman Empire as his model. Julius II’s papacy was notable for his contributions to the arts. He was an avid art patron and understood well the propagandistic value of visual imagery. After his election as pope, he immediately commissioned artworks that would present an authoritative image of his rule and reinforce the primacy of the Catholic Church. He commissioned a new design for Saint Peter’s basilica, the construction of his tomb, the painting of the Sistine Chapel ceiling, and the decoration of the papal apartments. These large scale projects clearly required considerable finances. Because of this need, Julius sanctioned the huge increase in the selling of indulgences as a way to raise the revenue needed to fund the art, architecture, and the lavish papal lifestyle. This perception prompted disgruntlement among the faithful. Despite his exceptional artistic legacy, Julius II’s patronage contributed to the rise of the Reformation. Saint Peter’s Old Saint Peter’s had fallen into considerable disrepair and did not fit Julius II’s taste for the large, colossal, and glorious. He wanted control over all Italy and make the Rome of the Pope’s as glorious as or greater than that of the Caesars. This important commission was awarded to Donato D’Angelo Bramante (1444 1514). Bramante was trained as a painter. He went to Milan in 1481 and stayed till the French arrived in 1499. In Milan he abandoned painting and went on to become the most renowned architect of his generation. Influenced by Brunelleschi, Alberti, and perhaps Leonardo, who favored antiquity, Bramante developed the High Renaissance form of the central plan church. Bramante originally conceived the new Saint Peter’s to consist of a cross with arms of equal length, each terminated by an apse. Julius II intended the new building to serve as a martyrium to mark Saint Peter’s grave and also hoped to have his own tomb in it. A large dome would have covered the crossing, and smaller domes over the subsidiary chapels would have covered the diagonal axes of the roughly squared plan. The ambitious plan called for a boldly sculptural treatment of the walls and piers under the dome. His design for the interior space was complex in the extreme, with the intricate symmetries of a crystal. It is possible to detect in the plan nine interlocking crosses, five of them supporting domes. The scale was so titanic that, according to sources, Bramante boasted he would place the dome of the Pantheon over the Basilica Nova. During Bramante’s lifetime, the actual construction on the new Saint Peter’s basilica did not advance beyond the building of the crossing piers and the lower choir walls. After his death, the work passed on to other architects and finally to Michelangelo, whom Pope Paul III appointed in 1546 to complete the building. Not until the 17th century did the Church oversee the completion. An earlier building completed by Bramante is considered the perfect prototype of classical domed architecture for the Renaissance and after. The building is called Tempietto â€Å"Little Temple† because to contemporaries it had the look of a Roman pagan temple. The lower story was directly inspired by the round temples of Roman Italy that Bramante would have know in Rome. King Ferdinand and Queen Isabella of Spain commissioned the Tempietto to mark the conjectural location of Saint Peter’s crucifixion. Available information suggests the project was commissioned in 1502, but there is dispute over the date. Bramante relied on the composition of volumes and masses and on a sculptural handling of solids and voids to set apart this building, all but devoid of ornament, from the structures built in the preceding century. Standing inside the cloister along side the church of San Pietro in Montorio, Rome, and the Tempietto resembles a sculptured reliquary and would have looked even more like one inside the circular colonnaded courtyard Bramante planned for it but never executed. At first glance, the structure seems severely rational with its circular stylobate and Tuscan style colonnade. Wonderful harmony is achieved in the relationship of the parts (dome, drum, and base) to one another and to the whole. Conceived as a tall domed cylinder projecting from a wider lower cylinder of the colonnade, this building incorporates all the qualities of a sculpted monument. There is a wonderful rhythmic play of light and shadow on the form. Although the Tempietto may superficially resemble a Greek tholos, the combination of parts and details was new and original. If one of the main differences between Early and High Renaissance styles of architecture was the former’s emphasis on detailing flat wall surfaces versus the latter’s sculptural handling of architectural masses, then Tempietto certainly broke new ground and stood at the beginning of the High Renaissance. The architect Andrea Palladio credited Bramante as the â€Å"first to bring back to light the good and beautiful architecture from antiquity to that time had been hidden.† Round in plan, it is elevated on a base that isolates it from its surroundings. Michelangelo The artist whom Pope Julius II deemed best able to convey his message was Michelangelo Buonarroti (1475 1564), who received some of the most coveted commissions. Though a man of many talents, architect, sculptor, painter, poet, and engineer, he thought of himself first as a sculptor. He regarded sculptor as a superior calling to painter because the sculptor shares in something like the divine power to â€Å"make man.† Drawing a conceptual parallel to Plato’s ideas, Michelangelo believed that the image produced by the artists hand must come from the idea in the artist’s mind. The idea, then, is the reality that the artist’s genius has brought forth. But artists are not the creators of the ideas they conceive. Rather they find their ideas in the natural world, reflecting the absolute idea, which, for the artist, is beauty. One of Michelangelo’s best known observations about sculpture is that the artist must proceed by finding the idea the image locked in the stone, as it were. Thus, by removing the excess stone, the artist extricates the ideas, like Pygmalion bringing forth the living form. Michelangelo felt that the artist works through many years at this unceasing process of revelation and â€Å"arrives late at novel and lofty things.† Michelangelo sharply broke from his predecessors in a very important respect. He mistrusted the application of mathematical methods as guarantees of beauty in proportion. Measure and proportion, he believed, should be â€Å"kept in the eyes.† Vasari quotes Michelangelo as declaring that â€Å"it was necessary to have the compasses in the eyes and not in the hand, because the hands work and the eye judges.† Thus Michelangelo went against Vitruvius, Alberti, Leonardo, and others by asserting that the artist’s inspired judgment could identify other pleasing proportions. He believed that the artist must not be bound, except by the demands made by realizing the idea. This insistence on the artist’s own authority was typical of Michelangelo and anticipated the modern concept of the right of self expression of talent limited only by the artist’s own judgment. The artistic license to aspire far beyond the â€Å"rules† was, in part, a manifestation of the pursuit of fame and success that humanism fostered. In this context, Michelangelo designed architecture and created paintings that departed from High Renaissance regularity. He put in its stead a style of vast, expressive strength conveyed through complex, eccentric, and often titanic forms that loom before the viewer in tragic grandeur. Michelangelo’s self imposed isolation, creative furies, proud independence, and daring innovations led Italians to speak of the dominating quality of the man and his work in one word -terribilita, the sublime shadowed by the awesome and the fearful. David In 1501, the Florence Cathedral building committee asked Michelangelo to work a great block of marble left over from an earlier aborted commission. From this stone, Michelangelo crafted David, which assured his reputation then and now as an extraordinary talent. The form and its references to classical antiquity appealed to Julius II who associated himself with the humanists and Roman emperors. This sculpture and the acclaim that accompanied its completion lead to Michelangelo’s papal commissions. Like other David sculptures, Michelangelo’s had a political dimension. With the political instability of the time, Florentines viewed David as the symbolic defiant hero of the Florentine republic, especially given the statue’s placement near the west door of the Palazzo della Signoria. Forty years after David’s completion, Vasari extolled the political value of David claiming that â€Å"without a doubt the figure has put in the shade every other statue, ancient or modern, Greek or Roman this was intended as a symbol of liberty for the palace, signifying that just as David protected his people and governed them justly, so whoever ruled Florence should vigorously defend the city and govern it with justice.† Michelangelo depicted David, not in victory, but turning his head sternly watching the approaching foe. His whole body and face is tense with gathering power. This energy in reserve is characteristic of Michelangelo’s later figures. The Roman sculptor’s skill in precise rendering of heroic physique impressed Michelangelo. In David, without strictly imitating the antique style, Michelangelo captured the Lysippan athletes and the emotionalism of Hellenistic statuary. This David differs from Donatello’s and Verrocchio’s as Hellenistic statues depart from classical ones. Michelangelo abandoned the self contained compositions of the 15th century David statues by giving David’s head the abrupt turn toward Goliath. Michelangelo’s David is compositionally and emotionally connected to an unseen presence beyond the statue; a quality in Hellenistic sculpture. As early as David, Michelangelo invested his efforts in presenting towering pent up emotion rather than calm ideal beauty. Julius II’s Tomb The first project Julius II commissioned from Michelangelo in 1505 was the pontiffs own tomb. The original design called for a freestanding two story structure with some 28 statues. This colossal monument would have given Michelangelo the latitude to sculpt numerous human statues while providing the pope with a grandiose memorial which Julius intended to be in St. Peter’s. Shortly after the project began, it was interrupted, possibly because funds had to be diverted to Bramante’s building of St. Peters. After Julius II’s death in 1513, Michelangelo was forced to reduce the scale of the project step by step until, it became a simple wall tomb with one third of the originally planned figures. The tomb was completed in 1545 and was placed in San Pietro in Vincoli, Rome, where Julius at one time had been a cardinal. It is with surety that the ambitious Julius II would have been bitterly disappointed. The spirit of the tomb may be summed up in the figure of Moses, which Michelangelo had completed in 1513, during a sporadic resumption of work. It was meant to be seen from below and to be balanced with seven other massive forms related to it in spirit. The position of Moses now in his rather paltry setting’ does not have its original impact. Michelangelo depicted the Old Testament prophet seated, the Tablets of the Law under one arm and his hands gathering his voluminous beard. The horns were a recognizable convention to identify Moses. Michelangelo used the turned head, which concentrates the expression of awful wrath that stirs in Moses’ powerful frame and eyes. The muscles bulge, the veins swell, and the great legs seem to begin slowly to move with pent up energy. Originally 20 sculptures of slaves in various attitudes of revolt and exhaustion, appear on the tomb. Bound Slave is one of those sculptures. Scholars question whether this sculpture and three other slave sculptures should have been part of Julius’s tomb. Many scholars also reject their identification as â€Å"slaves† or â€Å"captives.† What ever their intended purpose they are definitive. The figures do not represent an abstract concept, as in medieval allegory, but embody powerful emotional states associated with oppression. Michelangelo based his whole art on his conviction that whatever can be said greatly through sculpture and painting must be said through the human figure. The Sistine Chapel With the suspension of the tomb project, Julius gave the bitter and reluctant Michelangelo the commission to paint the Sistine Chapel in 1508. Michelangelo gave in hoping that the tomb commission would be revived. He faced enormous difficulties in painting the Sistine ceiling. He was inexperienced in fresco painting. The ceiling was some 5,800 square feet of surface to be covered and it was 70 feet above the ground. The vault’s height and curve created complicated perspective problems. Yet, in less than four years, Michelangelo produced an unprecedented work a monumental fresco incorporating the patron’s agenda, Church doctrine, and the artist’s interests. The theme of the creation, the fall, and the redemption of humanity weave together more than 300 figures. A long sequence of narrative panels describing the Creation as recorded in Genesis, runs along the crown of the vault. The Hebrew prophets and pagan sibyls who foretold the coming of Christ appear seated in large thrones on both sides of the central row of scenes from Genesis where the vault curves down. In the four corner pendentives are placed four Old Testament scenes with David, Judith, Haman, and Moses and the Brazen Serpent. Scores of lesser figures also appear. The ancestors of Christ fill the triangular compartments above the windows, nude youths punctuate the corners of the central panels and small pairs of putti (cherub little boys) support the painted cornice surrounding the entire central corridor. The overall concept a sweeping chronology of Christianity was keeping with Renaissance ideas about Christian history. Such ideas include interest in the conflict between good and evil and between the energy of youth and the wisdom of age. The conception of the entire ceiling was astounding in itself, and the articulation of it in its thousand details was a superhuman achievement. One of the ceilings central panels, the Creation of Adam, is also one of the most famous. Michelangelo created a bold, entirely humanistic interpretation of the momentous event. God and Adam confront each other in a primordial unformed landscape of which Adam is still a material part. The Lord transcends the earth, wrapped in a billowing cloud of drapery and borne up by his powers. Life leaps to Adam like a spark from the extended hand of God. The communication between Gods and man was common in myth and the connection here is clear. It emphasizes how High Renaissance thought joined classical and Christian traditions. Beneath the Lord’s sheltering arm is a female figure comprehensive but uncreated. Scholars traditionally have believed this to be Eve, but recent scholarship suggests that it may be the Virgin Mary with the Christ Child at her knee. If this is true, Michelangelo incorporated into the fresco the basic tenets of the Christian faith. Raphael While Michelangelo was working on the Sistine Ceiling, Pope Julius II commissioned Raphael (1483 1520) to decorate the papal apartments in 1508. Raphael painted the Stanza della Segnatura (Room of the Signature the papal library) and the Stanza d’Eliodoro (Room of Heliodorus). His pupils completed the other rooms, following his sketches. On the Four walls in the Stanza della Segnatura, under the headings of Theology (Disputa), Law (Justice), Poetry (Parnassus), and Philosophy (School of Athens), Raphael presented images that symbolize and sum up Western learning as Renaissance society understood it. The frescos refer to the four branches of human knowledge and wisdom while pointing out the virtues and learning appropriate to a pope. Given Julius II’s desire for recognition as both a spiritual and temporal leader, it is appropriate that the Theology and Philosophy frescos face each other. The two images present a balanced picture of the pope as a cultured, knowledgeable, individual, on the one hand, and as a wise, divinely ordained religious authority on the other. The Philosophy mural (the so called School of Athens) is the setting not of a school but a congregation of the great philosophers and scientists of the ancient world. Raphael depicted these luminaries rediscovered by Renaissance thinkers conversing and explaining their various theories and ideas. In a vast hall covered by massive barrel vaults that recall Roman architecture (and approximate the appearance of the new Saint Peter’s in 1509 when the painting was executed), colossal statues of Apollo and Athena, patron gods of the arts and of wisdom, oversee the interactions. Plato and Aristotle serve as the central figures around whom Raphael carefully arranged others. Plato holds his book Timaeus and points to heaven, the source of his inspiration, while Aristotle carries his book Nichomachean Ethics and gestures toward the earth, from which his observations of reality sprang. On Plato’s side are the ancient philosophers, men concerned with the ultimate mysteries that transcend this world. On Aristotle’s side are the philosophers and scientists concerned with the nature of human affairs. At the lower left, Pythagoras writes as a servant holds up the harmonic scale. In the foreground, Heraclitus (probably a portrait of Michelangelo) broods alone. Diogenes sprawls on the steps. At the right, students are around Euclid, who demonstrates a theorem. This group is especially interesting; Euclid may be the portrait of the aging Bramante. At the extreme right, just to the right of the astronomers Zoroaster and Ptolemy, both holding globes, Raphael included his own portrait. The figures’ self assurance and natural dignity convey the very nature of calm reason that balance and measure the great Renaissance minds so admired as the heart of philosophy. In this work Raphael placed himself among the mathematicians and scientists. His convincing depiction of a vast perspective space on a two dimensional surface was the consequence of the union of mathematics, with pictorial space, here mastered completely. All the characters in the School of Athens, communicate moods that reflect their beliefs, and the artist’s placement of each figure tied these moods together. From the center, Raphael arranged groups of figures in an elliptical movement around Plato and Aristotle. It seems to swing forward, looping around the two foreground groups on both sides and then back again to the center. Moving through the wide opening in the foreground around the floor’s perspective pattern, the viewer’s eye penetrates the assembly of philosophers and continues, by way of the reclining Diogenes, up to the here reconciled leaders of the two great opposing camps of Renaissance philosophy. The perspective’s vanishing point falls on Plato’s left hand, drawing the viewer’s attention to Timaeus. In the works in the Stanza della Segnatura, Raphael reconciled and harmonized not only the Platonists and Aristotelians but also paganism and Christianity, surely a major factor in his appeal to Julius II. Galatea Pope Leo X (Giovanni de Medici, 1513 1521), the son of Lorenzo de Medici, succeeded Julius II as Raphael’s patron. Leo was a worldly, pleasure loving prince who spent huge amounts on the arts. Raphael moved in the highest circles of the papal court, the star of a brilliant society. He was young, handsome, wealthy, and adulated, not only by his followers, but also by Rome and all Italy. Genial, even tempered, generous, and high minded. Raphaels personality contrasted with the mysterious and aloof Leonardo, or the tormented and obstinate Michelangelo. The Pope was not Raphael’s only patron. His friend Agostino Chigi, an immensely wealthy banker who managed the papal state’s financial affairs, commissioned Raphael to decorate his palace, the Villa Farnesina, on the Tiber with scenes from classical mythology. Outstanding among the frescos was Galatea, which Raphael based on Metamorphoses, by the ancient Roman poet Ovid. In Raphael’s fresco, Galatea flees from her uncouth lover, the Cyclops Polyphemus, on a shell drawn by leaping dolphins. Sea creatures and playful cupids surround her. The painting erupts in unrestrained pagan joy and exuberance, an exultant song in praise of human beauty and zestful love. Raphael enhanced the liveliness of the composition by placing the sturdy figures around Galatea in bounding and dashing movements that always return to her energetic center. The cupids, skillfully foreshortened, repeat the circling motion. Raphael conceived his figures sculpturally. Galatea’s body is strong and vigorous in motion suggesting the spiraling motion of Hellenistic statuary, and contrasting with Botticelli’s, almost dematerialized Venus. Pagan myth presented in monumental form, in vivacious movement, and a spirit of passionate delight resurrects the naturalistic art and poetry of the classical world. Pope Paul III Pope Paul III maintained the lavish lifestyle of previous popes and was a great patron of the arts. He commissioned a palace for himself while he was still Cardinal Farnese. The Palazzo Farnese in Rome was designed by Antonio Da Sangallo the Younger (1483 1546) who established himself as the favorite architect of Pope Paul II and received many commissions that might have otherwise gone to Michelangelo. Antonio was from a family of architects and was an assistant and draftsman for Bramante. Antonio built fortifications for almost the entire papal state and received more commissions for military than for civilian architecture. The Palazzo Farnese set the standard for the High Renaissance palazzo and fully expresses the classical order, regularity, simplicity, and dignity of the High Renaissance. It was finished by Michelangelo after Antonio’s death in 1546. The Last Judgment Many of Pope Paul III’s commissions were part of an orchestrated campaign to restore the prominence of the Catholic Church in wake of the Protestant Reformation. The Reformation was the result of widespread dissatisfaction with the leadership and practices of the Catholic Church. Led by Clerics such as Martin Luther (1483 1546) and John Calvin (1509 1564) the Reformation directly challenged papal authority. The disgruntled Catholics voiced concerns about the sale of indulgences, nepotism, and high Church officials pursuing personal wealth. This reform movement resulted in the establishment of Protestantism, with sub groups such as Lutheranism and Calvinism. Central to Protestantism is a belief in personal faith rather than adherence to decreed Church practices and doctrines. This personal relationship between an individual and God, in essence eliminated the need for Church intercession central to Catholicism.

Parrallel Universe Theory

Parrallel Universe Theory Today, astronomers can see out to a distance of approximately 42 billion light-years, our cosmic visual horizon, and we have no reason to believe that the universe ends there (Physics for Dummies, 2011). There exists the possibility that there are an infinite number of domains beyond our own. The majority of cosmologists today agree with the concept of a multiverse where the same laws of physics apply in all domains, but some dare to take the notion even further. Some physicians believe in the existence of infinite parallel universes with different laws of physics, alternate histories and other dimensions than ours (Science Universe, 2012). With this essay, I aim to pursue the parallel universe theory in order to determine its validity outside the realm of science-fiction. I will explore the justifications for it as well as the criticisms against it by consulting the theories of various cosmologists and quantum physicians. The ultimate reason for this pursuit is to determine whether or not the theory of parallel universes can be considered as an indisputable scientific fact or should rather remain in the world of fiction. Before proceeding, I need to state the limitations and scope of this paper and clearly disclose the structure in which the subject matter will be discussed. Firstly, I will define a parallel universe and provide some background information on the subject, as will be applicable to the essays content. Secondly, I will identify the theories that support the idea of parallel universes and organise them according to a cosmological or quantum physics perspective. Thirdly, I will identify the theories that criticise the idea of parallel universes and again organise them according to a cosmological or quantum physics perspective. Lastly, after analyzing both schools of thought, I will conclude my findings and determine if parallel universes are indeed fact or fiction. Part 1: Parallel Universes: Definition and Background To understand the concept of a parallel universe, one must first define the umbrella term it falls under, namely a multiverse. The multiverse theory claims that our universe is not the only one of its kind and that there exists many universes parallel to one another (The Theory of Parallel Universes, 2011). The universes that exist within this multiverse are called parallel universes. These multiple universes consist of everything and anything that can exist in matter, time, energy and space (The Theory of Parallel Universes, 2011). Other terms that are used to refer to parallel universes include quantum universes, alternative universes, alternative realities or parallel worlds. The following paragraphs will give an overview of some scientific theories on parallel universes in order to give an understanding of the argument and the logic that supports the notion. We will first look at the argument as approached from a cosmological perspective. According to Ellis (2011), if the universe and the possible histories that take place within it are infinite and the number of types of DNA-based beings are finite, then this infinite universe will contain an infinite amount of copies of these finite DNA-based beings. He goes on to say that, given this argument, some of these living beings will inevitably follow very similar lines of history (Ellis, 2011). In lay terms, when given the prospect of an infinite amount of histories combined with finite types of living beings, these histories will repeat to infinitum. However, Soler Gil and Alfonseca (2013) do not agree that if there are an infinite amount of possible histories, that these histories will necessarily be repeated in parallel universes. They state that given this scenario, the amount of histories will always be greater than the number of living beings, therefore if these beings are infinitely repeated they will still experience different histories (Soler Gil and Alfonseca, 2 013). Given this brief background overview, it is evident that the scientific community is still heavily divided on the notion of the existence of parallel universes. We will now continue by evaluating more detailed descriptions of theories that promote and refute the existence of parallel universes. For the purpose of this paper, we will only draw from the fields of cosmology and quantum physics. Part 2: Theories that promote the Existence of Parallel Universes Quantum physics is the science that attempts to explain phenomena which cannot be explained by the regular laws of science and physics. The parallel universe theory was first formulated in 1956 by Hugh Everett. Everett formulated this theory in an attempt to substantiate his belief that every probable outcome of any decision we make, does actually happen. He claimed that even though we may choose option A in this universe, we will choose option B in a parallel universe (Everett, 1956). Everetts theory is relatively new to the history of physics but it has already become a popular and controversial topic in the scientific community. This proposal was coined the Many-Worlds Interpretation. It essentially states that any object can be in any state at any time in a different parallel universe (Everett, 1956). This implies that the wavefunction of a state of being does not collapse at the moment of observation (like we observe in the Double-Slit Experiment later in the paper), but rather continues to evolve in a deterministic manner while simultaneously embracing all its possibilities (Everett, 1956). Everett (1956) notes that even though every possible outcome does exist simultaneously, they do not interfere with one another due to the fact that we are unable to observe these alternate realities. The Cosmological Perspective Max Tegmark, a well known modern cosmologist, states that if space is indeed infinite and inhabited by a finite number of living beings, then there is bound to be some identical occurrences that take place in different universes (Tegmark, 1997). Tegmark goes on to make use of a mathematical equation to calculate the probable distance of our nearest doppelgà ¤nger at any given time. His answer being approximately 1010115 meters. This theory coincides with a fundamental conjecture of cosmology, namely that the universe exists beyond the scope of our observation. Tegmark formulated a categorisation that recognizes four different levels of the multiverse where each level builds on the previous one. Tegmark (1997) refers to the first level as the level Beyond our Cosmological Horizon. This refers to an infinite universe that contains Hubble volumes that concern themselves with realising all primary conditions. Tegmark (1997) states that an infinite universe will necessarily contain an infinite amount of Hubble volumes that are subjected to the same physical laws. Given this precedent, there are bound to be Hubble volumes that have identical configurations to ours in some universes. This statement is rooted in the cosmological principle that states that we do not possess a unique Hubble volume. The second level concerns Universes with Different Physical Constants (Tegmark, 1997). He coins these universes as bubble universes and claims that our universe is just one of many bubble universes in existence. Tegmark (1997) then builds on the cosmic inflation theory in order to justify his argument that although the multiverse is infinitely stretching, there are some regions that cease to stretch. Once they become stationery, they form bubbles that may possess differing physical constants. The third level is an expression of the Many-Worlds Interpretation of Quantum Mechanics (Tegmark, 1997). One feature of quantum mechanics is that there is no observation that can be predicted with absolute certainty, but there is rather a range of probable observations. By applying this feature to the many-worlds interpretation, one can deduce that each probable observation should be compatible with a different universe. Tegmark (1997) explains that the difference between level one and level three is that in level one our doppelgà ¤ngers reside in a three-dimensional space whereas in level three they reside in an infinite-dimensional space. The fourth level is referred to as the Ultimate Ensemble or the Mathematical Universe Hypothesis (Tegmark, 1997). He claims that due to mathematics abstract nature, one can use a mathematical structure to prove just about any Theory of Everything (Tegmark, 1997). Given this statement, one can describe any imaginable parallel universe at level four and include all other ensembles by simply using mathematics. By doing so, one will bring an end to the multiverse hierarchy and eliminate any probability of the existence of a fifth level. Even though Tegmark does utilise some characteristics of quantum mechanics to promote the existence of parallel universes, he is fundamentally a cosmologist. There is, however, another physician that uses the field of quantum physics more extensively in this pursuit. In the next section we will evaluate Brian Greenes argument for the existence of parallel universes from a quantum physics perspective. The Quantum Physics Perspective Before discussing Greenes application of quantum physics to promote the existence of parallel universes, we first need to recognize three observations about quantum physics. Firstly, energy has the ability to travel through space without having the need to cover the superseding distance (Physics for Dummies, 2011). This means that energy and quantum particles possess the ability to exist in more than one place at a time. This observation is clearly fundamental for the substantiation of the parallel universe theory from a quantum physics perspective. Secondly, all quantum particles exist in different places at any given time, even though we are unable to see them (Physics for Dummies, 2011). Given this observation, there is a possibility that doppelgà ¤ngers may exist in different locations. Thirdly, quantum particles are influenced by the practice of observation when we observe them (Physics for Dummies, 2011), which plays an important role later in the paper when we discuss the Dou ble-Slit Experiment. Greene attempts to comprehend the origin of multiverses by utilising string theory. String theory speculates that the universe can be described in terms of small strings that vibrate in ten or eleven different dimensions that we are unable to see (Greene, 2011). Greene (2011) claims that string theory not only includes strings but also objects that resemble two-dimensional membranes. He goes on to suggest that we may be living on one of these two-dimensional surfaces and that other surfaces may be floating around us in space. This claim is currently without any emprirical evidence, but Green (2011) says that this can be tested in the Large Hadron Collider (LHC) at CERN. If Greenes hypothesis is correct, then when particles are slammed together in the LHC, debris can be emitted off of our membrane surface and into the greater cosmos where our membrane is floating. This loss of debris will take away some amount of energy in our universe. We can then measure the amount of energy and com pare it to the amount that was present before the collision. If there is found to be less energy afterwards, it would indicate that some energy had been launched into the greater cosmos (Greene, 2011). This particular outcome of the experiment will prove that Greenes hypothesis is correct. However, until this experiment at CERN takes place and is found to be successful, Greenes hypothesis remains pure speculation. Part 3: Theories that refute the Existence of Parallel Universes The Cosmological Perspective Cosmologist, Paul Davies, is a firm believer that notions of parallel universes belong in the realm of scientific philosophy and not in physics. Even though all cosmologists accept the existence of other regions that we are not able to observe, most of them do not deduce the existence of infinite universes from this precedent. Davies addresses the topic in his New York Times opinion piece by saying that physicists should not believe a theory based on faith, but rather insist on hard scientific facts supported by empirical evidence: The multiverse theory may be dressed up in scientific language, but in essence it requires a leap of faith (Davies, 2007). George Ellis is another cosmologist who shares the same sentiment as Davies towards the parallel universe theory. Ellis (2011) points out that the basic problem with the multiverse proposal is the existence of a cosmic visual horizon, as we will never be able to observe these universes even if they did exist. He also rejects the application of string theory, as attempted by Greene (2011), in order to substantiate the plausibility of the parallel universe theory. Ellis (2011) states that string theory is not yet a complete theory that has been tested or proven. He admits, however, that if string theory is ever proven correct then there will be a legitimate argument for the existence of a multiverse. Ellis (2011) concludes that multiverse proposals are merely scientifically based philosophical speculation and cannot even qualify as a well-defined scientific theory. He states that before the multiverse proposal can be considered to be a scientific theory, it needs to be coherent and not just a patchwork of different ideas (Ellis, 2011). The Quantum Physics Perspective The most common criticism of the parallel universe theory is the lack of scientific facts derived from empirical evidence collected by means of observation and experiments. It has proven difficult to acquire scientific proof for the existence of alternate realities for many reasons, one of these reasons being that by observing reality, we are also altering it. This fascinating notion is demonstrated by the famous Double-Slit Experiment (Live Science, 2012). Essentially, this experiment proves that energy and matter display characteristics of particles and waves, indicating the fundamental probabilistic nature of quantum mechanics. In a basic Double-Slit Experiment, we observe the light of a laser beam aimed towards a thin plate pierced with two parallel slits. The wave-like nature of the light results in the light waves interfering with each other while passing through the two slits. When observed from behind the plate, one sees bright and dark bands being created, which is unexpecte d if one were to assume that light only consisted of particles. Instead of acting like particles, the light becomes absorbed on the screen as if it consisted of photons or discrete particles (Live Science, 2012). The mysterious result of this experiment lead to the detection of the inherent probabilistic nature of individual photons. When Deutsche (2001) conducted his version of the Double-Slit Experiment, he took the findings even further. He states that when we perceive a photon passing through one slit, a parallel universe might perceive a photon passing through another slit. According to Deutsche (2001), our universe is the reality of the tangible particles that we observe whereas the reality of the shadow particles is actually a parallel universe. However, there are very strong arguments against Deutschs interpretation of the findings of the Double-Slit Experiment. It is impossible to confirm Deutschs claim that the photon goes through one of the slits and not both because an interference pattern emerges when we try to measure this (Sturman, 2011). Even though the standard way of approaching quantum mechanics does not provide a satisfactory explanation of the Double-Slit Experiment in terms of a single universe, it does not give precedent to an unverified theory of a multiverse that might explain it better. After observing that when a photon passes through the first slit, it interferes with a photon that might have passed through the second slit, Deutsch deduces that a photon must have passed through the second slit in a parallel universe (Sturman, 2011). This, however, is unsatisfactory due to the fact that Deutsch has not proven that the photon passes through one of the two slits even though it could have passed through the other slit. There is still a distinct possibility that the photon is passing through both slits at the same time in our universe (Sturman, 2011). What I think Deutsche has forgotten in his pursuit to desperately prove the existence of parallel universes, is that the role of physics is to describe what we experience in our world. When we consider the notion of doppelgà ¤ngers in different universes which we cannot observe, we are stretching the field of physics to be greater than our experiential reality. In my opinion, this cannot be considered science, but rather speculation. Conclusion After analyzing both schools of thought on the existence of parallel universes, I remain firmly unconvinced by this theory. The unverified cosmological arguments made by Tegmark (1997) and the futile attempts of Greene (2011) and Deutschs (2001) quantum physics approach did not succeed in convincing me that parallel universes exist. Even though I approached this concept with an open mind, one must still require empirical evidence before confirming any theory to be remotely factual. Given the evidence, I can confidently conclude that the case for the existence of parallel universes remains unproven for now. However, I have found the contemplation of a multiverse extremely enticing as a way to reflect on the nature of our existence. There is no doubt that the concept belongs in the realm of philosophy for now, but the lack of scientific proof does not leave it entirely worthless. We should rather embrace what multiverse proposals truly are scientifically based philosophical speculatio n (Ellis, 2011). By doing this we can bring newfound legitimacy to the subject. Instead of trying to force it into the field of natural sciences, where it clearly does not belong, we should welcome it in the field of social science. I think that by doing this, we will enable the concept of parallel universes to be explored to its full potential without the boundaries set by the scientific method.

Substance Abuse of Pyrethroid

Substance Abuse of Pyrethroid Case Report Kimmyben Patel , Ankitkumar B. Patel, Pokhraj P. Suthar, Kewal Arunkumar Mistry [S.B.K.S. Medical Institute and Research Centre, Waghodiya,Vadodara. ; S.S.G. Hospital , Medical College , Vadodara ; Third Year Resident Doctor,Department of Radiology , S.S.G. Hospital , Medical College , Vadodara . ; Department of Radiology, Dr Rajendra Prasad Government medical College, Kangra at Tanda, Himachal Pradesh, India ]   An Uncommon Substance of Abuse: Pyrethroid Abstract: Pyrethroid, an insecticide is an uncommon substance of abuse in Asian countries. Cholinergic and symphathetic symptoms along with psychiatric symptoms in such rare substance of abuse have not yet been described. A 39-year-old Asian male with past psychiatric history of methamphetamine dependence and bipolar disorder type 1, came to the emergency department because of suicidal ideation with a plan to slash his throat. The patient was very agitated during initial assessment. In the emergency room (ER), the patient reported that he had been using methamphetamine for the last four years. His last use was six hours before coming to the ER and that was his only use during the past six to eight weeks. His affect was flat and irritable. His urinary drug screen was positive for amphetamines, methamphetamines, and cannabinoids. The patient reported that it would give him the same high as methamphetamine and he would occasionally have feelings of dà ©jà   vu. The patient also reported having olfactory hallucinations while using it. The patient had been using the insecticide for six to eight weeks and only used methamphetamine one (1) day before coming to the ER. The patient had suicidal ideations apparently precipitated by his use of pyrethroid. His statements about friends using it intravenously highlight the phenomenon of an under reported substance being abused with little or no telltale signs by people with high risk for self-harm. Key Words: Psychiatrics, Substance of abuse, Pyrethroid Introduction: Pyrethroid, an insecticide is an uncommon substance of abuse in Asian countries. Cholinergic and symphathetic symptoms along with psychiatric symptoms in such rare substance of abuse have not yet been described. Case History: A 39-year-old Asian male with past psychiatric history of methamphetamine dependence and bipolar disorder type 1, came to the emergency department because of suicidal ideation with a plan to slash his throat. The patient was very agitated during initial assessment. In the emergency room (ER), the patient reported that he had been using methamphetamine for the last four years. His last use was six hours before coming to the ER and that was his only use during the past six to eight weeks. On physical examination, temperature was found to be 98 degree Fahrenheit, pulse 116/minute, blood pressure128/78mmHg, weight 68.0 kg, and height 177 cm. His pupils were 5mm in diameter and reactive. In the review of systems, the patient denied any pulmonary, cardiac, renal, and abdominal complaints. There was no complaining of increased tearing from eyes. Lungs were clear and the heart rate was regular without murmurs. Bowel sounds were normative. The patient was not oriented to time. His affect was flat and irritable. He was evasive and tangential while answering questions. A chest radiograph and electrocardiogram was normal. His urinary drug screen was positive for amphetamines, methamphetamines, and cannabinoids. Blood chemistry concentrations/counts/percent of the following analysis were mainly within reference limits: alcohol The patient was transferred to the inpatient psychiatry unit. The next day, the patient was disoriented, refused to talk to the treatment team, and slept most of the day. On his fourth hospital day, the patient was much more oriented and reported that he was unable to get methamphetamine for the past six to eight weeks because he could not afford it. The patient would use the crystals formed from one bottle for four to seven days. He claimed that his friends used those crystals intravenously after diluting them. The patient reported that it would give him the same high as methamphetamine and he would occasionally have feelings of dà ©jà   vu. The patient also reported having olfactory hallucinations while using it. He said that he liked the increase in heart rate and the â€Å"rush† he used to get after every use. The patient reported that he would sleep most of the day when he was using it. He denied unwanted adverse effects during his use except for frequent headaches upon waking up which were relieved by over-the counter analgesics. The patient had been using the insecticide for six to eight weeks and only used methamphetamine one (1) day before coming to the ER. The patient claimed that he had been compliant with his medications for bipolar disorder until he started using it. The patient was taking divalproex sodium 400mg twice daily and quetiapine extended-release 300 mg at bedtime. He voiced that he, since a few weeks before coming to the ER, got scared that he might get cancer because of the frequent use of the insecticide which led him to have suicidal ideation. Despite the reported use for six to eight weeks, the patient had no significant physical findings associated with pyrethroid abuse when he presented to the ER. The patient had suicidal ideations apparently precipitated by his use of pyrethroid. His statements about friends using it intravenously highlight the phenomenon of an under reported substance being abused with little or no tellt ale signs by people with high risk for self-harm. DISCUSSION Pyrethroid cause hyper-excitation by affecting sodium channels which are kept open for unusually long periods of time.[1] Animal studies of pyrethroid toxicity have shown hyperglycaemia and elevated plasma levels of noradrenalin and adrenaline.[2] These may account for the â€Å"rush† the patient experienced with use of it. Ingestion and parenteral injection of pyrethroid in suicide attempts, occupational exposure, and accidents are well documented and have resulted in poisoning syndromes with characteristic sympathetic activation, lacrimation, hyperexcitability, choreoathetosis, and status epileptics.[3. 4, 5] Reports of association of pyrethroid with parenteral drug abuse are fairly sparse. These have shown adverse effects like local erythematic, cellulites, and vasculitis.[6, 7] These reported cases had the pyrethroid injected either subcutaneously(popping) or intravenously usually resulting in local effects that could be noted immediately on examination. There was also ass ociation with suicidal history or ideation. Communication via phone with the National Pesticide Information Center (NPIC) was made. NPIC stated that they had no official documented cases processing pyrethroid to produce effects similar to methamphetamine or case reports of the use of pyrethroid as a recreational substance. There are certain limitations to this report. The anamnesis was taken from a person suffering from substance abuse and bipolar disorder, the latter being untreated for the last six to eight weeks, making his credibility questionable. However, our longstanding knowledge of patients with this kind of problems in this area suggests that this patient’s report should not be dismissed without careful consideration. However, our longstanding knowledge of patients with this kind of problems in this area suggests that the suicidal thoughts emerging in the patient may also not be a result of the use of pyrethroid only, as the patient’s untreated bipolar disorder may have made him more prone to such ideation. This case report is interesting in the fact that the pyrethroid was â€Å"processed† so that it could be smoked or inhaled to get a feeling of â€Å"rush.† Conclusion: Pyrethroid, an uncommon substance of abuse should be suspected in agricultural and developing countries in case of poisoning cases. Patient with mixed sympathetic and cholinergic symptoms with psychiatric symptoms should be suspected for multi substance abuse. It is important for physicians to maintain a high level of suspicion for alternate and uncommon substances of abuse and suicidal ideation among people who abuse these substances. Footnotes: Source of support : Nil Conflict Of Interest : None declared. REFERENCES [1] T.Narahashi, J.M. Frey, K. S. Ginsburg, and M. L. Roy, â€Å"Sodium and GABA-activated channels as the targets of pyrethroids and cyclodienes,† Toxicology Letters, vol. 64-65, pp. 429–436, 1992. [2] J. E. Cremer and M. P. Seville, â€Å"Comparative effects of two pyrethroids, deltamethrin and cismethrin, on plasma catecholamines and on blood glucose and lactate,† Toxicology and Applied Pharmacology, vol. 66, no. 1, pp. 124–133, 1982. [3] F. He, S. Wang, L. Liu, S. Chen, Z. Zhang, and J. Sun, â€Å"Clinical manifestations and diagnosis of acute pyrethroid poisoning,†Archives of Toxicology, vol. 63, no. 1, pp. 54–58, 1989. [4] J. M. Larsen, A. Bindiger, R. Sherman, and S. H. Kuschner,â€Å"Insecticide injection injuries to both hands: a case report,† TheJournal of Hand Surgery, vol. 17, no. 6, pp. 1073–1075, 1992. [5] S. Ghosh, A. Ahlawat, K. Rai, and A. Arora, â€Å"An unusual cause of status epilepticus,† Indian Journal of Critical Care Medicine,vol. 13, no. 2, pp. 106–107, 2009. [6] M. A. Miller and M. Menowsky, â€Å"Human intravenous injectionof à °Ã‚ Ã¢â‚¬ ºÃ‚ ½-cyfluthrin with minimal toxic effects,† The American Journal of Emergency Medicine, vol. 32, no. 1, pp. 113.e1–113.e2, 2014. [7] F. LoVecchio and J. Knight, â€Å"Injection of pyrethroids without significant sequelae,† The American Journal of Emergency Medicine, vol. 23, no. 3, p. 406, 2005.

Violence On The Tube :: essays research papers

Violence on the Tube One Saturday morning many years ago, I was watching an episode of the ‘ Roadrunner' on television. As Wile E. Coyote was pushed off of a cliff by the Roadrunner for the fourth or fifth time, I started laughing uncontrollably. I then watched a ‘Bugs Bunny' show and started laughing whenever I saw Elmer Fudd shoot Daffy Duck and his bill went twirling around his head. The next day, I pushed my brother off of a cliff and shot my dog to see if its head would twirl around.   Ã‚  Ã‚  Ã‚  Ã‚  Obviously, that last sentence is not true. Some people believe that violence on the tube is one of the main factors that leads to real-life violence, but in my opinion, television is just a minor factor that leads to real-life violence and that it is the parents responsibility to teach kids the difference.   Ã‚  Ã‚  Ã‚  Ã‚  According to Rathus in Psychology in the New Millennium, observational learning may account for most human learning (239). Observational learning extends to observing parents and peers, classroom learning, reading books, and learning from media such as television and films. Nearly all of us have been exposed to television, videotapes, and films in the classroom. Children in day- care centers often watch Sesame Street. There are filmed and videotaped versions of great works of literature such as Orson Welles' Macbeth. Nearly every school shows films of laboratory experiments.   Ã‚  Ã‚  Ã‚  Ã‚  But what of our viewing outside of the classroom? Television is also one of our major sources of informal observational learning. According to Sweet and Singh, viewing habits range from the child who watches no television at all to the child who is in front of the television nearly all waking hours. They say that on average, children aged 2 to 11 watch about 23 hours of television per week, and teenagers watch about 22 hours per week (2). According to these figures, children spend less time in the classroom than they do watching television. During these hours of viewing, children are constantly being shown acts of violence.   Ã‚  Ã‚  Ã‚  Ã‚  Why? Simple: violence sells.   Ã‚  Ã‚  Ã‚  Ã‚  People are drawn to violence in films, television dramas, books, professional wrestling and boxing, and reports of crime and warfare. Does violence do more than sell, however? Do media portrayals of violence beget violence in the streets and in the home?   Ã‚  Ã‚  Ã‚  Ã‚  It seems clear enough that there are connections between violence in the media and real violence. In the 1990's, for example, audiences at films about violent urban youth such as Colors, Boyz N the Hood, and Juice have gotten into fights, shot one another, and gone on rampages after the showings.