Choreography Styles Essay Example for Free

Choreography Styles Essay Dance Dance is a type of art that generally involves movement of the body, often rhythmic and to music. It is performed in many cultures as a form of emotional expression, social interaction, or exercise, in a spiritual or performance setting, and is sometimes used to express ideas or tell a story. Dance may also be regarded as a form of nonverbal communication between humans or other animals, as in bee dances and behaviour patterns such as a mating dances. Definitions of what constitutes dance can depend on social and cultural norms andaesthetic, artistic and moral sensibilities. Definitions may range from functional movement (such as folk dance) to virtuoso techniques such as ballet. Martial arts kataare often compared to dances, and sports such as gymnastics, figure skating andsynchronized swimming are generally thought to incorporate dance. In some cases, themotion of ordinarily inanimate objects may be described as dance (the leaves danced in the wind). There are many styles and genres of dance. African dance is interpretative. Ballet,ballroom and tango are classical dance styles. Square dance and electric slide are forms of step dance, and breakdancing is a type of street dance. Dance can beparticipatory, social, or performed for an audience. It can also be ceremonial,competitive or erotic. Dance movements may be without significance in themselves, as in ballet or European folk dance, or have a gestural vocabulary or symbolic meaning as in some Asian dances. Choreography is the art of creating dances. The person who creates (i.e., choreographs) a dance is known as the choreographer. Ballet Ballet is a type of performance dance that originated in the Italian Renaissance courts of the 15th century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own vocabulary. It has been globally influential and has defined the foundational techniques used in many other  dance genres. Ballet may also refer to a ballet dance work, which consists of thechoreography and music for a ballet production. A well-known example of this is The Nutcracker, a two-act ballet that was originally choreographed by Marius Petipa and Lev Ivanov with a music score by Pyotr Ilyich Tchaikovsky. Stylistic variations have emerged and evolved since the Italian Renaissance. Early variations are primarily associated with geographic origin. Examples of this are Russian ballet, French ballet, and Italian ballet. Later variations include contemporary ballet and neoclassical ballet. Perhaps the most widely known and performed ballet style is late Romantic ballet (or Ballet Blanc), which is a classical style that focuses on female dancers and features pointe work, flowing and precise acrobatic movements, and often presents the female dancers in traditional, short white French tutus. Ballet dance works (ballets) are choreographed and performed by trained artists, and often performed with classical music accompaniment. Early ballets preceded the invention of theproscenium stage and were performed in large chambers with the audience seated on tiers or galleries on three sides of the dance floor. Modern ballets may include mime and acting, and are usually set to music (typically orchestral but occasionally vocal). Ballet requires years of training to learn and master, and much practice to retain proficiency. It has been taught in ballet schools around the world, which have historically used their own cultures to evolve the art. Ballet is the foundation of many types of dance. Etymology The word ballet comes from the French and was borrowed into English around 1630. The French word in turn has its origin in Italianballetto, a diminutive of ballo (dance) which comes from Latin ballo, ballare, meaning to dance,[1][2] which in turn comes from theGreek ÃŽ ²ÃŽ ±ÃŽ »ÃŽ »ÃŽ ¯ÃŽ ¶Ãâ€° (ballizo), to dance, to jump about.[3][4] [edit]History The history of ballet began in the Italian Renaissance courts of the  fifteenth and sixteenth centuries. It quickly spread to the French court of Catherine de Medici where it was further developed. The creation of classical ballet as it is known today occurred under Louis XIV, who in his youth was an avid dancer and performed in ballets by Pierre Beauchamp and Jean-Baptiste Lully. In 1661 Louis founded the Acadà ©mie Royale de Danse (Royal Dance Academy) which was charged with establishing standards for the art of dance and the certification of dance instructors. In 1672, following his retirement from the stage, Louis XIV made Lully the director of the Acadà ©mie Royale de Musique (Paris Opera) in which the first professional ballet company, the Paris Opera Ballet, arose.[5] This origin is reflected in the predominance of French in the vocabulary of ballet. Despite the great reforms of Jean-Georges Noverre in the eighteenth century, ballet went into decline in France after 1830, though it was continued in Denmark, Italy, and Russia. It was reintroduced to western Europe on the eve of the First World War by a Russian company, the Ballets Russes ofSergei Diaghilev, who ultimately influenced ballet around the world. Diaghilevs company became a destination for many of the Russian-trained dancers fleeing the famine and unrest that followed the Bolshevik revolution. These dancers brought back to their place of origin many of the choreographic and stylistic innovations that had been flourishing under the czars. In the 20th century, ballet had a strong influence on broader concert dance. For example, in the United States, choreographer George Balanchine developed what is now known as neoclassical ballet. Subsequent developments include contemporary ballet and post-structural ballet, seen in the work of William Forsythe in Germany. Also in the twentieth century, ballet took a turn dividing it[clarification needed] from classical ballet to the introduction of modern dance, leading to modernist movements[clarification needed] in both the United States and Germany.[6] Styles Classical ballet Classical ballet is based on traditional ballet technique and vocabulary. There are different styles of classical ballet that are related to their  areas of origin, such as French ballet, Italian ballet and Russian ballet. Several of the classical ballet styles are associated with specific training methods, which are typically named after their creators. For example, the Cecchetti method is named after its creator, Italian dancer Enrico Cecchetti. Neoclassical ballet Main article: Neoclassical ballet Neoclassical ballet is a ballet style that conforms to classical ballet technique and vocabulary, but deviates from classical ballet through such differences as unusually fast dance tempos and its addition of non-traditional technical feats. Spacing in neoclassical ballet is usually more modern or complex[clarify] than in classical ballet. Although organization[further explanation needed] in neoclassical ballet is more varied, the focus on structure[clarify] is a defining characteristic of neoclassical ballet. Tim Scholl, author of From Petipa to Balanchine, considers George Balanchines Apollo in 1928 to be the first neoclassical ballet. Apollo represented a return to form in response to Sergei Diaghilevs abstract ballets.[clarification needed] Balanchine worked with modern dance choreographer Martha Graham, expanding his exposure to modern techniques and ideas, and he brought modern dancers into his company (New York City Ballet) such as Paul Taylor, who in 1959 performed in BalanchinesEpisodes. During this time period[when?], Glen Tetley began to experimentally combine ballet and modern techniques. Contemporary ballet Main article: Contemporary ballet Contemporary ballet is a form of dance influenced by both classical ballet and modern dance. It employs the fundamental technique and body control (using abdominal strength) principles of classical ballet but permits a greater range of movement than classical ballet and may not adhere to the strict body lines or turnout that permeate classical ballet technique. Many of its concepts come from the ideas and innovations of 20th century modern dance, including floor work and turn-in of the legs. This ballet style is often performed barefoot. George Balanchine is often considered to have been  the first pioneer of contemporary ballet through the development of neoclassical ballet. One dancer who danced briefly for Balanchine was Mikhail Baryshnikov, an exemplar of Kirov Ballet training. Following Baryshnikovs appointment as artistic director of American Ballet Theatre in 1980, he worked with various modern choreographers, most notably Twyla Tharp. Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976; in 1986 she created In The Upper Room for her own company. Both these pieces were considered innovative for their use of distinctly modern movements melded with the use of pointe shoes and classically trained dancers—for their use of contemporary ballet. Twyla Tharp also worked with the Joffrey Ballet company, founded in 1957 by Robert Joffrey. She choreographed Deuce Coupe for them in 1973, using pop music and a blend of modern and ballet techniques. The Joffrey Ballet continued to perform numerous contemporary pieces, many choreographed by co-founder Gerald Arpino. Today there are many contemporary ballet companies and choreographers. These include Alonzo King and his company, Alonzo Kings Lines Ballet; Complexions Contemporary Ballet, under the direction of Dwight Rhoden; Nacho Duatos Compaà ±ia Nacional de Danza;William Forsythe, who has worked extensively with the Frankfurt Ballet and today runs The Forsythe Company; and Jiřà ­ Kylià ¡n, currently the artistic director of the Nederlands Dans Theater. Traditionally classical companies, such as the Kirov Ballet and the Paris Opera Ballet, also regularly perform contemporary works. Cotillion The cotillion is a type of patterned social dance that originated in France in the 18th century. It was originally made up of four couples in a square formation, the forerunner of thequadrille; in the United States the square dance, where the figures are called aloud by the caller, is a form of rural contredanse that also descended from the urban cotillion. Its name, from French cotillon, petticoat, reflected the flash of petticoats as the changing partners turned. The cotillion, of repeated figures interspersed with changes of different figures to different music,[1] was one of many contredanses where the gathered participants were  able to introduce themselves and to flirt with other dancers through the exchange of partners within the formation network of the dance. By the 19th century, the cotillion evolved to include more couples with many complex dance figures. In British usage, cotillion has disappeared, save in French or historical contexts.[2] Cotillions were introduced in London about 1766[3] by French dancing masters. They came to America in about 1772. There is a reference to a dance in the French manner, implying a cotillon, in John Gays Beggars Opera of 1728, where the low-life characters of London dance in imitation of the fashions of the wealthy. [4] There is also a reference in Robert Burnss 1790 poem, Tam o Shanter, where upon seeing a group of witches and warlocks dancing they are described to the reader as Nae cotillion brent-new frae France. A German cotillion, in contemporary accounts, was reintroduced to New York society at a costume ball with a Louis XV theme given by Mr William Colford Schermerhorn in the early winter of 1854.[5] The Philippine Debut incorporates a Grand Cotillion Dance which is usually a classic waltz. Contra dance Contra dance (also contradance, contra-dance and other variant spellings) refers to several partnered folk dance styles in which couples dance in two facing lines. Sometimes described as New England folk dance, contra dances can be found around the world, though they are especially popular in North America. History At the end of the 17th century, English country dances were taken up by French dancers; hybrid choreographies exist from this period using the steps from French court dance inEnglish dances. The French called these dances contra-dance or contredanse. As time progressed, English country dances were spread and reinterpreted throughout the Western world, and eventually the French form of the name came to be associated with the American folk dances, especially in New England (this Gallicized name change  may have followed a contemporary misbelief that the form was originally French).[1][2] Contra dances were fashionable in the United States until the early to mid-19th century, when they were supplanted in popularity by square dances (such as the quadrille andlancers) and couple dances (such as the waltz and polka). By the late 19th century, square dances too had fallen out of favor, except in rural areas. When squares were revived (around 1925 to 1940, depending on the region), contra dances were generally not included. In the 1930s and 1940s, contra dances appear to have been done only in small towns in widely scattered parts of northeastern North America, such as Ohio, the Maritime provinces of Canada,[3] and particularly northern New England. Ralph Page almost single-handedly maintained the New England tradition until it was revitalized in the 1950s and 1960s, particularly by Ted Sannella and Dudley Laufman. By then, early dance camps, retreats, and weekends had emerged, such as Pinewoods Camp, in Plymouth, Massachusetts, which became primarily a music and dance camp in 1933,[4] and NEFFA, the New England Folk Festival, also in Massachusetts, which began in 1944.[5] These and others continue to be popular and some offer other dancing and activities besides contra dancing. In the 1970s, Sannella and other callers introduced movements from English Country Dance, such as heys and gypsies, to the contra dances. [6] New dances, such as Shadracks Delight by Tony Parkes, featured symmetrical dancing by all couples. (Previously, the actives and inactives —see Progression below— had significantly different roles). Double progression dances, popularized by Herbie Gaudreau,[7] added to the aerobic nature of the dances, and one caller, Gene Hubert, wrote a quadruple progression dance, Contra Madness. Becket formation was introduced, with partners next to each other in the line instead of opposite. The Brattleboro Dawn Dance started in 1976, and continues to run semiannually.[8][9] In the early 1980s, Tod Whittemore started the first Saturday dance in the Peterborough Town House, which remains one of the more popular regional dances.[10] As musicians and callers moved to other locations, they founded contra dances in Michigan, Washington, California, Texas, and elsewhere. Gender-free contra dancing started in the 1970s, with the Boston Lesbian and Gay Folk Dance as perhaps the first group regularly contra dancing without gender roles. In 1981, a group in Minneapolis/St. Paul, MN, called Les be Gay and Dance was  started, in which contra dance was done without any reference to gender, avoiding calling moves with any reference to ladies or gents. In 1987, Chris Ricciotti started a gay dance group in Providence, RI, using the terms ladies and gents although dancers were not lining up according to gender. Other gender-free dance groups started up in the area after that, and in 1989, at the gender-free dance group in Jamaica Plain, MA, a group of dancers led by Janet Dillon protested the use of these terms, and the armband system was devised: the traditionally male-role dancers would wear armbands and be called armbands or just bands, and the traditionally female-role dancers would be called bare arms or just bares.[11] The Lavender Country and Folk Dancers organization now serves as an umbrella organization for dances in Massachusetts, New York, Georgia, and California. Gender-free philosophy can be used almost anywhere conventional traditional dances are currently being held. It is useful for community dances where â€Å"keeping on the correct side† is difficult because of a large gender imbalance, for children’s dances and for groups who want to add a little variety and a creative learning experience to their traditional dance venue. Contra dances are arranged in long paired lines of couples. A pair of lines is called a set. Sets are generally arranged so they run the length of the hall, with the top or head of the set being the end closest to the band and caller. Correspondingly, the bottom or foot of the set is the end farthest from the caller. Couples consist of two people, traditionally but not necessarily one male and one female, referred to as the gent, gentleman or man, and lady or woman. Couples interact primarily with an adjacent couple for each round of the dance. Each sub-group of two interacting couples is known to choreographers as aminor set and to dancers as a foursome or hands four. Couples in the same minor set are neighbors. Minor sets originate at the head of the set, starting with the topmost dancers as the 1s (the active couple or actives); the other couple are 2s (or inactives). The  1s are said to be above their neighboring 2s; 2s are below. If there is an uneven number of couples dancing, the bottom-most couple will wait out the first time through the dance. There are three common ways of arranging dancers in the minor sets: proper formation, improper formation, and Becket formation. There are many additional forms a contra dance may take. Five of them are: triple minor, triplet, indecent, four-face-four, and whole-set. (For diagrams and full descriptions, see Contra Dance Form main article.) Progression A fundamental aspect of contra dancing is that the same dance, one time through which lasts roughly 30 seconds, is repeated over and over but each time you dance with new neighbors. This change is effected by progressing the 1s down the set and progressing the 2sup (also up the hall and down the hall; see Contra Dance Form main article for full characterizations of the progression in the eight dance forms mentioned above). A single dance runs around ten minutes, long enough to progress 15-20 times. If the sets are short to medium length the caller will often try to run the dance until each couple has danced with every other couple both as a 1 and a 2 and returned to where they started. With longer sets (more than ~40 people) this would require long enough sets that the caller will usually only run the dance all the way around on (rare) non equal-turn dances. Choreography Main article: Contra dance choreography Contra dance choreography specifies the dance formation, the figures, and the sequence of those figures in a dance. Notably, contra dance figures (with a few exceptions) do not have defined footwork; within the limits of the music and the comfort of their fellow dancers, individuals move according to their own taste. Most contra dances consist of a sequence of about six to 12 individual figures, prompted by the caller in time to the music as the figures are danced. As the sequence repeats, the caller may cut down his or her prompting, and eventually drop out, leaving the dancers to each other and the music. A figure is a pattern of movement that typically takes eight counts, although figures with four or 16 counts are also common. Each  dance is a collection of figures assembled to allow the dancers to progress along the set (see Progression, above). A count (as used above) is one half of a musical measure, such as one quarter note in 2/4 time or three eighth notes in 6/8 time. A count may also be called a step, as contra dance is a walking form, and each count of a dance typically matches a single physical step in a figure. Typical contra dance choreography comprises four parts, each 16 counts (8 measures) long. The parts are called A1, A2, B1 and B2. This nomenclature stems from the music: Most contra dance tunes (as written) have two parts (A and B), each 8 measures long, and each fitting one part of the dance. The A and B parts are each played twice in a row, hence, A1, A2, B1, B2. While the same music is generally played in, for example, parts A1 and A2, distinct choreography is followed in those parts. Thus, a contra dance is typically 64counts, and goes with a 32 measure tune. Tunes of this form are called square; tunes that deviate from this form are called crooked. Sample contra dances:[18] * Traditional the actives do most of the movement Chorus Jig (Proper duple minor) A1 (16) Actives down the outside and back. [The inactives stand still or substitute a swing] A2 (16) Actives down the center, turn individually, come back, and cast off. [The inactives stand still for the first 3/4, take a step up the hall, and then participate in the cast] B1 (16) Actives turn contra corners. [The inactives participate in half the turns] B2 (16) Actives meet in the middle for a balance and swing, end swing facing up. [The inactives stand still] Note: inactives will often clog in place or otherwise participate in the dance, even though the figures do not call for them to move. * Modern the dance is symmetrical for actives and inactives Hay in the Barn by Chart Guthrie (Improper duple minor) A1 (16) Neighbors balance and swing. A2 (8) Ladies chain across, (8) Half hey, ladies pass right shoulders to start. B1 (16) Partners balance and swing. B2 (8) Ladies chain across, (8) Half hey, ladies pass right shoulders to start. Many modern contra dances have these characteristics[19]: * longways for as many as will * first couples improper, or Becket formation * flowing choreography * no-one stationary for more than 16 beats (e.g. First Couple Balance Swing, finish facing down to make Lines of Four) * containing at least one swing and normally both a partner swing and a neighbour swing * 95% of the moves from a set of well-know moves that the dancers know already * comprised mostly of moves that keep you connected to the other dancers * generally danced to 32 bar jigs or reels played at between 110 and 130 bpm * danced with a smooth walk with lots of spins and twirls An event which consists primarily (or solely) of dances in this style is sometimes referred to as a Modern Urban Contra Dance. Music The most common contra dance repertoire is rooted in the Anglo-Celtic tradition as it developed in North America. Irish, Scottish,French Canadian, and Old-time tunes are common, and Klezmer tunes have also been used. The old-time repertoire includes very few of the jigs common in the others. Tunes used for a contra dance are nearly always square 64-beat tunes, in which one time through the tune is each of two 16-beat parts played twice (this is notated AABB). However, any 64-beat tune will do; for instance, three 8-beat parts could be played AABB AACC, or two 8-beat parts and one 16-beat part could be played AABB CC. Tunes not 64 beats long are called crooked and are almost never used for contra dancing, although a few crooked dances have been written as novelties. Until the 1970s it was traditional to play a single tune for the duration of a contra dance (about 5 to 10 minutes). Since then, contra dance musicians have typically played tunes in sets of two or three related (and somet imes contrasting) tunes, though single-tune dances are again becoming popular with some northeastern bands. In the Celtic repertoires it is common to change keys with each tune. A set might start with a tune in G, switch to a tune in D, and end with a tune in Bm. Here, D is related to G as its dominant (5th), while D and Bm (dorian) share a key signature of two sharps. In the old-time tradition the musicians will either play the same tune for the whole dance, or switch to tunes in the same key. This is because the tunings of the banjo are  key-specific. An old-time band might play a set of tunes in D, then use the time between dances to retune for a set of tunes in A. (Fiddlers also may take this opportunity to retune; tune- or key-specific fiddle tunings are uncommon in American Anglo-Celtic traditions other than old-time.) In the Celtic repertoires it is most common for bands to play sets of reels and sets of jigs. However, since the underlying beat structure of jigs and reels is the same (two counts per bar) bands will occasionally mix jigs and reels in a set. In recent years, younger contra dancers have begun establishing crossover contra or techno contra contra dancing to techno, hip-hop, and other modern forms of music. While challenging for DJs and callers, the fusion of contra patterns with moves from hip-hop, tango, and other forms of dance has made this form of contra dance a rising trend since 2008; it has become especially prevalent in Asheville, NC, but regular techno contra dance series are spreading up the East Coast to locales such as Charlottesville, VA, Washington, DC, Amherst, MA, and Greenfield, MA, with one-time or annual events cropping up in locations further West, including California and Washington state.

Can Neutropenic Cancer Patients Be Nursed Effectively Nursing Essay

Can Neutropenic Cancer Patients Be Nursed Effectively Nursing Essay On my clinical rotation I have observed that oncology patients are being nursed in wards which have patients with other conditions. Some of the oncology patients were severely neutropenic. This poses a greater risk for infections since the white blood cells needed to fight infection is very low. It has been noted that patients with infectious diseases such as tuberculosis are being nursed on the same ward, along with burn patients and HIV patients. It was observed however that the most neutropenic patients were being barrier nursed. However it was still observed that many times members of staff entered the room without wearing a mask or washing their hands and most of the times the patient also wore no mask. The cleaning staff also entered the rooms and cleaned without wearing masks and would sometimes clean an infectious persons room prior to cleaning the cancer patient room. These observations have led me to ask the question whether neutropenic cancer patients can be effectively nu rsed on a ward with others patients of contagious illnesses. This issue is significant to oncology nursing and cancer care since it addresses the practices of nursing and also plays an important part in patient outcomes. It has been estimated that each year in the United States there were sixty thousand cases of cancer patients hospitalized with neutropenia. About two thirds of that number has reported infections and the estimated inpatient mortality rate of those patients is seven percent (Segal, 2008). Infections also cost hospitals a lot of money that could be spent on other health issues. It was estimated that infections have added thirty billion dollars to the US hospital cost while consumers also have to pay part of the cost (McCaughey, 2005). A search was carried out using internet data bases and articles were found which lends support to the use of barrier nursing and other methods as effective tools in infection control. Barrier Nursing is nursing a patient so as to erect a barrier to the passage of infectious pathogenic organisms between the contagious patient and other patients and staff in the hospital, and thence to the outside world (Last, 2010).It involves the use of having the patient isolated in a separate room and if not possible they are screened on an open ward. The nurse would wear a gown, mask and gloves when attending to the patient and observe strict hand washing and aseptic techniques (Last, 2010). Reverse barrier nursing or protective isolation is where the susceptible patient is isolated to prevent them from getting infections. It involves limiting the number of staff and visitors that interact with the patient especially if they are ill. It also involves limiting attending to a contagious patient then attending to the immunocompromised patient. All staff should be aware of the precautions and the doors should be appropriately labeled (The Leeds Teaching Hospital, 2003). According to the American Cancer Society (2009), neutropenia is described as a deficiency of neutrophils. Neutrophils are the largest number of white bloods cells in the body and are crucial to the bodys defense system. Some cancers such as the lymphomas and some leukemias directly affect the immune system and causes low blood counts. In other cases the cancer treatment received such as chemotherapy and radiation results in damage to the immune system (American Cancer Society, 2009). When the immune system is damaged or suppressed it is referred to as immunosupression. When this occurs the white blood cells especially neutrophils are unable to fight off infections and the person is highly susceptible to getting an infection. Infections can be caused by bacteria, viruses, parasites or fungi (American Cancer Society, 2009). Some studies have suggested that proper hand hygiene by the patient and the nurse along with immunization, antifungal and antibacterial prophylaxis have show to be the most effective methods of infection control. Avoiding contact with persons who are ill with respiratory illnesses has also been suggested (Zitella, Friese, Hauser, Gobel, Woolery, OLeary and Andrews, 2006). The Center for Disease Control recommends hand washing as the most important means of spreading infection especially in susceptible populations such as the immunocompromised. It is also important between different patients in high risk units such as between cancer patients and HIV patients (LeTexier, 2000). Other studies have suggested that barrier nursing is needed for all immunocompromised patients. Some infections are seen mostly in certain disease populations for example Candida infections are found in many HIV patients. However the question of whether neutropenic patients should be housed close to HIV patients needs to be further researched. Rather strict hygiene practices along with prophylactic treatment have been suggested (Lortholary Dupont, 1997). It is suggested that all clinical staff and other health care workers are periodically trained in infection control and there should be consistent evaluation of techniques being used. The nurse is in a unique position to ensure that infection spread is reduced by carrying out and monitoring aseptic practices; ensuring the environment is clean to prevent spread of micro organisms and to protect the patient from ill staff and visitors (Collins, n.d). Some studies have also indicated that there is little evidence that reverse barrier nursing is effective especially where there is no laminar air flow or HEPA-filtered rooms available. However some studies indicate that the filtered rooms can reduce morbidity and mortality in patients with leukemia (Seshadri Baumann, 2008). The use of reverse isolation of any type for patients with solid tumors who are neutropenic is discouraged since there are no studies to prove it is helpful rather it can cause anxiety and confusion for patients, their families, and healthcare workers (Seshadri Baumann, 2008). After reviewing the literature the question can be answered that neutropenic patients can be effectively nursed on these wards with the collaboration of all the members or the health care team in carrying out proper hygienic methods.

Global Warming Essay -- Environmental Global Climate Change

Global Warming:   Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"It’s gettin’ hot in here, so take off all your clothes†¦Ã¢â‚¬  The famous words of R&B star, Nelly, are truer than one might think. It really is getting hot in here. The world’s average temperature is rising every year and is expected to be 5 to 10 degrees higher by the end of the century, which is faster than they have increased in the last ten millennia, according to the National Resource Defense Council’s website.   Ã‚  Ã‚  Ã‚  Ã‚  But why is this epidemic happening? As the Defense Council states, global warming is caused by carbon dioxide and other types of heat trapping pollution that are collecting like a blanket in the atmosphere, trapping heat from the earth as it tries to radiate back into space. As a result, the planet is getting warming. In fact, 2002 was the hottest year yet. In an article in World Almanac and Book of Facts, 9 out of the10 hottest years have been in the 90's.   Ã‚  Ã‚  Ã‚  Ã‚  There are a few major causes of theses heat trapping gases. According to a study conducted by Dr. Gerald Meehl, Warren Washington, T.M.L. Wigley, Julie Arblaster, and Aiguo Dai from the National Center for Atmospheric Research in Boulder Colorado, the main contributors to global warming are derived from human activities. Since the start of the industrial revolution, atmospheric concentrations of CO2, CH4, and N2O have increased by 30%, 145%, and 15%k respectively. The gases are emitted mainly by cars, power plants, and other industrial sources that burn gasoline, coal, and other fossil fuels.   Ã‚  Ã‚  Ã‚  Ã‚  Obviously, the emissions of these greenhouse gases in excess are leading to the planet’s consistent increase in temperature. For example, in a study conducted by the National Center for Atmospheric Research, it was confirmed that earth’s early century warming was caused by mostly solar and volcanic forcing, and the late century warming, from 1940-2000, was mostly caused by the increase of greenhouse   Ã‚  Ã‚  Ã‚  Ã‚  gases. The National Resource Defense Council states, if global warming  Ã‚  Ã‚  Ã‚  Ã‚  persists, there will be more air pollution and problems with water supplies as precipitation patterns change, as well as huge threats to ecosystems from the Everglades to the glaciers. Not only will there be hotter, longer heat waves and   Ã‚  Ã‚  Ã‚  Ã‚  more intense storm systems, but also forests, farms and cities will face troublesome new pests and more mosquito-borne diseases. As a result, past pr... ...o buying more fuel efficient cars and promoting an atmosphere friendly lifestyle. References Arblaster, J., Dai, A., Meehl, G., Washington, W., Wigley, T. (2002, July 2002). Solar   Ã‚  Ã‚  Ã‚  Ã‚  and Greenhouse Gas Forcing and Climate Response in the Twentieth Century.   Ã‚  Ã‚  Ã‚  Ã‚  Journal of Climate, pp426-444. Carey, J. and Shapiro, S. (2004, August 16). Global Warming. Business Week, pp.60-69. Frazier, I. (2003, March/April). As the World Burns. Mother Jones, pp.36-39. Global Climate Coalition. Retrieved on March 28, 2003 from Global Climate Coalition   Ã‚  Ã‚  Ã‚  Ã‚  the world wide web: http://www.globalclimate.org/index.htm Jensen, M. (2004, August). Climate Warming Shakes up Species. BioScience, pp. 722-729. Schulz, K. (2003, February 20). Global Warming Right Now. Rolling Stone. pp. 35-38. (2003). Greenhouse Effect and Global Warming. World Almanac & Book of Facts, p165. (2003). Global Warming 101 What it is, How it's Caused, and What Needs to be Done to   Ã‚  Ã‚  Ã‚  Ã‚  Stop it. Global Warming: In Brief. Retrieved March 28, 2003 from National   Ã‚  Ã‚  Ã‚  Ã‚  Resource Defense Council on the world wide web:   Ã‚  Ã‚  Ã‚  Ã‚  http://www.nrdc.org/globalWarming/f101.asp

Women changing From Hellenistic to Late Antiquity Essay -- essays rese

The world is constantly changing and evolving. In every society across the world, men and women have specific roles that they each carry out. During ancient times, in most western cultures, women were inferior to men. Women’s status seemed to change in a pattern that repeated it self from one time period to another. Gradually, the status of women did change from political standpoints of the societies. From political power to having the right last name, women have transformed and became a huge part of Western Civilization. During times of Hellenic Greece, women were considered naturally weaker than men, squeamish, and unable to perform work requiring muscular or intellectual development. In most Hellenic societies, for example, domestic chores were delegated to women, leaving heavier labors, such as war and hunting, to men. Women also have generally had fewer legal rights and career opportunities than men. From the text from Kilshansky, The Spartan Constitution, Lycurgus believed that motherhood is the most important function of freeborn woman. Lycurgus then insisted on physical training of the females along with the males. Lycurgus also believed that to have future success is to have a strong youth. The Hellenic times were like this for the sole reason that few elite men ruled. With these men in control, it was made possible that no woman could ever have a say in the government of Sparta or the democracy of Athens. When the Hellenistic Kingdoms started to spur, new opportunities for women appeared. Levack stated that, â€Å"Greek women in Egypt, as well as many other Hellenized land, enjoyed full citizenship and held religious offices.† This simply shows that the women of the middle class had new privileges, but what about the women... ...though the wives or daughters of wealthy and powerful families could work with other women of society. For example Melania the Younger, the daughter of a wealthy roman senatorial family, decided to dispose her property. The senate, who, I might add, was all male, objected to the breaking up of Melanie’s family estates. Melania then appealed to the empress, a female leader, and the senate was overruled, allowing Melania to break up her estates. This is just one example of how political power can change the status of women dramatically. Based on these facts on how women gradually promoted themselves into freedom, some factors clearly changed the way people viewed women in their societies. From having political power in the family to being persuasive in other areas of life, women came from being a housewife to a possible empress during the civilization of the west.

black lung disease :: essays research papers

Black Lung Disease   Ã‚  Ã‚  Ã‚  Ã‚  Every year, almost 1,500 people who have worked in the nation’s coalmines die from black lung disease. That’s equivalent to the Titanic sinking every year, with no ships coming to the rescue. While that disaster which took place so long ago continues to fascinate the nation, black lung victims die an agonizing death in isolated rural communities, away from the spotlight of publicity.  Ã‚  Ã‚  Ã‚  Ã‚   Black lung is the legal term for a man-made, occupational lung disease that is contracted by prolonged breathing of coalmine dust. Some call it miner’s asthma, silicosis, pneumonoultramicroscopicsilicovolcanoconiosis, coal workers' pneumoconiosis, or black lung. However, they are all dust diseases with the same symptoms.   Ã‚  Ã‚  Ã‚  Ã‚  Only the smallest particles of the coal dust make it past the nose, mouth, and throat into the alveoli found deep in the lungs. The alveoli, or air sacs, are responsible for exchanging gases with the blood, and are located at the end of each bronchiole. Microphages, a type of blood cell, gather foreign particles and carry them to where they can either be swallowed or coughed out. If too much dust is inhaled over a long period of time, some dust-laden microphages and particles collect permanently in the lungs causing black lung disease.   Ã‚  Ã‚  Ã‚  Ã‚  The main symptom of the disease is shortness of breath, which gets worse as the disease progresses. In severe cases, the patient may develop cor pulmonale, which is an enlargement and strain on the right side of the heart caused by chronic lung disease. Eventually, this may cause right-sided heart failure. Some patients develop emphysema as a complication of black lung disease. Others develop a severe type of black lung disease in which damage continues to the upper part of the lungs even after exposure to the dust has ended called progressive massive fibrosis.   Ã‚  Ã‚  Ã‚  Ã‚  Black lung disease can be diagnosed by checking a patient’s history for exposure to the coal dust, followed by a chest x-ray to see if the characteristic spots on the lungs are present. A pulmonary function test may help in the diagnosis. However, all coalminer’s should have chest x-rays every four years so the disease can be detected early.   Ã‚  Ã‚  Ã‚  Ã‚  Congress placed strict limits on airborne dust and ordered operators to take periodic air tests inside coalmines in 1969.

Relational Database Concepts and Applications: Research Paper Essay

Introduction In order to successfully transition from our current paper and email based equipment request method to a completely paperless online system, we must build and implement a relational database. A relational database will allow us to store, filter, make changes to, and share of the data that is needed in our new online equipment ordering system. Relational Database Overview â€Å"Databases are a mean for storing information in such a way that information can be retrieved from it. In simplest terms, a relational database is one that presents information in tables with rows and columns.† â€Å"A table is referred to as a relation in the sense that it is a collection of objects of the same type (rows).† â€Å"Data in a table can be related according to common keys or concepts, and the ability to retrieve related data from a table is the basis for the term relational database.† â€Å"A Database Management System (DBMS) handles the way data is stored, maintained, and retrieved.† â€Å"In the case of a relational database, a Relational Database Management System (RDBMS) performs these tasks. Oracle, 2014)† Why We Should Implement a Relational Database â€Å"Establishing a relational database management system is a great way to increase data integrity, efficiency, ask questions, sort and filter data, provide stronger security, and share information in one concise design which is very user friendly if developed correctly. Relational databases allow the ability to cross-reference data stored by the business and as a result provide a higher level of integrity.† â€Å"The key to success is in the  foundation of the database’s design.† â€Å"Relationships of data must be accurately assessed and once this connection is established, the rest falls into place rather smoothly. (Goessl, 2009)† Companies Using Relational Data Solution Barrodale Computing Services Ltd, a contractor of the Naval Meteorology and Oceanography Command, is an example of a company having success using relational data solutions. The company has a great deal of success with relational databases to include Object Relational Database Management Systems (ORDBMSs). â€Å" The company’s experience in using ORDBMS technology to provide solutions to six applications involving the management of complex data, ranging from integers and text strings to satellite imagery, 4D weather grids, and video.† â€Å"Some of the types of data that might be stored in a meteorological/oceanographic the data has a strong geospatial component, with each feature being localized in space and, optionally, in time. (Barrodale Computing Services Ltd., 2011)† Relational databases are everywhere from computer user accounts at any company using Microsoft’s Active directory service to control access control, to community based libraries who have to switched to electronic checkouts . â€Å"This is mainly due to its capacity to eliminate duplicated data, this also increases the degree of data integrity which helps management or employees make correct decisions based on the information they can extract.† â€Å"There are no worries about the same customer or employee record being duplicated because this is eliminated in the underlying design of the database.† â€Å"Updates are made quickly and everyone with access to the system can view these changes immediately.† â€Å"Decision makers find the aspect of data integrity to be one of the primary business advantages of the relational database. (Goessl, 2009)† Conclusion In conclusion, a relational database will enable our company to transition from our current paper and email based equipment request method to a completely paperless online system. The relational database will allow us to store, filter, make changes to, and share of the data that is needed in our new online equipment ordering system. References Barrodale Computing Services Ltd. (2011). Applications of Object Relational Database Management Systems at BCS. Retrieved from Barrodale Computing Services Ltd. (BCS): http://www.barrodale.com/docs/ORDBMS%20Applications%20at%20BCS.pdf Goessl, L. (2009, November 23). Business Advantages of a Relational Database. Retrieved from Inside Business 360: http://www.insidebusiness360.com/index.php/business-advantages-of-a-relational-database-15806/ Oracle. (2014). A Relational Database Overview. Retrieved from Java Tutorial: http://docs.oracle.com/javase/tutorial/jdbc/overview/database.html

A Response to John Gatto’s Article Essay

In an article written by John Gatto, who is a very good teacher as proven by his numerous awards received, it seems that he is no longer an adherent of a curriculum of contemporary education. It seems that he is a bit late in knowing that he, as a teacher, is a slave of this kind of system. For more than two decades and a half, he never refuses to be part of it. Why a sudden change? As for my personal opinion, I am certainly agreed with the current type of contemporary education designed for kid’s learning at certain level but I hope that it would not be misunderstood with my position about the article of John Gatto because I am really opposed in his idea. I am not a believer of John Gatto’s description about the said scheme, because I guess, he made such exaggerated illustration of core curriculum according to his belief alone and is not proper to just be put in general situation. If, for any reason that John Gatto’s description is true, perhaps that only exists in his area of jurisdiction and is therefore an isolated case. To further explain my viewpoint, let me discuss and elaborate it. What is a teacher’s role anyway? Ever since formal schooling is born, which says by John Gatto that the blueprint of school procedure is from an Egyptian custom and that only brought in US trough Puritans, the teacher, or rabbi in their term, has the several roles. Firstly, a teacher is the one who educates students any lessons, in accordance to what they need to learn. Of course they know that a grade school kid does not need to learn at early age some subjects like accounting, trigonometry or geophysics because those types of subjects are much more complex things that young minds would not understand whether these kids are normal kids or gifted, and this will only be justified by a licensed teacher. Hence, it is but a right thing to call a teacher an educator. The second role of a teacher could be viewed as equal as parent’s role. Since kids spend most of the time of their growing years at school than at home, the teacher has all the responsibility in disciplining these kids especially when troubled with bad manners and behavior. Disciplining kids that are not biologically them would never be an easy task that only good teacher can do. Teachers mold these kids and prepare them to become a well-disciplined and well-behaved citizen of the country. To end this essay, I want to emphasize my position of disagreeing with John Gatto’s viewpoint and to once again make an appeal to the public, to every public school teacher, and especially to John Gatto himself to understand the disadvantages and advantages of teaching within the standardization scheme set by the norm and traditional custom, to realize that teaching is not just a work for a living. Teaching is, and will always be, a noble profession! R E F E R E N C E Gatto, J. T. (1991, July 25). I May Be A Teacher But I am Not An Educator. The Wall Street Journal.