Life and debt, Movie Review Example | Topics and Well Written Essays - 250 words

Life and debt, - Movie Review Example Unfortunately, due to global economic policies set by sovereign states like US, Jamaica was now obscure and heavily burdened with debts to the International Monetary Fund (IMF), World Bank (WB) and other international lending agencies. It has to simultaneously reform its economy despite high cost of energy while continuing to pay for its debts. Like Jamaica, Ethiopia, a developing country in Eastern Africa, also encounters poverty issues. Its economic activities depend widely on agriculture, including marketing, processing, and export of agricultural products. Production is done by small-scale farmers and enterprises and a large part of commodity exports is provided by the small agricultural cash-crop sector. Coffee is the largest foreign exchange earner. Being a Third World country, Ethiopia has minimal access to banking and financial services, making it one of, if not the least monetized country in the world. From this, it can be assumed that the global economic crisis may not like ly affect much of the country’s economical activities, because of the fact that it is not intertwined with any western countries and the rest of the world.

Deconstruction component of the 1998 and 2001 film RUSH HOUR Essay

Deconstruction component of the 1998 and 2001 film RUSH HOUR - Essay Example However, the two films also portrayed negative aspects of films, including the fact that they both perpetuate stereotypes of the two characters – Tucker's character is the stereotypical black man, and Chan's character is the stereotypical clueless foreigner. Another negative aspect is that the two films minimize Chinese culture, despite the fact that one of the leads is Chinese, and much of the action in both films takes place in Hong Kong. This paper will attempt to show scenes in which the stereotyping, the cultural differences, and the overall disrespect for Chinese culture are more pronounced. Analysis of the films The two movies are very similar in tone, but different at the same time. The biggest difference is that, in the first film, the two men become acquainted with one another. In the second film, there is not a need to build the relationship between the two men, as the relationship is already established. This is how the two movies differ in how they build tension. For instance, in the first movie, the tension at the start of the movie comes from the fact that the two men do not know one another, and that there are cultural differences between them (Min, 2011). ... In Los Angeles, it is the opposite. This change in culture is apparent in two different scenes, one in the first movie, and one in the second movie. The two sequences that will be described are important, because they each show how culture, and not knowing the language and culture of the non-native country, can get people into trouble. The first sequence is in the first movie, and this is a sequence when Chan gets into trouble because he does not know colloquialisms or the customs of the African-American male in the United States. Specifically, Chan did not know the term â€Å"nigger,† and did not understand that this term is offensive, as Tucker used the term to identify people in the bar. Chan, just getting in to this country, knowing very little English and no slang, was just emulating Tucker when he casually goes to a bartender and refers to the bartender as â€Å"my nigger.† This, of course, leads to a fight. Why the term would not be offensive when Tucker uses it, but is offensive when Chan would use it, it is difference in culture, in and of itself. Naylor (1986) explains why. She states that the term is used amongst African-Americans as a term of approval, a term of endearment, or a term of disapproval. For instance, an African-American may state, approvingly, that a certain â€Å"nigger† worked so hard that he was able to put a down-payment on a house. Or another African-American may refer to her husband as â€Å"my nigger.† For the disapproval, an African-American may refer to somebody as a â€Å"trifling nigger.† Kennedy (1999/2000) agrees with this, stating that blacks in America use the term to simply identify other blacks, as a term of disapproval, or a term that refers to somebody who is the very

Does The Symbolic Interactionism Explain Anything Sociology Essay

Does The Symbolic Interactionism Explain Anything Sociology Essay Symbolic interactionism is a major theoretical perspective in sociology regarding intrasocial human behaviour. While Hurbert Blumer coined the term in 1937, its conception traces back to the nineteenth century; notably, in the American philosopher and sociologist George Mead [from The Chicago School] through to the pioneering Erving Goffman (Farganis, 2008). Although never formally categorized as a symbolic interactionist, Goffman hugely shaped the perspective as one of its main practitioners (Marshall, 1998). Symbolic interactionism primarily concerns small-scale human interactions, from Meads inception to Goffmans subsequent transformations. The principal issue is whether the system explains human phenomena from an individual scale of human psychology to the broad, macroscopic scale of societies and its questionable success in doing so, or indeed in explaining other phenomena. Fundamentally, the concept of symbolic interactionism is bipartite: interaction and symbolic (Carter, 2011). The former is the interaction between individual people and these relationships operative mechanisms. The latter refers to both the generation and interpretation of peoples social signals; from their facial expressions down to their choice of attire (2011). As a theory, the perspective examined the meanings and familiarities between human interaction at a micro-sociological level and in a very interpretative manner; the development of the self within the social realm (Mead, 1934). According to Mead, human experience could not be relegated to individual psychology alone, but analyzes experience from the standpoint of communication as essential to the social order (1934; 401). The ideas were antithetical to that of Descartes famous cogito ergo sum (1641), in which the self was seen as distinct and its existence was indubitably true independent from the body and Goffmans idea o f the social realm. Symbolic interactionism was thus an implicit reaction against a classical conception of man as individually responsible and essentially noble; the new sociology placed human beings in an inherently social context. Mead, and his continuation from Goffman, characterizes the self in two parts: the I and the Me (1934). The I was the response of an individual to the attitude of others, whilst the me was organized set of attitudes of others that the individual assumed (2001). Symbolic interactionism sought to explain how human beings and the self-understood interactions between one another and its negotiation of the world around them. In Salernos mind, Goffman perceived the individual as nothing more than a cog responsible for the maintenance of the social world by playing his or her part (2004, 184). Goffman is not discounting the importance of the individual; for him, society was the micro-level interactions between humans, and most importantly, could not exist witho ut them. Essentially Goffman characterises society as a macroscopic emergent property of microscopic interactions. This is literally true insofar as there is no independent soul or spirit to society except simply the aggregate of its members; nevertheless, this lack of large-scale theory exposes symbolic interactionism as fundamentally unambitious in explaining that elusive concept, society, as opposed to simply a large agglomeration of connected individuals. The question of symbolic interactionisms explanatory power remains unanswered. The next portion of this essay shall focus specifically on The Presentation of Everyday Life (1959); Asylum (1961); The Interaction Ritual (1967); Forms of Talk (1981) and will dissect Goffmans explanation of society. The idea of face work (1967) was crucial to understanding the complexities of symbolic interactionism in day-to-day cultural settings. It provided an in-depth description and a new insight into the presentation of self in everyday life (Carter; 2011). Goffman principally exploited the concept of dramaturgical metaphor, in which human actions are contextualized in time, place and audience (Goffman, 1967) and used a theatrical metaphor to extend this theory, emphasizing the view that interaction between people was a literal performance, moulded by the audience and surroundings. For Goffman, day-to-day life was impression management (1967). Harking back to Goffmans earlier work, the existence of these performances did not wane with ill mental health on the contrary illustrated in Asylum (1961). Everyday social life was a game, involving strategic interactions and moves. Robert Carters example of a teacher/pupil relationship in the classroom illustrates that Goffmans symbolic interacti onism provides detailed insight into everyday life and explains the meanings behind even mundane scenarios: the teacher uses the strategic interaction of walking around, looking at (the pupils) because otherwise I dont know whether the pupils are concentrating (2011). The significant social interactivity of teaching as opposed to manual labour, say strengthens this example. However, teachings relatively strict formality and explicit hierarchy is a particularly codified example of social interaction, unlike informal socializing and its unspoken rules; indeed, the symbols, whether they be the school bell or the teachers register, have very clearly prescribed roles, and consequently symbolic interactionisms claim that individuals prescribe meaning to their worlds objects loses its profundity of individual semiotic creation when that meaning is given, even forced, on them. For Goffman, all social interactions revolved around the concept of a front and back region (1959). Continuing the theatrical metaphor, he posited a divergence of the front self from the back self. The front acts as a vehicle for self-promotion and to define the situation for those who observe (1959; 22), in the same vein as an actor builds a facsimile of another persons social role. The back region is effectually where ones identity can reveal all the hidden and private traits, unavailable to view by society (2008; 372). The game of life, a process whereby the self was at odds with their audience reciprocally giving off false evidence and trying to uncover the truth (1969) reflects an a common psycho-social dichotomy of inner and outer worlds, but Goffman fails to adequately explain the dialogue between the two. He explores the game by expanding its breath by introducing teams (1959) extending his work to group dynamics; individuals bonded by reciprocal dependency and accomplishme nts rely firmly on cooperation and the maintenance of a group appearance (1959; 79); success lies unequivocally in unanimous action and demeanor; disagreements and digression are only seen in the back. Divisions between the team and its viewers was described as an audience segregation (1959; 137) allowing teams to manipulate their front to the demands of unique audiences. Thus, ideological altercations do not damage the team per se more importantly, they continue impression management, maintaining a constant collective face out of many competing individual interests. The front-back bifurcation, nonetheless, is highly dependent on situation. Using the example of real actors rather than metaphor, back-stage for the actor is still his front. Another example: A teacher who retires from his frontstage performance in class to the backstage of the teachers room, is, from another perspective, still frontstage, since he does not recount his blunders in class to his colleagues. From this perspective, indeed, the situation in class is backstage. (Anthrobase) Specifically, the audience dictates behavior; fellow colleagues, in the realm of back-stage turn into another audience against which to shield when personal embarrassment is mentioned. Indeed, were the metaphor consistently and somewhat cynically applied, human beings are always disguising true feeling, and thus it is impossible for an external observer to actually access the back-stage. Goffman purports that some public actions are distinct from audience segregation, while still performance: they are ritual. Ritual means playing oneself (1967; 32). For Robert Carter, ritual and game are not mutually exclusive to the individual psyche, often generating real tension: Life as a game implies that youve actually seen it as a game; and once you see something as a game, you can no longer perform it ritually because youve understood that it is a game. (2011) In essence, it makes the distinction between gives and give off signs game playing versus ritual, respectively. Overall, while he was not formally a symbolic-interactionist, Goffmans work clearly shows the hallmarks of casting social interaction as a subtle web of symbols, and inner and outer being. He provides some limited explanation for the importance of meaning to asking, what is social? Previous works by Weber, although considering meaning essential to the question, never formulated a cogent argument as to why it was so. On the other hand, Goffmans dramaturgical approach saw meaning as such i.e., the object of throught, arises in experience through the individual stimulating himself to take the attitude of the other in his reactions toward the object (Wallace and Wolf, 202). In this respect, his works have succeeded where Webers fell short. Admittedly, the criticisms of symbolic interactionism are relevant later on; to insinuate that Goffmans work explains nothing can be considered as cynics front[!] Nevertheless, despite its merits, Goffmans works on the self overlook its fundamental flaws in application. In The Presentation of the Self in Everyday Life, Goffman asserts the view that all individuals play the game, hiding true intentions within the guise of the front. If true, then humans are inherently Machiavellian beings posing behind dishonest masks, precluding the potential for altruism and solidarity. Goffman is implicitly denying the very social conditions of being human. His supporters counter with the view that characterising role-playing as immoral or dishonest is naÃÆ'Â ¯ve: What distinguishes the honest from dishonest performers, is not the need for rehearsals and performance, but rather: a) whether the performers are socially authorized to play the roles and b) the attitude of the performers toward their own roles (Meyrowitz in Riggins, 1990; 70) It is true that a performance does not infer dishonesty per se; however, the inability to distinguish an actors true honest from dishonest performance seems to nullify Goffmans response to this issue; admittedly, this is predicated on a particularly ends-driven pseudo-consequentialism, that only an individuals end actions matter, rather than his internal psychological processes producing those. Goffmans work in Asylum (1961) specifically on The Moral Career of the Mental Patient (1959) attempted to dissect the nature of marginalized individuals in society, isolated from general society. His study sought to uncover how the incarcerated and practitioners created meaning during their interactions and how their presentation and construction of self was formed. Like The Presentation of the Self in Everyday Life, the Asylum followed Goffmans game and ritual concepts, although the situational environments were significantly different: to start, asylums were total institutions (1961) in which people were cut off from wider society and restrictively subordinated under their handlers. Moreover, the struggle for identity in a closed and draconian total institution sees the mortification of self (Goffman; 1959). Incarcerating mental patients implied an unacceptably incompetent front, and the inability to observe standard properties on the outside (Giddens 1987; 130). It is thus cl ear that for asylums to function as reforming institutes, it had to threaten a whole complex of practices whereby actors are able to demonstrate both to others and to themselves their competence as agents [sic.] (1987; 129). For Goffman, mental patients went through three self-explanatory stages: prepatient, inpatient and ex-patient (1959). Robert Carter purports that asylums often entailed a surprising reciprocal relationship in vulnerability: as patients are stripped of rights and free will and relegated to enforced infantilism (Giddeos, 1987) and effectively lose their identity, so too do the asylum and psychiatrists, in imposing their own definition of what a patient is (2011), suffer a vulnerability. During his stay at the asylum, appropriately adopting a front as a pseudo-employee, Goffman sought to modify the populist theories surrounding mental institutions of curing illness. Goffman wanted to expose and understand the gap between the work that the staff do and what they sa y are trying to do (Weinstein, 1982; 268). In many ways, his studies provided key tools to the field of social care; according to Weinstein, his work has been cited in legal cases predicated on the care of mental patient, as well as applications in health policy (1982; 267). However, although Goffman intended to provide meaning for human interactions in the asylum as well as in everyday life his work was still criticised. Critics of symbolic interactionism often attack Goffmans micro-sociological approach as fundamentally flawed in prescribing a grand theory of society. The perspective is seen to be overly impressionistic (Hawaii; 1) in its research methodology as well as being wholly unsystematic to the point of chaos (Psathas 1980; 53) Its highly subjective and qualitative methods, and the interpretative nature of the dramaturgical approach, mean that its application is limited to small-scale interactions. Any macroscopic extension highlights the shortcomings of Goffmans work; his theorems are often limited to specific and present moments and entail relatively little developments of concepts which can used transsituationally (Psathas, 1980; 54). Effectively, it lacked cross-cultural analysis and universality (Comp, 3) and ergo could not adequately describe the massed hoi polloi. Moreover, given the limitations in Goffmans approach across regional boundaries, any historical comparative analysis was, and still is, impossible. However, Richard L. Lanigan states that Goffmans work in Forms of Talk do not necessarily relegate his holdings to that of solely micro-sociology. Goffmans work on a radio audience gives a holistic collective entity that at the very least is preconceived to be an aggregate displaying group typicalities in society (Riggins, 1990; 122). Nevertheless, Lanigans support of Goffman does not invalidate the point that Goffmans dramaturgical was inadequate for achieving a social science of social actions due to his lack of rigorous method and empirically interactional phenomena (Psathas, 1996; 11). However, Goffmans work in The Presentation of Self in Everyday Life can stretch to macro-sociological readings. In Barnharts model, the contextualizing of Goffmans writings with other thinkers (opens) a beneficial link between micro- and macro structures of society becomes visible. (n/a ; 5). Linking Goffman to Durkheim, Barnharts critique suggests that his work has significance at both micro and m acro levels of society, namely in the concept of spontaneity. As Goffman sees its relevance to the aspect of a true and uncontrived performance of the spontaneous actor, Durkheim entertains the idea of the macro-sociological model of spontaneity (1984; 313). The concept linked both scopes of sociology and reaffirmed the notion of truth in contemporary social organizations (Barnhart, n/a; 5). It therefore rebutted the claim that Goffmans work lacks macroscopic application and cannot explain large-scale pheonomena. However, attempts by Goffman supporters eventually trail off. According to Giddens, Goffman managed a strict separation between his work and that of sociologists interested in the macro-structural properties of social systems; to compound, he resolutely refused to do so (Giddens 1987; 131). Criticism of Goffman does not end there: Riggins contends that Goffmans writing often descends into a stylistic merger of scholarly monograph with the novel or with journalistic accounts (1990; 65). Not only was Goffmans work as a macro-sociologist completely void, his critics went on to attack even his writings on micro-sociology stating that his works were descriptive rather than prescriptive. John Lofland suggesting that Goffman was more concerned with labeling, defining, and characterizing types of behaviors (sic), roles, events, and rules than with showing logical connection among the types (Riggins, 66). Works such as The Presentation of self in Everyday Life often espouse ideas that are somewhat innate to the workings of modern society; to suggest that some men conceal lust for underage girls or suppress their desire to release bodily fluids in a social setting is fundamentally intuitive. They seek to preserve their status in society but not openly admit to be a pedophile or c hurlish, respectively; they have made the trade-off in the psychological effort of self-control and the social benefits of not admitting such inadmissible desires. If Goffmans opponents seem overly zealous, even his advocates, such as Randall Collins, admit that he fails to push on through to full possession of the theoretical territories he has reconnoitered (1980; 206). His works descriptive nature leaves little room for explanatory theory; by failing to explain the true mechanisms of social interaction, he fails in evaluation and analysis. Goffmans symbolic interactionism and the dramaturgical approach are sociologically inadequate. Its micro-sociological approach limits itself to small intimate groups and lacks cross-cultural universality, and even in its own sphere is insufficient; while exploring previously uncharted scholarly realms, such as in asylums, Goffmans work tends to open up the surface of immediate relevance (Collins, 1980: 175) but presented countless observations and few integrated theories (Meyrowitz in Riggins, 1990; 65). Symbolic interactionism is useful in characterising meaning and superficial behaviour, but fails to rigorously justify itself in phenomenologically-grounded investigations, relegating itself to being thoroughly interesting rather than thoroughly theoretical (Riggins; 1990, 65). Goffman failed to construct an overarching paradigm for human beings and their civilization, instead content with a mass of disjointed bits; thus he remains more a footnote of description than a titan of theor y.

The Great Gatsby and The Wasteland Essay -- Fitzgerald Elliott English

The Great Gatsby and The Wasteland Fitzgerald’s Great Gatsby and Elliot’s The Wasteland are two stories that similarly express the modernist post-war disillusionment. Both stories comment pessimistically on the direction that our world is moving in from the post-war modernist perspective. Both men looked past the roaring twenties, and realized that this time period was actually a moral wasteland. The final paragraphs of The Great Gatsby sum up their mutual lack of faith in American culture to improve.   Ã‚  Ã‚  Ã‚  Ã‚  Fitzgerald uses a number of both direct and indirect ways to comment on what has happened to America. The green light is a recurring symbol in this book that has many deep meanings. Beginning in the first chapter, when Nick compares the green bulk of America rising from the ocean to the green light at the end of Daisy’s dock, this symbol takes on many meanings. This is the green light that drives Gatsby, this is the green light symbolizes the new money and materialism in the world. This shows that money is now the new driving force in the world, and that people work to consume. This ties into the fact that Gatsby went to great lengths to become rich solely to impress Daisy with his wealth. Additionally, Gatsby showed off this wealth by showing her all of the shirts that he had purchased. All of this points towards the emerging consumerism in American society.   Ã‚  Ã‚  Ã‚  Ã‚  The green also seems to symbolize the automotive industry, which was one of the biggest parts of the new consumer culture. Henry Ford made a policy of paying his workers high wages, because he realized that if they were paid more, they themselves would become consumers of his products. Today, cars are often seen as a status symbol, which began back in the 1920’s.   Ã‚  Ã‚  Ã‚  Ã‚  The Wasteland of Elliot’s is analogous to the valley of ashes between West Egg and New York City. It is an industrial wasteland that was clearly created by large corporations and industries. This valley of ashes symbolizes the moral decay created by limitless pursuit of wealth. The valley of ashes is a place inhabited by the poor, and polluted by the rich. This shows that the only people who have to accept the consequences of corporate greed are the working class themselves.   Ã‚  Ã‚  Ã‚  Ã‚  Elliot’s The Wasteland describes Europe as a very bleak place after the First World War. In the final section, the speaker bothers Stetson about th... ...green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter- tomorrow we will run faster, stretch our arms farther†¦ and one fine morning-   Ã‚  Ã‚  Ã‚  Ã‚   Nick comments once again on Gatsby’s pursuit of this perfect future that will never materialize. He also says that this our world is deteriorating even further, but expresses some hope for the future. He expresses optimism not in our culture, but in human beings to strive for improvement. Nick ties up all of the sentiments on this page with the conclusion â€Å"so we beat on, boats against the current, borne back ceaselessly into the past.† This statement ties back into the idea that people will strive to improve themselves, but the state of things are so bleak that it is like trying to row upstream. It also means that while people try to work for a perfect future, the best they can hope for is to be â€Å"borne back ceaselessly into the past.† Elliot and Fitzgerald share a mutual pessimism regarding society, but a confidence in individuals. They both share a very modernistic take on the post-war world, and hope that the power of individuals can break through the restraints of their society.

Blood clots Essay

Blood clots are also known as the thrombus which is the result of blood coagulation step in hemostasis. Blood clots are formed through platelets’ aggression which makes a platelet plug and the stimulation of the humoral coagulation system. Blood clots noted as a pathologic in terms of thrombosis but then it is physiologic in terms of injury. Thrombus signifies blood clotting in the intact blood vessels. It is a big blood vessel that reduces blood flow via that vessel. Moreover, in the case of small blood vessel, the blood movement might totally stop which may cause death of tissue which provided by the said vessel. If the thrombus extricates and turns out to be free-floating, it becomes an embolus. There are several conditions in which blood clots form which involve atrial fibrillation which is a cardiac arrhythmia’s formation, heart valve replacement, extension periods of inactivity, a previous heart attack and genetic inadequacies (see â€Å"Thrombus†. Wikipedia, the free encyclopedia. October 11, 2006). Blood clots’ preventions may decrease the possibility of pulmonary embolism, heart attack and stroke. Warfarin and heparin are frequently used to slow and restrain formation and progress of prevailing blood clots which permit our body to decrease and suspend the blood clots by means of usual methods. A thrombus is distinct from haematoma by means of: >being non-laminar >being elastic and brittle > has a high haematocrit >lacks of circulation (see â€Å"Thrombus†. Wikipedia, the free encyclopedia. October 11, 2006). The purposes of this study are to: (1) know what blood clots are; (2) be aware on how blood clots do form and; (3) learn how blood clots treated. II. Discussion A. About Blood Clots If the blood vessels are destroyed, the lack of blood from the system should be suspended before â€Å"shock† occurs and may possibly leads patient’s death. It is achieved through the blood’s solidification and the said process is termed as coagulation or clotting. Blood clots comprise of a plug of platelets entangled in a group of insoluble fibrin molecules (see â€Å"Blood Clotting†. June 4, 2005). Moreover, blood clots are the misery and pest of the existence of human beings. The can create strokes and heart attacks and they suspend blood supply to an individual’s legs. Many physicians denote this process as thrombosis. Several scientists have extensive researched for a period of time regarding the vascular biology which has an intention to stop thrombosis and cure its consequences yet it continuously serves as a culprit for death causes. Approximately in the past five years, the Mayo cardiovascular researchers continually widened their investigations regarding the vascular biology after they found out that thrombosis formed through interaction of cells exist in the vessel wall and in the circulation of the bloodstream. Dr. Simari stated that: â€Å"The major focus of our lab is to understand the biological process that narrows blood vessels, both in arthrosclerosis and in re- stenosis. Our aim is to take the biological clues that we learn from our research and use them to generate biological markers and treatments that can predict, prevent and treat thrombosis at the site of vascular injury (see â€Å"The Biology of Blood Clots†. Mayo Clinic’s Online Research Magazine. 2006). In addition, the blood clots develop even if an individual does not experience injury. Even though majority of the blood clots have a tendency to suspend, there are circumstances in which blood clots can create medical dilemmas. Blood clots turn out to be risky if they block blood movement via artery or vein. If the blood clot prevents or deters the blood movement to an artery in the brain or heart, it may lead to stroke or heart attack. Blood clots can deter, too, the veins and arteries in our entire body which cause illnesses like varicose veins to serious pulmonary embolism. The picture below illustrates the formation of blood clot (see â€Å"Blood Clots†. HeartCenterOnline. May 9, 2006). B. How blood clots do form? The cells which line inside the layer of blood vessel becomes injured which is instigated by a wound. The blood platelets automatically go directly to the injured area and connect themselves with the intention to close of the wound. Look at the picture below (see â€Å"How do blood clots form? March 11, 2004). Platelets clump together and the clothing process begins The platelets discharge a chemical substance which draw and bring together more platelets to the injured area. In the meantime, other substances are mix with platelets to create and develop a blood clot. This process is named as coagulation. Fibrin is released. Fibrin describes as a thread-like protein which aids the stabilization of the clot in the blood vessel. The picture below shows how blood clot forms and fibrin stabilizes clot (see â€Å"How do blood clots form? March 11, 2004). Additionally, blood clot can be developed too through gradual increase of plaque inside the artery-an example for this is the atherosclerosis- or other illnesses. Any vein or artery may possibly experience and form blood clots inside our body which include the coronary arteries that provide the heart with blood, the arteries which provide the brain with blood-an example for this is the carotid arteries, and the veins in the legs. As mentioned earlier, blood clots can also be dangerous if will it develop inside in any of these arteries: ? The pulmonary artery passes through from the heart to the lungs. Obstruction in this artery is named as a pulmonary embolism and may create a great damage in the lungs and in several circumstances, may lead to death. This is because of the abnormal heart pulse which is termed as atrial fibrillation or through a peripheral venous disorder inside the veins of the legs-an example is the deep vein thrombosis. ? One of the coronary arteries that can be found on the heart’s surface and provide the heart muscle with new, oxygen-rich blood. The obstruction of the coronary arteries may possibly cause a heart attack. In this condition, blood clots normally develop as a reaction to the plaque rupture that happens if a plaque piles up inside the coronary artery fractures’ wall, which initiate blood clotting. ? The carotid arteries that is located in the neck and provide the brain with oxygen-rich blood. Obstruction may possibly initiate a stroke-an example for this is the transient ischemic attack. ? The femoral artery which is located in the leg. Obstruction may instigate pain like claudication, absence of color’s area, weakness and when this is not cured, infection like gangrene and tissue death like necrosis. An artery can be located in the abdomen. Obstruction may create diarrhea, vomiting or pain (â€Å"Blood Clots†. HeartCenterOnline. May 9, 2006). C. how blood clots treated Several physicians cure blood clots with several procedures. Treatments like anticoagulants that aid to prevent blood clots and clot busters that aid to suspend blood clots. In some serious circumstances, physicians may possibly decide to use for a catheter-based procedure which utilize a long, thin tube named as catheter or even decide for a surgery to take off the clot-thrombectomy. Moreover, there are maybe devices that need to be implanted in particular blood vessels in order to catch blood clots before there will be more injury happened (see â€Å"Blood Clots†. HeartCenterOnline. May 9, 2006). C. 1 Treatment options for blood clots The option in treating blood clots is a case to case basis whether the clot has developed in an artery or a vein and creates stroke or heart attack. During emergencies, thrombolytic treatments-clot busters- may possibly used to suspend the blood clot. These treatments are applied to some selected patients in accordance to an extensive protocol. In order to be efficient, they are provided no less than one hour of the heart attack or in three hours of the stroke. Thrombolytics are normally applied when there are huge clots which cause severe and life-threatening signs. These can create abrupt and unexpected bleeding. There are many invasive methods that can also be used. One of these is the catheter-directed thrombolysis. It is a method which the catheter procvides thrombolytic enzymes straight to the blood clot. Throughout this process, greater enzymes’ concentrations could be utilized and may possibly have lesser side effects compared when the enzymes are supplied subcutaneously no less than two days. Thrombolytic method is followed by a treatment that has anticoagulants to stop more blood clots from formation. Anticoagulants could be advised to patients that have great risk of a blood clot. Researchers are really trying very hard to different catheter-based procedures to cure stroke rapidly. One of the experimental procedures which included is the use of a tiny â€Å"corkscrew† device which rapidly reverses the injury created by a stroke. The said device is directed to where the blood clot is; where it removes the obstruction. Another procedure depends on a special laser catheter which utilizes light energy to suspend rapidly the blood clot. These latest therapies can be accessible to a patient that cannot bear clot-busting drugs (see â€Å"Treatment options for blood. † Blood Clot, HeartCenterOnline. May 9, 2006). Furthermore, when a blood clot develops in a leg vein, there is a risk that a pulmonary embolism will form. A pulmonary embolism may possibly be a life-threatening in which blood clots break away from its location and passes through the bloodstream and stay in one of the blood vessels of the lungs. To avoid and stop a pulmonary embolism, the present blood clots in the legs may cured with a mixture of heat, thrombolytics, painkilling treatments, elevation of the injured area to lessen swelling and anticoagulants. This procedure relies on the clot’s size and the seriousness of any current symptoms. When a patient does not react to anticoagulants, the physicians will decide for a process which uses a catheter having a special device named as vena cava filter. The vena cava filter is inserted in the large vein which transports blood from the legs up to the heart and lungs (vena cava). Additionally, the vena cava filter is a kind of a device which catches blood clots within the vein before the blood clots are permitted to reach the lungs. However, there are several danger related with vena cava filters which comprise failure of the filter in terms of time and blood clots created by means of it. Many researchers really work on in improving the vena cava filters which can be withdrawn right after the medication of pulmonary embolism. There are researches that substantiated and confirmed that treatment in a longer period of time along with a low-does anticoagulant drugs aids in stopping the presence of blood clots amongst those patients who have background of vein thrombosis or pulmonary embolism (see â€Å"Treatment options for blood. † Blood Clot, HeartCenterOnline. May 9, 2006). C. 2 Diagnosis methods There are several ways on how to diagnose blood clots. It starts with a medical background and physical test. When there is suspension of clot, several of examinations are utilized to substantiate the diagnosis and these include Doppler ultrasound, CAT scan and MRI: *Doppler ultrasound pertains to an imaging technology which utilizes sound or motion waves to give visual images of the structure and of several blood vessels and organs in our body (see â€Å"Diagnosis methods for blood clots†. Blood clots, HeartCenterOnline. May 9, 2006). * CAT scan refers to computer axial tomography. It is an examination which utilizes a number of x-rays which got from different sides in order to give a computerized three-dimensional image of a body shape (see â€Å"Diagnosis methods for blood clots†. Blood clots, HeartCenterOnline. May 9, 2006). *MRI means magnetic resonance imaging which is a noninvasive examination that utilizes magnetic fields to give high-resolution cross- sectional or three-dimensional visual images of the aimed surface (see â€Å"Diagnosis methods for blood clots†. Blood clots, HeartCenterOnline. May 9, 2006). References 1. â€Å"Thrombus†. Wikipedia, the free encyclopedia. October 11, 2006. http://en. wikipedia. org/wiki/Blood_clot 2. â€Å"Blood Clotting†. June 4, 2005. http://users. rcn. com/jkimball. ma. ultranet/BiologyPages/C/Clotting. html 3. â€Å"Blood Clots†. HeartCenterOnline. May 9, 2006. http://heart. healthcentersonline. com/bloodclot/bloodclots. cfm 4. â€Å"The Biology of Blood Clots†. Mayo Clinic’s Online Research Magazine. 2006. http://discoverysedge. mayo. edu/vascular_biology/ 5. â€Å"How do blood clots form? March 11, 2004. http://www. innohepusa. com/corporateweb/innohepus/home. nsf/Content/Howdoclotsform. 6. â€Å"Treatment options for blood. † Blood Clot, HeartCenterOnline. May 9, 2006. http://heart. healthcentersonline. com/bloodclot/bloodclots7. cfm 7. â€Å"Diagnosis methods for blood clots†. Blood clots, HeartCenterOnline. May 9, 2006. http://heart. healthcentersonline. com/bloodclot/bloodclots6. cfm

Plot of Playboy of Western World

Plot Summary. †¦Ã¢â‚¬ ¦. It is an autumn evening along the Irish coast in County Mayo. Shawn Keough stops at Michael James Flaherty’s country pub to visit Flaherty’s daughter, Margaret, called Pegeen Mike by her family and friends. Keough, a fat young fellow devoid of wit or talent, means to marry pretty Pegeen, a spirited colleen of twenty who is minding the tavern in her father’s absence. But she entertains no fancy for Shawn. When he pesters her about the â€Å"good bargain† she would have in becoming his wife, she tells him to stop tormenting her while she is doing her job. †¦Ã¢â‚¬ ¦. Her father enters with Philly Cullen and Jimmy Farrell.They are on their way to Kate Cassidy’s wake. Flaherty and his friends enjoy wakes, which are among the few lively activities in the Mayo countryside, and they generally stay for the whole night to watch the corpse while imbibing spiritous glee. †¦Ã¢â‚¬ ¦. Pegeen is upset about having to tend the pub alone. After all, who knows what evildoer might steal in from the shadows to set upon her. She complains, â€Å"It's a queer father'd be leaving me lonesome these twelve hours of dark, and I piling the turf [peat] with the dogs barking, and the calves mooing, and my own teeth rattling with the fear. †¦Ã¢â‚¬ ¦. When Flaherty suggests that Keough keep her company, Shawn begs off, saying he would incur the wrath of Father Reilly for staying alone with her the whole night. By and by, a slight young fellow named Christy Mahon stumbles in, tired and dirty, and asks for a glass of porter. When he inquires whether the police frequent the establishment, Michael Flaherty thinks he might be on the run. Flaherty and his friends question Christy. Did he commit larceny? Did he stalk a young girl? Did he fail to pay his rent? Is he a counterfeiter? Does he have three wives? †¦Ã¢â‚¬ ¦.Christy, who speaks in a wee voice, says he is the son of a well-to-do farmer and therefore has no need of money. And, says he, he is a decent fellow who would never do wrong to a woman. When Flaherty and the others continue to pump Christy, Pegeen comes to his defense: â€Å"You did nothing at all. A soft lad the like of you wouldn't slit the windpipe of a screeching sow. † But Christy balks at that observation, as if she had accused him of not being man enough to commit a crime. Then he reveals that he is indeed on the run, for he has killed his father, who was â€Å"getting old and crusty, the way I couldn't put p with him at all. † †¦Ã¢â‚¬ ¦. Flaherty, intrigued, motions for Pegeen to refill Christy's glass, then asks Christy how he did the deed. Christy says, â€Å"I just riz [raised] the loy [club] and let fall the edge of it on the ridge of his skull, and he went down at my feet like an empty sack, and never let a grunt or groan from him at all. † †¦Ã¢â‚¬ ¦. After he buried him, he hit the road, walking for eleven days, â€Å"facing hog, dog , or divil. . . .† Jimmy Farrell praises him for his bravery, and Pegeen joins in: â€Å"It's the truth they're saying, and if I'd that lad in the house, I wouldn't be fearing the . . . ut-throats, or the walking dead. † Christy Proud †¦Ã¢â‚¬ ¦. Christy swells with pride, and Flaherty offers him a job in the tavern. Keough objects, but Pegeen silences him. Christy, feeling safe and welcome, decides to stay at least for the night. Jimmy Farrell says, â€Å"Now, by the grace of God, herself [Pegeen] will be safe this night, with a man killed his father holding danger from the door, and let you come on, Michael James, or they'll have the best stuff drunk at the wake. † †¦Ã¢â‚¬ ¦. After Flaherty, Farrell, and Philly Cullen leave, Shawn Keough—jealous—offers to stay with Pegeen, but she pushes him out the door and bolts it.Pegeen now has a brave man, a hero, to protect her, and she and Christy warm to each other, exchanging compliments about th eir looks and other qualities. †¦Ã¢â‚¬ ¦. Meanwhile, the Widow Quin, a woman of about thirty, stops by after hearing from Keough about Pegeen’s visitor. Widow Quin is locally famous for reportedly having murdered her husband. Eyeing Christy, she says, â€Å"Well, aren't you a little smiling fellow? It should have been great and bitter torments did rouse your spirits to a deed of blood. † †¦Ã¢â‚¬ ¦. She wants to take Christy with her to her place.Pegeen tells Christy that the widow killed her husband â€Å"with a worn pick, and the rusted poison did corrode his blood the way he never overed [got over] it, and died after. That was a sneaky kind of murder did win small glory with the boys itself. † Mrs. Quin retorts that a woman who has buried her children and murdered her husband is a better match for Christy than a girl the like of Pegeen. But Pegeen fends her off, for she is determined to keep Christy for herself. †¦Ã¢â‚¬ ¦. In the morning, three village girls—Sara Tansey, Susan Brady, and Honor Blake—come by the tavern with gifts for the brave man that killed his father.Sara has duck eggs, Susan has butter, and Honor has cake. Widow Quin enters after them, saying she has registered Christy in a local athletic competition featuring racing, leaping, and pitching. At the women’s prompting, Christy tells his murder story. †¦Ã¢â‚¬ ¦. He first points out that his father tried to make him marry the Widow Casey, a 45-year-old â€Å"walking terror† who weighed 205 pounds, had a bad leg and a blind eye, pursued both young and old men, and suckled him after he was born. When he refused to marry her, his father swung at him with his scythe. â€Å"I gave a lep to the east,† says Christy. Then I turned around with my back to the north, and I hit a blow on the ridge of his skull, laid him stretched out, and he split to the knob of his gullet. † †¦Ã¢â‚¬ ¦. Pegeen comes in, well knowing wha t the women are up to, and chases them off. Later, Shawn Keough comes back, followed by Widow Quin, to tell Pegeen some of her sheep have strayed into a neighbor’s field to eat cabbage. While Pegeen runs off to fetch the sheep, Keough offers Christy a new hat and coat, as well as breeches and ticket to the western states, if he will just go away so that Shawn can resume courting Pegeen. The widow butts in, telling Christy to try the clothes on.He can decide later, she says, whether to accept Keough’s offer. When Christy goes into another room to try them on, Keough tells the widow he thinks that Christy is just dressing up for Pegeen and has no intention to leave. †¦Ã¢â‚¬ ¦. The widow then offers Shawn a bargain of her own: Shawn must give her his red cow, a ram, the right-of-way across his rye path, and a load of dung at Michaelmas. Shawn not only agrees to her demands but also says he will throw in a wedding ring, a suit for Christy for the wedding day, and vari ous wedding gifts, including two goats for the wedding dinner. †¦Ã¢â‚¬ ¦.After Christy comes back out wearing the new clothes, Shawn leaves so the widow can go to work on Christy. But Christy, spying a fearsome sight coming toward the pub, hides behind a door. It is his father, still alive! After old Mahon enters the pub, he asks Mrs. Quin whether she has seen a young man on the run. She tells him hundreds pass by each day to catch the Sligo boat, then asks why he is looking for him. Mahon says, â€Å"I want to destroy him for breaking the head on me with the clout of a loy. (He takes off a big hat, and shows his head in a mass of bandages and plaster, with some pride. It was he did that, and amn't I a great wonder to think I've traced him ten days with that rent in my crown? † †¦Ã¢â‚¬ ¦. The villain, he says, is his own son. When the widow—who is able to see Christy behind the door—questions old Mahon about his son, Mahon says his son is a good-for-no thing lout who is afraid of women, gets drunk on the mere smell of liquor, and once required medical treatment for drawing on a pipe of tobacco. He’s â€Å"dark and dirty,† says the old man, â€Å"an ugly young blackguard. † †¦Ã¢â‚¬ ¦. Widow Quin tells him she did see such a young man on his way to catch a steamer.She then gives him directions that send him on a wild-goose chase. After old Mahon leaves, the widow scolds Christy, mildly, for pretending to be the Playboy of the Western World. Then she invites him to marry her and live in her house, where she will protect him from inquiries about whether he committed murder. †¦Ã¢â‚¬ ¦. Outside, young ladies are calling for Christy. They want to escort him to the sporting competitions. Christy, meanwhile, tells the widow he has his heart set on Pegeen. He would be forever in the widow’s debt if she helped him win Pegeen.The widow says she will if he promises to give her a ram, a load of dung at Mich aelmas, and a right-of-way across land. Christy promises to do so. †¦Ã¢â‚¬ ¦. Later in the day, Jimmy and Philly return from the wake, both tipsy, and enter the tavern. They speculate about how Christy killed his father and buried him, wondering what will happen if someone discovers the old man’s bones. While they are talking, Old Mahon comes in and sits at a table, for he has had no luck finding Christy. Continuing his conversation with Philly, Jimmy says that when he was a boy he found the bones of a man in a graveyard and tried to put them together like a puzzle.What a sight those bones were, Jimmy says—one would never again find the like of them. Overhearing that part of the conversation, old Mahon gets up and shows them his skull, saying, â€Å"Tell me where and when there was another the like of it. † He tells them it was his own son who struck him. †¦Ã¢â‚¬ ¦. They are impressed—but unaware that Mahon is Christy’s father. The window Quin comes in again, aghast to see old Mahon. He tells her he had no luck tracking down his son. Mrs. Quin gives him a drink and seats him out of earshot of the others. Then she tells Jimmy and Philly that old Mahon is daft.It was a tinker who split his skull, she says, but the old Man—upon hearing about the local hero, Christy—claims it was Christy who did it. They believe her. †¦Ã¢â‚¬ ¦. Cheering is heard. Everyone in the tavern looks out the window and sees Christy winning the mule race. When the spectators raise him onto their shoulders, old Mahon identifies him as his good-for-nothing son. Widow Quin pronounces Mahon mad for thinking so, for how could his son—if he is the fool that Mahon says he is—be such a great sportsman and win the admiration of so many people?Mahon admits he has not been himself lately: â€Å"There was one time I seen ten scarlet divils letting on they'd cork my spirit in a gallon can; and one time I seen rats as big as b adgers sucking the life blood from the butt of my lug. † †¦Ã¢â‚¬ ¦. The widow tells him he’d best leave, for the lads in the crowd don’t take kindly to madmen. When he goes on his way, Philly goes with him, saying he will give the old fellow some supper and a place to rest, then check to see if he is as mad as the widow says. Meanwhile, with the continuing cheers of the crowd following him, Christy enters the tavern in his jockey’s uniform with Pegeen and other girls.The people present him prizes, including bagpipes and a fiddle. Christy, riding the glory of the moment, asks Pegeen to marry him, and she consents. Michael Flaherty Returns †¦Ã¢â‚¬ ¦. Michael Flaherty returns then from the wake and congratulates Christy for his great victory in the race. When Pegeen tells him she plans to marry Christy, her father at first objects. But moments later, when Shawn Keough is afraid to fight Christy for Pegeen, old Flaherty renounces Keough as a coward a nd welcomes Christy as his daughter’s future husband. †¦Ã¢â‚¬ ¦.Then old Mahon returns with a club, reveals himself as Christy’s father, and begins beating Christy. The crowd then turns on Christy for posing as a murderer. Even Pegeen condemns him, saying, â€Å"And to think of the coaxing glory we had given him, and he after doing nothing but hitting a soft blow and chasing northward in a sweat of fear. † †¦Ã¢â‚¬ ¦. Christy has only one option—to kill his father again. The two men fight. Christy grabs the club and chases Old Mahon outside. In the center of the crowd, Christy brings down the club. There is a cry, then dead silence.Christy returns to the tavern in a daze. This time the crowd, having witnessed a real murder close up, is horrified at the deed. Pegeen says: †¦Ã¢â‚¬ ¦. â€Å"I'll say, a strange man is a marvel, with his mighty talk; but what's a squabble in your back-yard, and the blow of a loy, have taught me that there's a gr eat gap between a gallous story and a dirty deed. † †¦Ã¢â‚¬ ¦. After the people tie Christy up, he asks Pegeen to release him, but she refuses. Then they burn his leg with sod. A moment later, though, old Mahon—wonder of wonders—comes back from the dead one more time.When he asks Christy why he is tied up, Christy says, â€Å"They're taking me to the peelers [police] to have me hanged for slaying you. † †¦Ã¢â‚¬ ¦. Old Mahon, who now admires his son for his bravery, unties him and says, â€Å"My son and myself will be going our own way, and we'll have great times from this out telling stories of the villainy of Mayo, and the fools is here. † †¦Ã¢â‚¬ ¦. Christy willingly goes along but declares that henceforth he will be master of the house. He is a changed man—confident now, self-assured. †¦Ã¢â‚¬ ¦. Shawn Keough declares that a miracle has been worked in his favor.Now, he says, he can marry Pegeen. She boxes his ears and te lls him to go away. Then, throwing a shawl over her head and weeping, she says, â€Å"Oh my grief, I've lost him surely. I've lost the only Playboy of the Western World. † . Theme: Escaping a Humdrum and Suffocating Life †¦Ã¢â‚¬ ¦. Christy Mahon acts to change his life—first by cracking his father’s skull and second by telling a grand tale that endears him to his listeners. Neither action, of course, is how a young man in the real world should go about improving himself.But The Playboy of the Western World takes place in a fanciful world that allows the author to do the implausible and the outrageous. So Christy describes himself as the most admirable of murderers to the rural folk of County Mayo. Ironically, though, Christy really does transform himself in response to the adulation heaped on him. However, his admirers—people hungry for diversion from their humdrum life—do not change; the closest they get to an exciting life is to drink, liste n to exciting stories, or attach themselves to a hero, Christy, from the outside. After he returns home, they return to their monotonous life. Climax . †¦Ã¢â‚¬ ¦.The climax of a play or another literary work, such as a short story or a novel, can be defined as (1) the turning point at which the conflict begins to resolve itself for better or worse, or as (2) the final and most exciting event in a series of events. The climax of The Playboy of the Western World occurs when the local residents discover that Christy's father is still alive. According to the second definition, the climax occurs when Christy â€Å"kills† his father a second time but reconciles with him after the old man recovers. . Synge’s Style †¦Ã¢â‚¬ ¦. Synge was a master at writing lively dialogue laced with exaggeration and colorful imagery.In The Playboy of the Western World, he infuses the speech of his characters with the rich English-language dialect of the Mayo County Irish, a dialect in fluenced by the syntax and vocabulary of Gaelic—an ancient Celtic tongue of Ireland and Scotland. To learn the intonations and speech patterns of the people of western Ireland, Synge lived several years in the Aran Islands off the Atlantic coast, in Galway Bay. Gaelic and Gaelic-tinged English have been spoken there for centuries. It was not uncommon for Synge to take notes when he heard Aran denizens speaking. †¦Ã¢â‚¬ ¦.When writing the dialogue for Playboy, Synge laced it with authentic western-Irish regionalisms and vulgarisms, as well as inflections and rhythms characteristic of western-Irish speech. However, he also peppered the dialogue with words or phrases common in other parts of Ireland. Synge explained his writing scheme in the preface to the play. The preface says, in part: In writing The Playboy of the Western World, as in my other plays, I have used one or two words only that I have not heard among the country people of Ireland, or spoken in my own nursery before I could read the newspapers.A certain number of the phrases I employ I have heard also from herds and fishermen along the coast from Kerry to Mayo, or from beggar-women and balladsingers nearer Dublin; and I am glad to acknowledge how much I owe to the folk imagination of these fine people. Anyone who has lived in real intimacy with the Irish peasantry will know that the wildest sayings and ideas in this play are tame indeed, compared with the fancies one may hear in any little hillside cabin in Geesala, or Carraroe, or Dingle Bay.All art is a collaboration; and there is little doubt that in the happy ages of literature, striking and beautiful phrases were as ready to the story-teller's or the playwright's hand, as the rich cloaks and dresses of his time. It is probable that when the Elizabethan dramatist took his ink-horn and sat down to his work he used many phrases that he had just heard, as he sat at dinner, from his mother or his children. In Ireland, those of us who kno w the people have the same privilege. †¦Ã¢â‚¬ ¦. As to the imagery, it relies heavily on vivid metaphors and hyperboles.For example, when Michael Flaherty asks Christy Mahon whether he has committed larceny, Christy replies that he has no need to stoop to thievery, for his father â€Å"could have bought up the whole of your old house a while since, from the butt of his tailpocket, and not have missed the weight of it gone. † †¦Ã¢â‚¬ ¦. Most of the humor in the play grows out of the dialogue—but not all of it. Synge also relies on situation comedy for humorous effect—having a character hide behind a door or barge in unexpectedly.Old man Mahon pulls off the ultimate surprise—coming back from the dead. In making the transition from one conversation to the next, Synge demonstrates superlative writing skill. Never do the transitions seem forced or contrived; instead, one conversation flows smoothly into the next. The trick is that Synge steers the di alogue in one conversation toward a subject of interest to a person who initiates a new conversation. The theatergoer or reader hardly notices that the author has been tugging at his marionette strings.