Report in MLA Style Essay Example | Topics and Well Written Essays - 1000 words

Report in MLA Style - Essay Example And the last element is resolution when the conflict is resolved in some way. The vivid example is given in the book â€Å"The Illustrated Mum† when the protagonist dares to speak to her mother about the problem. The genre of children’s literature is rather specific since it demands to be catching and at the same time easy to read and understand. Fist of all it must be about childhood or animals. The plot is to be simple and straightforward, the author expresses a child’s point of view, as a rule the stories tend to fantasy, repetitions, has a form of pastoral idyll, represents the world from the innocent viewpoint, is didactic, tries to balance the idyllic and the didactic. Genre - a type of literature in which all the members of one genre share common characteristics (Chapleau, p.24). Nancy Anderson, associate professor in the College of Education distinguishes seven genres of children’s literature: 1. Picture books, such as board, concept, pattern and wordless books (Chapleau, p.24). They are characterized by colorful pictures that are followed by small pieces of text. It makes the reading process for children interesting and fascinating. The example here is â€Å"The sleeping house†. 2.Traditional literature: myths, fables, ballads, folk music, legends, and tales. Traditional literature is characterized by the stable description of natural events and situations that are common in the whole world. Usually, such literature doesn’t have a definite author. The example here is "Hansel and Gretel" by Ian Wallace, "The Dragons Pearl" by Julie Lawson 2) There are several stages how to get a child interested in literacy: introduce a title and let children speculate what it is about; introduce some details of the plot, encourage the students to read a book in order to see whether their suggestions were right, organize the group discussion of the book in the

African American Culture Essay Example for Free

African American Culture Essay African American culture in the United States includes the various cultural traditions of African ethnic groups. It is both part of and distinct from American culture. The U. S. Census Bureau defines African Americans as people having origins in any of the Black race groups of Africa. [1] African American culture is indigenous to the descendants in the U. S. of survivors of the Middle Passage. It is rooted in Africa and is an amalgam of chiefly sub-Saharan African and Sahelean cultures. Although slavery greatly restricted the ability of Africans in America to practice their cultural traditions, many practices, values and beliefs survived and over time have incorporated elements of European American culture. There are even certain facets of African American culture that were brought into being or made more prominent as a result of slavery; an example of this is how drumming became used as a means of communication and establishing a community identity during that time. The result is a dynamic, creative culture that has had and continues to have a profound impact on mainstream American culture and on world culture as well. After Emancipation, these uniquely African American traditions continued to grow. They developed into distinctive traditions in music, art, literature, religion, food, holidays, amongst others. While for some time sociologists, such as Gunnar Myrdal and Patrick Moynihan, believed that African Americans had lost most cultural ties with Africa, anthropological field research by Melville Hersovits and others demonstrated that there is a continuum of African traditions among Africans in the New World from the West Indies to the United States. The greatest influence of African cultural practices on European cultures is found below the Mason-Dixon in the southeastern United States, especially in the Carolinas among the Gullah people and in Louisiana. African American culture often developed separately from mainstream American culture because of African Americans desire to practice their own traditions, as well as the persistence of racial segregation in America. Consequently African American culture has become a significant part of American culture and yet, at the same time, remains a distinct culture apart from it. History From the earliest days of slavery, slave owners sought to exercise control over their slaves by attempting to strip them of their African culture. The physical isolation and societal marginalization of African slaves and, later, of their free progeny, however, actually facilitated the retention of significant elements of traditional culture among Africans in the New World generally, and in the U. S. in particular. Slave owners deliberately tried to repress political organization in order to deal with the many slave rebellions that took place in the southern United States, Brazil, Haiti, and the Dutch Guyanas. African cultures,slavery,slave rebellions,and the civil rights movements(circa 1800s-160s)have shaped African American religious, familial, political and economic behaviors. The imprint of Africa is evident in myriad ways, in politics, economics, language, music, hairstyles, fashion, dance, religion and worldview, and food preparation methods. In the United States, the very legislation that was designed to strip slaves of culture and deny them education served in many ways to strengthen it. In turn, African American culture has had a pervasive, transformative impact on myriad elements of mainstream American culture, among them language, music, dance, religion, cuisine, and agriculture. This process of mutual creative exchange is called creolization. Over time, the culture of African slaves and their descendants has been ubiquitous in its impact on not only the dominant American culture, but on world culture as well. Oral tradition Slaveholders limited or prohibited education of enslaved African Americans because they believed it might lead to revolts or escape plans. Hence, African-based oral traditions became the primary means of preserving history, morals, and other cultural information among the people. This was consistent with the griot practices of oral history in many African and other cultures that did not rely on the written word. Many of these cultural elements have been passed from generation to generation through storytelling. The folktales provided African Americans the opportunity to inspire and educate one another. Examples of African American folktales include trickster tales of Brer Rabbit and heroic tales such as that of John Henry. The Uncle Remus stories by Joel Chandler Harris helped to bring African American folk tales into mainstream adoption. Harris did not appreciate the complexity of the stories nor their potential for a lasting impact on society. Characteristics of the African American oral tradition present themselves in a number of forms. African American preachers tend to perform rather than simply speak. The emotion of the subject is carried through the speakers tone, volume, and movement, which tend to mirror the rising action, climax, and descending action of the sermon. Often song, dance, verse and structured pauses are placed throughout the sermon. Techniques such as call-and-response are used to bring the audience into the presentation. In direct contrast to recent tradition in other American and Western cultures, it is an acceptable and common audience reaction to interrupt and affirm the speaker. Spoken word is another example of how the African American oral tradition influences modern American popular culture. Spoken word artists employ the same techniques as African American preachers including movement, rhythm, and audience participation. Rap music from the 1980s and beyond has been seen as an extension of oral culture. Harlem Renaissance [pic] Zora Neale Hurston was a prominent literary figure during the Harlem Renaissance. Main article: Harlem Renaissance The first major public recognition of African American culture occurred during the Harlem Renaissance. In the 1920s and 1930s, African American music, literature, and art gained wide notice. Authors such as Zora Neale Hurston and Nella Larsen and poets such as Langston Hughes, Claude McKay, and Countee Cullen wrote works describing the African American experience. Jazz, swing, blues and other musical forms entered American popular music. African American artists such as William H. Johnson and Palmer Hayden created unique works of art featuring African Americans. The Harlem Renaissance was also a time of increased political involvement for African Americans. Among the notable African American political movements founded in the early 20th century are the United Negro Improvement Association and the National Association for the Advancement of Colored People. The Nation of Islam, a notable Islamic religious movement, also began in the early 1930s. African American cultural movement The Black Power movement of the 1960s and 1970s followed in the wake of the non-violent American Civil Rights Movement. The movement promoted racial pride and ethnic cohesion in contrast to the focus on integration of the Civil Rights Movement, and adopted a more militant posture in the face of racism. It also inspired a new renaissance in African American literary and artistic expression generally referred to as the African American or Black Arts Movement. The works of popular recording artists such as Nina Simone (Young, Gifted and Black) and The Impressions (Keep On Pushin), as well as the poetry, fine arts and literature of the time, shaped and reflected the growing racial and political consciousness. Among the most prominent writers of the African American Arts Movement were poet Nikki Giovanni; poet and publisher Don L. Lee, who later became known as Haki Madhubuti; poet and playwright Leroi Jones, later known as Amiri Baraka; and Sonia Sanchez. Other influential writers were Ed Bullins, Dudley Randall, Mari Evans, June Jordan, Larry Neal and Ahmos Zu-Bolton. Another major aspect of the African American Arts Movement was the infusion of the African aesthetic, a return to a collective cultural sensibility and ethnic pride that was much in evidence during the Harlem Renaissance and in the celebration of Negritude among the artistic and literary circles in the U. S. , Caribbean and the African continent nearly four decades earlier: the idea that black is beautiful. During this time, there was a resurgence of interest in, and an embrace of, elements of African culture within African American culture that had been suppressed or devalued to conform to Eurocentric America. Natural hairstyles, such as the afro, and African clothing, such as the dashiki, gained popularity. More importantly, the African American aesthetic encouraged personal pride and political awareness among African Americans. Music [pic] Men playing the djembe, a traditional West African drum adopted into African American and American culture. The bags and the clothing of the man on the right are printed with traditional kente cloth patterns. African American music is rooted in the typically polyrhythmic music of the ethnic groups of Africa, specifically those in the Western, Sahelean, and Sub-Saharan regions. African oral traditions, nurtured in slavery, encouraged the use of music to pass on history, teach lessons, ease suffering, and relay messages. The African pedigree of African American music is evident in some common elements: call and response, syncopation, percussion, improvisation, swung notes, blue notes, the use of falsetto, melisma, and complex multi-part harmony. During slavery, Africans in America blended traditional European hymns with African elements to create spirituals. Many African Americans sing Lift Evry Voice and Sing in addition to the American national anthem, The Star-Spangled Banner, or in lieu of it. Written by James Weldon Johnson and John Rosamond Johnson in 1900 to be performed for the birthday of Abraham Lincoln, the song was, and continues to be, a popular way for African Americans to recall past struggles and express ethnic solidarity, faith and hope for the future. The song was adopted as the Negro National Anthem by the NAACP in 1919. African American children are taught the song at school, church or by their families. Lift Evry Voice and Sing traditionally is sung immediately following, or instead of, The Star-Spangled Banner at events hosted by African American churches, schools, and other organizations. In the 1800s, as the result of the blackface minstrel show, African American music entered mainstream American society. By the early twentieth century, several musical forms with origins in the African American community had transformed American popular music. Aided by the technological innovations of radio and phonograph records, ragtime, jazz, blues, and swing also became popular overseas, and the 1920s became known as the Jazz Age. The early 20th century also saw the creation of the first African American Broadway shows, films such as King Vidors Hallelujah!, and operas such as George Gershwins Porgy and Bess. Rock and roll, doo wop, soul, and RB developed in the mid 20th century. These genres became very popular in white audiences and were influences for other genres such as surf. The dozens, an urban African American tradition of using rhyming slang to put down your enemies (or friends) developed through the smart-ass street jive of the early Seventies into a new form of music. In the South Bronx, the half speaking, half singing rhythmic street talk of rapping grew into the hugely successful cultural force known as Hip Hop. Hip Hop would become a multicultural movement. However, it is still important to many African Americans. The African American Cultural Movement of the 1960s and 1970s also fueled the growth of funk and later hip-hop forms such as rap, hip house, new jack swing and go go. African American music has experienced far more widespread acceptance in American popular music in the 21st century than ever before. In addition to continuing to develop newer musical forms, modern artists have also started a rebirth of older genres in the form of genres such as neo soul and modern funk-inspired groups. Dance [pic]. The Cakewalk was the first African American dance to gain widespread popularity in the United States. [pic] African American dance, like other aspects of African American culture, finds its earliest roots in the dances of the hundreds of African ethnic groups that made up African slaves in the Americas as well as influences from European sources in the United States. Dance in the African tradition, and thus in the tradition of slaves, was a part of both every day life and special occasions. Many of these traditions such as get down, ring shouts, and other elements of African body language survive as elements of modern dance. In the 1800s, African American dance began to appear in minstrel shows. These shows often presented African Americans as caricatures for ridicule to large audiences. The first African American dance to become popular with White dancers was the cakewalk in 1891. Later dances to follow in this tradition include the Charleston, the Lindy Hop, and the Jitterbug. During the Harlem Renaissance, all African American Broadway shows such as Shuffle Along helped to establish and legitimize African American dancers. African American dance forms such as tap, a combination of African and European influences, gained widespread popularity thanks to dancers such as Bill Robinson and were used by leading White choreographers who often hired African American dancers. Contemporary African American dance is descended from these earlier forms and also draws influence from African and Caribbean dance forms. Groups such as the Alvin Ailey American Dance Theater have continued to contribute to the growth of this form. Modern popular dance in America is also greatly influenced by African American dance. American popular dance has also drawn many influences from African American dance most notably in the hip hop genre. Art [pic] Sand Dunes at Sunset, Atlantic City by Henry Ossawa Tanner 1859-1937 From its early origins in slave communities, through the end of the twentieth century, African-American art has made a vital contribution to the art of the United States. During the period between the 1600s and the early 1800s, art took the form of small drums, quilts, wrought-iron figures and ceramic vessels in the southern United States. These artifacts have similarities with comparable crafts in West and Central Africa. In contrast, African American artisans like the New England–based engraver Scipio Moorhead and the Baltimore portrait painter Joshua Johnson created art that was conceived in a thoroughly western European fashion. During the 1800s, Harriet Powers made quilts in rural Georgia, United States that are now considered among the finest examples of nineteenth-century Southern quilting. Later in the 20th century, the women of Gee’s Bend developed a distinctive, bold, and sophisticated quilting style based on traditional African American quilts with a geometric simplicity that developed separately but was like that of Amish quilts and modern art. After the American Civil War, museums and galleries began more frequently to display the work of African American artists. Cultural expression in mainstream venues was still limited by the dominant European aesthetic and by racial prejudice. To increase the visibility of their work, many African American artists traveled to Europe where they had greater freedom. It was not until the Harlem Renaissance that more whites began to pay attention to African American art in America. [pic] Kara Walker, Cut, Cut paper and adhesive on wall, Brent Sikkema NYC. During the 1920s, artists such as Raymond Barthe, Aaron Douglas, Augusta Savage, and photographer James Van Der Zee became well known for their work. During the Great Depression, new opportunities arose for these and other African American artists under the WPA. In later years, other programs and institutions, such as the New York City-based Harmon Foundation, helped to foster African American artistic talent. Augusta Savage, Elizabeth Catlett, Lois Mailou Jones, Romare Bearden, Jacob Lawrence and others exhibited in museums and juried art shows, and built reputations and followings for themselves. In the 1950s and 1960s, there were very few widely accepted African American artists. Despite this, The Highwaymen, a loose association of 27 African American artists from Ft. Pierce, Florida, created idyllic, quickly realized images of the Florida landscape and peddled some 50,000 of them from the trunks of their cars. They sold their art directly to the public rather than through galleries and art agents, thus receiving the name The Highwaymen. Rediscovered in the mid-1990s, today they are recognized as an important part of American folk history. Their artwork is widely collected by enthusiasts and original pieces can easily fetch thousands of dollars in auctions and sales. The Black Arts Movement of the 1960s and 1970s was another period of resurgent interest in African American art. During this period, several African-American artists gained national prominence, among them Lou Stovall, Ed Love, Charles White, and Jeff Donaldson. Donaldson and a group of African-American artists formed the Afrocentric collective AFRICOBRA, which remains in existence today. The sculptor Martin Puryear, whose work has been acclaimed for years, is being honored with a 30-year retrospective of his work at the Museum of Modern Art in New York starting November 2007. Notable contemporary African American artists include David Hammons, Eugene J. Martin, Charles Tolliver, and Kara Walker. Literature [pic] Langston Hughes, a notable African American poet of the Harlem Renaissance. African American literature has its roots in the oral traditions of African slaves in America. The slaves used stories and fables in much the same way as they used music. These stories influenced the earliest African American writers and poets in the 18thcentury such as Phillis Wheatley and Olaudah Equiano. These authors reached early high points by telling slave narratives. During the early 20th century Harlem Renaissance, numerous authors and poets, such as Langston Hughes, W. E. B. Dubois, and Booker T. Washington, grappled with how to respond to discrimination in America. Authors during the Civil Rights era, such as Richard Wright, James Baldwin and Gwendolyn Brooks wrote about issues of racial segregation, oppression and other aspects of African American life. This tradition continues today with authors who have been accepted as an integral part of American literature, with works such as Roots: The Saga of an American Family by Alex Haley, The Color Purple by Alice Walker, and Beloved by Nobel Prize-winning Toni Morrison, and series by Octavia Butler and Walter Mosley that have achieved both best-selling and/or award-winning status. Museums The African American Museum Movement emerged during the 1950s and 1960s to preserve the heritage of the African American experience and to ensure its proper interpretation in American history. Museums devoted to African American history are found in many African American neighborhoods. Institutions such as the African American Museum and Library at Oakland and The African American Museum in Cleveland were created by African Americans to teach and investigate cultural history that, until recent decades was primarily preserved trough oral traditions. Language Generations of hardships imposed on the African American community created distinctive language patterns. Slave owners often intentionally mixed people who spoke different African languages to discourage communication in any language other than English. This, combined with prohibitions against education, led to the development of pidgins, simplified mixtures of two or more languages that speakers of different languages could use to communicate. Examples of pidgins that became fully developed languages include Creole, common to Haiti,and Gullah, common to the Sea Islands off the coast of South Carolina and Georgia. African American Vernacular English is a type variety (dialect, ethnolect and sociolect) of the American English language closely associated with the speech of but not exclusive to African Americans. While AAVE is academically considered a legitimate dialect because of its logical structure, some of both Caucasians and African Americans consider it slang or the result of a poor command of Standard American English. Inner city African American children who are isolated by speaking only AAVE have more difficulty with standardized testing and, after school, moving to the mainstream world for work. It is common for many speakers of AAVE to code switch between AAVE and Standard American English depending on the setting. Fashion and aesthetics [pic]. A man weaving kente cloth in Ghana. Attire The cultural explosion of the 1960s saw the incorporation of surviving cultural dress with elements from modern fashion and West African traditional clothing to create a uniquely African American traditional style. Kente cloth is the best known African textile. These festive woven patterns, which exist in numerous varieties, were originally made by the Ashanti and Ewe peoples of Ghana and Togo. Kente fabric also appears in a number of Western style fashions ranging from casual t-shirts to formal bow ties and cummerbunds. Kente strips are often sewn into liturgical and academic robes or worn as stoles. Since the Black Arts Movement, traditional African clothing has been popular amongst African Americans for both formal and informal occasions. Another common aspect of fashion in African American culture involves the appropriate dress for worship in the Black church. It is expected in most churches that an individual should present their best appearance for worship. African American women in particular are known for wearing vibrant dresses and suits. An interpretation of a passage from the Christian Bible, every woman who prays or prophesies with her head uncovered dishonors her head , has led to the tradition of wearing elaborate Sunday hats, sometimes known as crowns. Hair Hair styling in African American culture is greatly varied. African American hair is typically composed of tightly coiled curls. The predominant styles for women involve the straightening of the hair through the application of heat or chemical processes. These treatments form the base for the most commonly socially acceptable hairstyles in the United States. Alternatively, the predominant and most socially acceptable practice for men is to leave ones hair natural. Often, as men age and begin to lose their hair, the hair is either closely cropped, or the head is shaved completely free of hair. However, since the 1960s, natural hairstyles, such as the afro, braids, and dreadlocks, have been growing in popularity. Although the association with radical political movements and their vast difference from mainstream Western hairstyles, the styles have not yet attained widespread social acceptance. Maintaining facial hair is more prevalent among African American men than in other male populations in the U. S. In fact, the soul patch is so named because African American men, particularly jazz musicians, popularized the style. The preference for facial hair among African American men is due partly to personal taste, but because they are more prone than other ethnic groups to develop a condition known as pseudofolliculitis barbae, commonly referred to as razor bumps, many prefer not to shave. Body image The European aesthetic and attendant mainstream concepts of beauty are often at odds with the African body form. Because of this, African American women often find themselves under pressure to conform to European standards of beauty. Still, there are individuals and groups who are working towards raising the standing of the African aesthetic among African Americans and internationally as well. This includes efforts toward promoting as models those with clearly defined African features; the mainstreaming of natural hairstyles; and, in women, fuller, more voluptuous body types. Religion While African Americans practice a number of religions, Protestant Christianity is by far the most popular. Additionally, 14% of Muslims in the United States and Canada are African American. Christianity [pic] A river baptism in New Bern, North Carolina near the turn of the 20th century. The religious institutions of African American Christians commonly are referred tocollectively as the black church. During slavery, many slaves were stripped of their African belief systems and typically denied free religious practice. Slaves managed, however, to hang on to some practices by integrating them into Christian worship in secret meetings. These practices, including dance, shouts, African rhythms, and enthusiastic singing, remain a large part of worship in the African American church. African American churches taught that all people were equal in Gods eyes and viewed the doctrine of obedience to ones master taught in white churches as hypocritical. Instead the African American church focused on the message of equality and hopes for a better future. Before and after emancipation, racial segregation in America prompted the development of organized African American denominations. The first of these was the AME Church founded by Richard Allen in 1787. An African American church is not necessarily a separate denomination. Several predominantly African American churches exist as members of predominantly white denominations. African American churches have served to provide African American people with leadership positions and opportunities to organize that were denied in mainstream American society. Because of this, African American pastors became the bridge between the African American and European American communities and thus played a crucial role in the American Civil Rights Movement. Like many Christians, African American Christians sometimes participate in or attend a Christmas play. Black Nativity by Langston Hughes is a re-telling of the classic Nativity story with gospel music. Productions can be found a African American theaters and churches all over the country. Islam [pic] A member of the Nation of Islam selling merchandise on a city street corner. Despite the popular assumption that the Nation represents all or most African American Muslims, less than 2% are members. Generations before the advent of the Atlantic slave trade, Islam was a thriving religion in West Africa due to its peaceful introduction via the lucrative trans-Saharan trade between prominent tribes in the southern Sahara and the Berbers to the North. In his attesting to this fact the West African scholar Cheikh Anta Diop explained: The primary reason for the success of Islam in Black Africaconsequently stems from the fact that it was propagated peacefully at first by solitary Arabo-Berber travelers to certain Black kings and notables, who then spread it about them to those under their jurisdiction Many first-generation slaves were often able to retain their Muslim identity, their descendants were not. Slaves were either forcibly converted to Christianity as was the case in the Catholic lands or were besieged with gross inconviences to their religious practice such as in the case of the Protestant American mainland. In the decades after slavery and particularly during the depression era, Islam reemerged in the form of highly visible and sometimes controversial heterodox movements in the African American community. The first of these of note was the Moorish Science Temple of America, founded by Noble Drew Ali. Ali had a profound influence on Wallace Fard, who later founded the Black nationalist Nation of Islam in 1930. Elijah Muhammad became head of the organization in 1934. Much like Malcolm X, who left the Nation of Islam in 1964, many African American Muslims now follow traditional Islam. A survey by the Council on American-Islamic Relations shows that 30% of Sunni Mosque attendees are African Americans. African American orthodox Muslims are often the victims of stereotypes, most notably the assumption that an African American Muslim is a member of the Nation of Islam. They are often viewed by the uneducated African-American community in general as less authentic than Muslims from the Middle East or South Asia while credibility is less of an issue with immigrant Muslims and Muslim world in general. Other religions. Aside from Christianity and Islam, there are also African Americans who follow Judaism, Buddhism, and a number of other religions. The Black Hebrew Israelites are a collection of African American Jewish religious organizations. Among their varied teachings, they often include that African Americans are descended from the Biblical Hebrews (sometimes with the paradoxical claim that the Jewish people are not). There is a small but growing number of African Americans who participate in African traditional religions, such as Vodou and Santeria or Ifa and diasporic traditions like Rastafarianism. Many of them are immigrants or descendants of immigrants from the Caribbean and South America, where these are practiced. Because of religious practices, such as animal sacrifice, which are no longer common among American religions and are often legally prohibited, these groups may be viewed negatively and are sometimes the victims of harassment. Life events For most African Americans, the observance of life events follows the pattern of mainstream American culture. There are some traditions which are unique to African Americans. Some African Americans have created new rites of passage that are linked to African traditions. Pre-teen and teenage boys and girls take classes to prepare them for adulthood. They are typically taught spirituality, responsibility, and leadership. Most of these programs are modeled after traditional African ceremonies, with the focus largely on embracing African ideologies rather than specific rituals. To this day, some African American couples choose to jump the broom as a part of their wedding ceremony. Although the practice, which can be traced back to Ghana, fell out of favor in the African American community after the end of slavery, it has experienced a slight resurgence in recent years as some couples seek to reaffirm their African heritage. Funeral traditions tend to vary based on a number of factors, including religion and location, but there are a number of commonalities. Probably the most important part of death and dying in the African American culture is the gathering of family and friends. Either in the last days before death or shortly after death, typically any friends and family members that can be reached are notified. This gathering helps to provide spiritual and emotional support, as well as assistance in making decisions and accomplishing everyday tasks. The spirituality of death is very important in African American culture. A member of the clergy or members of the religious community, or both, are typically present with the family through the entire process. Death is often viewed as transitory rather than final. Many services are called homegoings, instead of funerals, based on the belief that the person is going home to the afterlife. The entire end of life process is generally treated as a celebration of life rather than a mourning of loss. This is most notably demonstrated in the New Orleans Jazz Funeral tradition where upbeat music, dancing, and food encourage those gathered to be happy and celebrate the homegoing of a beloved friend. Cuisine [pic] A traditional soul food dinner consisting of fried chicken, candied yams, collard greens, cornbread, and macaroni and cheese. The cultivation and use of many agricultural products in the United States, such as yams, peanuts, rice, okra, sorghum, grits, watermelon, indigo dyes, and cotton, can be traced to African influences. African American foods reflect creative responses to racial and economic oppression and poverty. Under slavery, African Americans were not allowed to eat better cuts of meat, and after emancipation many often were too poor to afford them. Soul food, a hearty cuisine commonly associated with African Americans in the South (but also common to African Americans nationwide), makes creative use of inexpensive products procured through farming and subsistence hunting and fishing.

Language and Literary Techniques in Othello Essay -- GCSE Coursework S

Language and Literary Techniques in Othello  Ã‚  Ã‚  Ã‚  Ã‚   The language and literary techniques used in William Shakespeare's Othello enrich the settings, plot, characters, and themes. Othello is a complex tragedy about good versus evil, loyalty, love, sexual jealousy, appearance versus reality, and intrigue, told in a first person point of view. The play takes place during the Renaissance in Venice, Italy and in Cyprus over three days. It is written in blank verse, usually unrhymed iambic pentameter. The protagonist, Othello, is a Moor well respected by senators for his valiant service in war and married to Desdemona, a Venetian woman. The play is entitled Othello and the plot and action encompass him, thus supporting his position of protagonist. The antagonist, Iago, is an unscrupulous individualist who bitterly despises Othello. Iago's villainous and intricate scheme for revenge results in the deaths of Othello, Desdemona, Iago's wife, and Roderigo, a suitor of Desdemona.    The play begins in Venice where Othello and Desdemona are eloping. Othello is needed to lead the Venetian forces in Cyprus and must leave immediately. Othello is joined at Cyprus by Desdemona, Iago, Emilia (Iago's wife), Roderigo, and Cassio (Othello's lieutenant). Iago falsely informs Roderigo that if Cassio were to die, Desdemona could be Roderigo's wife. Iago then guilefully encourages Cassio to drink an excess of wine and in a drunken fight, instigated by Roderigo, Cassio wounds Montano, the governor of Cyprus, and Othello reprimands him.    Meanwhile, Iago continually plants thoughts of sexual jealousy and suspicion in Othello's mind. He tries to convince Othello that Desdemona is unfaithful to him and she is having an affair with Cassio. In t... ...oston: Routledge & Kegan Paul Ltd., 1981. Bevington, David, ed. William Shakespeare: Four Tragedies. New York: Bantam Books, 1980. Bradley, A. C.. Shakespearean Tragedy. New York: Penguin, 1991. Campbell, Lily B. Shakespeare’s Tragic Heroes. New York: Barnes and Noble, Inc., 1970. Di Yanni, Robert. â€Å"Character Revealed Through Dialogue.† Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Literature. N. p.: Random House, 1986. Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993. Muir, Kenneth. Introduction. William Shakespeare: Othello. New York: Penguin Books, 1968. Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.

Doll House Essay

In the play â€Å"A DOLL’S HOUSE†, we are presented with a very idealistic version of life in the late 1800’s, and along with that, the very confined roles both men and women were placed into. â€Å"A DOLL’S HOUSE† lends proof to the fact that women do not always enjoy the freedom to say, do and choose a lifestyle that they find fulfilling. The story that the play presents sheds a very domineering light on males as heads of households, and in society in general, and portrays women as dependent and subservient. In the opening scene of â€Å"A DOLL’S HOUSE†, the main character Nora very tellingly hides, and later lies to her husband about eating a sugary treat (Ibsen). Although Nora’s husband Torvald grills with questions such as â€Å"Hasn’t Miss Sweet Tooth been breaking rules in town today? † she continues to deny that she has, despite having hidden a few macaroons in her pocket moments earlier (Ibsen). The question might arise: â€Å"would a man ever be subject to such questioning and severe restrictions†? We do not often see the roles reversed, were the woman controls so much of what a man eats, how much he spends, what he does in his spare time, etc. , especially in literature and other sources of entertainment. Too often, the â€Å"traditional† views of marital and societal roles regarding men and women are presented over and over; the male â€Å"wears the pants†, dictating to the woman how much she should spend, where she should spend it, and how to behave â€Å"Properly†. As the play progresses, we learn that Nora has committed a grievous crime, forging her fathers signature on a bond secured in order for she and her husband to spend time in Europe as part of Torvalds recovery from a grave illness. Nora is shown to be very dependent on money, and things of monetary value, and therefore her husband since he was obviously procurer of their financial status. Nora comes across as is very dependent on Torvald for her financial needs, and also extremely greedy as evidenced when she exclaims like a child â€Å"Money!  Ã¢â‚¬  at the sight of her husband producing more money to give her (Ibsen). She follows that with â€Å"ten shillings–a pound- -two pounds! Thank you, thank you! † (Ibsen). Such exchanges throughout the play place such a childlike dependency on Nora towards her husband. It is interesting that Nora takes a secret pride in her crime, feeling that it sets her apart and gives her more purpose, while at the same time worrying about how â€Å"humiliating it would be for Torvald, with his manly independence, to know that he owed me anything!  Ã¢â‚¬  even fearing that their â€Å"beautiful happy home would no longer be†¦Ã¢â‚¬  (Ibsen). Further still throughout the play, we are faced with more evidence to support the fact that women were not seen as equals in marriage, but as someone to be either proud of or shamed by according to their looks, actions, and ability to keep a home running smoothly. Nora herself is very aware of her place as a thing to be admired when she remarks to her friend Mrs. Linde, â€Å"someday†¦when I am no longer as nice-looking as I am now†¦when Torvald is no longer as devoted to me as he is now; when my dancing and dressing-up and reciting have palled on him;† (Ibsen). Another very telling exchange between Torvald and Nora takes place during the preparation for a ball in which Nora is to dance. While trying to discourage her husband from getting the mail, and finding a letter from the man who was going to reveal her crime, Nora plays to Torvalds dominant tendency insisting that she cannot do it correctly without his help. Although their conversation is in reference to her dance and practicing, it seems to shed some light on the type of relationship they have. Nora exclaims â€Å"I can’t dance tomorrow if I don’t practice with you†¦criticize me, and correct me†¦Ã¢â‚¬  to which Torvald replies â€Å"with great pleasure, if you wish me to† (Ibsen). As they practice, Nora’s nerves about her crime being exposed get the best of her and she is unable to perform correctly. Torvald cries â€Å"you will need a lot of coaching†¦you can depend on me† (Ibsen).

Kaleidoscopic: An Analysis of “The Wasteland” by T.S. Eliot Essay

T.S. Eliot’s â€Å"The Wasteland† is known for its kaleidoscopic and fragmented form, with the converging of different styles from different movements of poetry; the employment of a wide range of metaphorical devices (from allusions to the decidedly Christian quest for the Holy Grail, to references about ancient Greece, and more pagan origins – the diversity of allusions from different cultures only serves to raise the universality of the poem’s theme); and the wealth of convolutions of the poem as a whole, jumping from one scene to another in an abrupt and disconcerting lack of traditional cohesion. There are rapid shifts not only in imagery and perspective, but also in setting, and in subject. And yet the poem is unified by its overall theme of despair – despair and futility in the midst and at the inevitable end of man’s search for peace and contentment. Man subjects himself to a baffled search for spiritual peace, when, in the end, he must be resigned that the search is, after all that time, futile, even never-ending. It is this futility and despair that grounds the â€Å"fragments† of the poem, the so-called â€Å"bigger picture,† making it into that which the poem strives to attain. A technique that Eliot employs is the deliberate â€Å"scattering† of connected passages that discuss one subject. As an exploration of the theme, he carries it further by â€Å"dissecting† the subject, offering hints and foreshadowing in earlier parts of the poem, then places the other divisions into a variation of sections. Malcolm Bradbury and James McFarlane, in their introductory essay â€Å"Name and Nature of Modernism† for Modernism, 1890-1930, encapsulates the fragmented form of the poem: â€Å"Modernist works frequently tend to be ordered, then, not on the sequence of historical time or the evolving sequence of character, from history or story, as in realism and naturalism; they tend to work spatially through layers of consciousness, working towards a logic of metaphor or form† (p.50). The Modernist poem’s multiplicity in layers exploits the poetic form in that insights and epiphanies are not procured at face value, that the reader must take it upon himself to discover and explore the layers and exposition. Also, the collage-like quality of this Modernist poem tore through the traditional forms of poetry and poetics, in its audacious experimentation. Jerome Rothenberg and Pierre Joris in their introductory essay for Poems for the Millennium say, â€Å"A characteristic of modern art (and poetry) so defined . . . has been the questioning of art itself as a discrete and bounded category† (p.8). The poet and the poem continue to push at the boundaries, insisting that the boundaries should not even be existent – an intention that â€Å"The Wasteland† succeeds in carrying out. Although the many convolutions and intricacies in â€Å"The Wasteland† evoke the initial impression of fragmentation, there are interlocking themes and content, if not passages reminiscent of others, found throughout the poem. Part of Eliot’s poetics is, underneath all the references from other fragments of literature and all levels of allusions, there are images that shall mirror another, and then another, though they may be as subtle as a single word in a line, through they may be scattered throughout the entire length of the poem. One example of this resonance can be found in Eliot’s mention of drowning, or death by water. The â€Å"narrative† is prophesied near the beginning of the poem, lines 46 and 47 say, â€Å"Here, said she, / Is your card, the drowned Phoenician sailor,† followed with the ominous statement, â€Å"Fear death by water† in line 55, found in the same section. It is essential to note that among the ancient Mediterranean people, it was the Phoenicians who became known for expertise in sailing and navigation, mastering the rather challenging task of sailing against the wind, making headway little by little, by tacking back and forth (Black). Eliot provides this information through a prophesy by one of the many characters in the poem, Madame Sosostris, a clairvoyant. This adds another dimension to the resonance of the passage because, as well as being part of a group of references, its very position as being the first the readers encounter in the poem provides and carries out its intention of foretelling the future. Eliot then continues to explore this theme, in almost teasing narrative, throughout the poem. The next reference is found in part three, or The Fire Sermon. In line 220 – 221, the sailor is mentioned again in, â€Å"At the violet hour, the evening hour that strives / Homeward, and brings the sailor home from sea.† Interestingly, this is imparted in the form of another prophecy of sorts – this time from the blind seer Tiresias. This passage offers a kind of build-up by narrating the usual routine of a sailor in one of his less tragic days at work. The statement is an aside, a mere commentary at the larger picture painted by The Fire Sermon, although in its simplicity and subtlety, the passage succeeds in presenting that the Phoenician sailor is supposed to come home from a hard day (and night’s) work at the sea. Which makes it all the more tragic, as these resonant images culminate, fittingly enough, in part four, titled Death by Water. Everything comes together in this part of the poem. The skilled yet unfortunate Phoenician sailor is named, Phlebas, and we witness his fate, that which has long been hinted at from different parts of the poem. Phlebas dies, â€Å". . . a current under sea / Picked his bones in whispers (line 315).† And he dies, not for want of expertise in his profession, but by forgetting â€Å". . . the cry of gulls, and the deep sea swell / and the profit and loss (lines 313 to 314)† – readers get the impression that Phlebas was preoccupied, in reflection of matters known only to him. In him readers behold another character of Eliot’s, who emulates a theme of the poem, that human beings are in a continuous search for some sort of peace or contentment, yet they must resign ourselves to a life of futility and despair. Death by Water concludes with a note, some words of caution, still reminding the reader of the Phoenician sailor’s skill, his promise, regardless of his tragic death: â€Å"O you who turn the wheel and look to windward, / Consider Phlebas, who was once handsome and tall as you.† Aside from being a critique of traditional form and the very definition of art and poetry, the poem also became a critique of the current social condition. Published in the aftermath of World War I, which had been the most destructive war in history at that point, many believed that the poem was an â€Å"indictment of post-war European culture and as an expression of disillusionment in contemporary society, which Eliot believed to be culturally barren.† Despair was the consensual mood of nations, and salvation seemed bleak at the time. â€Å"The Wasteland† encapsulated that consensus, that attitude, displaying one of the characteristic of Modernism, which â€Å"is the one art that responds to the scenario of our chaos† (Bradbury and McFarlane, 27). And the stylized fragmentation of the poem serves to thrust that aim further, form functioning to serve the subject matter. â€Å"The Wasteland† as a Modernist poem employs daring experimentation of style, from sudden shifts in form and style and subject, to the division of narrative style and exposition. Passages reminiscent of each other are found throughout the poem, carrying with it the theme of the poem like an interconnection of veins throughout a human body. It is a critique of the times, and of the times before that had shaped the current situation. As Rothenberg and Joris state, â€Å"The most interesting works of poetry and art are those that question their own shapes and forms, and by implication the shapes and forms of whatever preceded them† (p. 11). Works Cited Black, Bob. â€Å"Borne by the Wind: The Lure and Lore of Sailing.† Microsoft ® Encarta ® 2006. CD-ROM. Redmond, WA: Microsoft Corporation, 2005. Bradbury, Malcolm and James McFarlane. Modernism, 1890-1930. Sussex: Harvester Press, 1879. Harmon, William. â€Å"T.S. Eliot.† Microsoft ® Encarta ® 2006. CD-ROM. Redmond, WA: Microsoft Corporation, 2005. Ramazani, Jahan, Richard Ellmann and Robert O’Clair, eds. The Norton Anthology of Modern and Contemporary Poetry. New York: W. W. Norton, 2003.   Rothenberg, Jerome and Pierre Joris, eds. Poems for the Millenium: the University of California Book of Modern and Postmodern Poetry. Berkeley: University of California Press, 1998.

The Origins of Rice Domestication in China

The Origins of Rice Domestication in China Today, rice (Oryza species) feeds more than half the worlds population  and accounts for 20 percent of the worlds total calorie intake. Although a staple in diets worldwide, rice is central to the economy and landscape of wider East Asian, Southeast Asian, and South Asian ancient and modern civilizations. Particularly in contrast to Mediterranean cultures, which are primarily based on wheat bread, Asian cooking styles, food textural preferences, and feasting rituals are based on consumption of this vital crop. Rice grows on every continent in the world except Antartica, and has 21 different wild varieties and three distinct cultivated species: Oryza sativa japonica, domesticated in what is today central China by about 7,000 years BCE, Oryza sativa indica, domesticated/hybridized in the Indian subcontinent about 2500 BCE, and Oryza glabberima, domesticated/hybridized in west Africa between about 1500 and 800 BCE. Origin Species: Oryza rufipogonFirst Domestication: Yangtse River basin, China, O. sativa japonica, 9500-6000 years ago (bp)Paddy (Wet Rice Field) Invention: Yangtse River basin, China, 7000 bpSecond and Third Domestications: India/Indonesia, Oryza indica, 4000 bp; Africa, Oryza glaberrima, 3200 bp Earliest Evidence The oldest evidence of rice consumption identified to date is four grains of rice recovered from the Yuchanyan Cave, a rock shelter in Dao County, Hunan Province in China. Some scholars associated with the site have argued that these grains seem to represent very early forms of domestication, having characteristics of both japonica and sativa. Culturally, the Yuchanyan site is associated with the Upper Paleolithic/incipient Jomon, dated between 12,000 and 16,000 years ago. Rice phytoliths (some of which appeared to be identifiable to japonica) were identified in the sediment deposits of Diaotonghuan Cave, located near Poyang Lake in the middle Yangtse river valley radiocarbon dated about 10,000-9000 years before the present. Additional soil core testing of the lake sediments revealed rice phytoliths from rice of some sort present in the valley before 12,820 BP. However, other scholars argue that although these occurrences of rice grains in archaeological sites such as Yuchanyan and Diaotonghuan caves represent consumption and/or use as pottery temper, they do not represent evidence of domestication. Origins of Rice in China Oryza sativa japonica was derived solely from Oryza rufipogon, a poor-yielding rice native to swampy regions that required intentional manipulation of both water and salt, and some harvest experimentation. Just when and where that occurred remains somewhat controversial. There are four regions that are currently considered possible loci of domestication in China: the middle Yangtze (Pengtoushan culture, including such sites as at Bashidang); the Huai River (including the Jiahu site) of southwest Henan province; the Houli culture of Shandong province; and the lower Yangtze River Valley. Most but not all scholars point to the lower Yangtze River as the likely origin location, which at the end of the Younger Dryas (between 9650 and 5000 BCE) was the northern edge of the range for O. rufipogon. Younger Dryas climatic changes in the region included the increase of local temperatures and summer monsoon rainfall amounts, and the inundation of much of the coastal regions of China as the sea rose an estimated 200 feet (60 meters). Early evidence for the use of wild O. rufipogon has been identified at Shangshan and Jiahu, both of which contained ceramic vessels tempered with rice chaff, from contexts dated between 8000–7000 BCE. Direct dating of rice grains at two Yangtse river basin sites was reported by Chinese archaeologists led by Xinxin Zuo: Shangshan (9400 cal BP) and Hehuashan (9000 cal BP), or about 7,000 BCE. By about 5,000 BCE, domesticated japonica is found throughout the Yangtse valley, including large amounts of rice kernels at such sites as TongZian Luojiajiao (7100 BP) and Hemuda (7000 BP). By 6000–3500 BCE, rice and other Neolithic lifestyle changes were spread throughout southern China. Rice reached Southeast Asia into Vietnam and Thailand (Hoabinhian period) by 3000–2000 BCE. The domestication process was likely a very slow one, lasting between 7000 and 100 BCE. Chinse archaeologist Yongchao Ma and colleagues have identified three stages in the domestication process during which rice slowly changed eventually becoming a dominant part of local diets by about 2500 BCE. Changes from the original plant are recognized as the location of rice fields outside of perennial swamps and wetlands, and non-shattering rachis. Out of China Although scholars have come close to a consensus concerning the origins of rice in China, its subsequent spread outside of the center of domestication in the Yangtze Valley is still a matter of controversy. Scholars have generally agreed that the originally domesticated plant for all varieties of rice is  Oryza sativa japonica, domesticated from  O. rufipogon  in the lower Yangtze River Valley by hunter-gatherers approximately 9,000 to 10,000 years ago. At least 11 separate routes for the spread of rice throughout Asia, Oceania, and Africa have been suggested by scholars. At least twice, say scholars, a manipulation of  japonica  rice was required: in the Indian subcontinent about 2500 BC, and in West Africa between 1500 and 800 BCE. India and Indonesia For quite some time, scholars have been divided about the presence of rice in India and Indonesia, where it came from and when it got there. Some scholars have argued that the rice was simply  O. s. japonica, introduced straight from China; others have argued that the  O. indica  variety of rice is unrelated to japonica and was independently domesticated from  Oryza nivara. Other scholars suggest that  Oryza indica  is a hybrid between a fully domesticated  Oryza japonica  and a semi-domesticated or local wild version of  Oryza nivara. Unlike  O. japonica, O. nivara  can be exploited on a large scale without instituting cultivation or habitat change. The earliest type of rice agriculture used in the Ganges was likely dry cropping, with the plants water needs provided by monsoonal rains and seasonal flood recession. The earliest irrigated paddy rice in the Ganges is at least the end of the second millennium BC and certainly by the beginning of the Iron Age. Arrival in the Indus Valley The archaeological record suggests that  O. japonica  arrived in the  Indus Valley  at least as early as 2400–2200 BCE, and became well-established in the Ganges River region beginning around 2000 BCE. However, by at least 2500 BCE, at the site of Senuwar, some rice cultivation, presumably of dryland  O. nivara  was underway. Additional evidence for the continuing interaction of China by 2000 BCE with Northwest India and Pakistan comes from the appearance of other crop introductions from China, including peach, apricot,  broomcorn millet, and Cannabis.  Longshan  style harvest knives were made and used in the Kashmir and Swat regions after 2000 BCE. Although Thailand certainly first received domesticated rice from China–archaeological data indicates that until about 300 BCE, the dominant type was  O. japonica–contact with India about 300 BCE, led to the establishment of a rice regime that relied on wetland systems of agriculture, and using  O. indica. Wetland rice–that is to say rice grown in flooded paddies–is an invention of Chinese farmers, and so its exploitation in India is of interest. Rice Paddy Invention All species of wild rice are wetland species: however, the archaeological record implies that the original domestication of rice was to move it into a more or less dryland environment, planted along the edges of wetlands, and then flooded using natural flooding and annual rain patterns. Wet rice farming, including the creation of rice paddies, was invented in China about 5000 BCE, with the earliest evidence to date at Tianluoshan, where paddy fields have been identified and dated. Paddy rice is more labor-intensive then dryland rice, and it requires an organized and stable ownership of land parcels. But it is far more productive than dryland rice, and by creating the stability of terracing and field construction, it reduces environmental damage caused by intermittent flooding. In addition, allowing the river to flood the paddies replenishes the replacement of nutrients taken from the field by the crop. Direct evidence for intensive wet rice agriculture, including field systems, comes from two sites in the lower Yangtze (Chuodun and Caoxieshan) both of which date to 4200–3800 BCE, and one site (Chengtoushan) in the middle Yangtze at about 4500 BCE. Rice in Africa A third domestication/hybridization appears to have happened during the African Iron Age in the Niger delta region of west Africa, by which  Oryza sativa  was crossed with O. barthii to produce  O. glaberrima. The earliest ceramic impressions of rice grains date from between 1800 to 800 BCE in the side of Ganjigana, in northeast Nigeria. documented domesticated O. glaberrima has first been identified at Jenne-Jeno in Mali, dated between 300 BCE and 200 BCE. French plant geneticist Philippe Cubry and colleagues suggest that the domestication process may have been begun about 3,200 years ago when the Sahara was expanding and making the wild form of rice harder to find. Sources Cubry, Philippe, et al. The Rise and Fall of African Rice Cultivation Revealed by Analysis of 246 New Genomes. Current Biology 28.14 (2018): 2274–82.e6. Print.Luo, Wuhong, et al. Phytolith Records of Rice Agriculture During the Middle Neolithic in the Middle Reaches of . Quaternary International 426 (2016): 133–40. Print.Huai River Region, ChinaMa, Yongchao, et al. Rice Bulliform Phytoliths Reveal the Process of Rice Domestication in the Neolithic Lower Yangtze River Region. Quaternary International 426 (2016): 126–32. Print.Shillito, Lisa-Marie. Grains of Truth or Transparent Blindfolds? A Review of Current Debates in Archaeological Phytolith Analysis. Vegetation History and Archaeobotany 22.1 (2013): 71–82. Print.Wang, Muhua, et al. The Genome Sequence of African Rice (Oryza . Nature Genetics 46.9 (2014): 982–8. Print.Glaberrima) and Evidence for Independent DomesticationWin, Khin Thanda, et al. A Single Base Change Explains the Independent Origin of and Selection for the Nonshattering Gene in African Rice Domestication. New Phytologist 213.4 (2016): 1925–35. Print. Zheng, Yunfei, et al. Rice Domestication Revealed by Reduced Shattering of Archaeological Rice from the Lower Yangtze Valley. Scientific Reports 6 (2016): 28136. Print.Zuo, Xinxin, et al. Dating Rice Remains through Phytolith Carbon-14 Study Reveals Domestication at the Beginning of the Holocene. Proceedings of the National Academy of Sciences 114.25 (2017): 6486–91. Print.

Bound by differences essays

Bound by differences essays The Kosovo Liberation Army is still in the midst of peace talks with NATO. The peace talks came after a temporary halt in the slaughter of Serbians and Albanians living in Kosovo. (Oregonian, Front Section A4, pp. 6) The most recent genocide in Kosovo has been the result of long-standing grudges between the Albanians and Serbians living in Kosovo and was developed from opposing views over social and political domination of Albania. The current differences in culture are obvious in the education and political system. In the last 10 years, Kosovo, a majority-Albanian province of Serbia, was taken back by Serbians. This region was previously autonomous to the Albanians with in the former Yugoslavia. In 1989, Serbian government revoked the autonomous status. This heated already-stressed relations between the Serbian authorities and Albanian civilians. Kosovo Albanians are struggling for an Albanian-language university, media and national system, as they push for independence from Serbia. Albanians are gaining a few opportunities in government. They now have their own political parties and hold a few offices. However they are still largely underrepresented in local government, law enforcement and military. (www.crisisweb.org/mac03, pg. 2) Kosovo is historically important to Serbian nationalist because of Slobodon Milosevics launch of his expansionist program in the 1980s. Since the 1980s, the Kosovo Liberation Army, an underground organization, has been formed to enforce Serbian ideals in Kosovo through force. This army has grown in strength in the last 5 years has begun to take back Kosovo. During those 5 years, more than 100,000 people have died in concentration camps and hundreds of thousands of refugees have been fleeing the country. This conflict caught the attention of the world and NATO sent international troops in to Yugoslavia temporarily stop the fighting until a further settlement could be reached. Much...

40 French Expressions En Tout

40 French Expressions En Tout 40 French Expressions â€Å"En Tout† 40 French Expressions â€Å"En Tout† By Mark Nichol English has borrowed heavily from French, including a number of expressions beginning with en (meaning â€Å"as† or â€Å"in†). Some of these, such as â€Å"en masse,† are ubiquitous; others, like â€Å"en ami,† are obscure. Many more listed (and defined) here, italicized in the sample sentences, are not even listed in English dictionaries and are therefore considered still wholly foreign (and should be italicized in your prose as well). Whatever their status, however, given sufficient context, these expressions might be gainfully employed to provide a wry or sardonic touch to a written passage, or to characterize a pompous character: 1. En ami (â€Å"as a friend†): â€Å"I confide in you en ami.† 2. En arriere (â€Å"behind†): â€Å"Discretion is the better part of valor, I reminded myself as, letting my more valorous friends go before me, I marched en arriere.† 3. En attendant (â€Å"meanwhile†): â€Å"I entertained myself en attendant by thumbing through a magazine while she troweled on her makeup.† 4. En avant (â€Å"forward†): â€Å"En avant, comrades. Fortune awaits us through that door.† 5. En badinant (â€Å"in jest†): â€Å"Relax, my friend I meant what I said en badinant.† 6. En bagatelle (â€Å"in contempt†): â€Å"He glared at me en bagatelle, as if I were vermin.† 7. En banc (â€Å"with complete judicial authority†): â€Å"I sentence you en banc, as judge, jury, and executioner, to death.† 8. En bloc (â€Å"in a mass†): â€Å"We can depend on them to vote en bloc in support of the proposal.† 9. En clair (â€Å"in clear language, as opposed to in code†): â€Å"The spy’s telegram was carelessly written en clair.† 10. En deshabille (â€Å"undressed, or revealed†): â€Å"She opened the door to find me standing there en deshabille, and immediately retreated.† 11. En echelon (â€Å"in steps, or overlapping†): â€Å"The flock of geese flew overhead en echelon.† 12. En effet (â€Å"in fact, indeed†): â€Å"You see that I am, en effet, in control of the situation.† 13. En famille (â€Å"with family, at home, informally†): â€Å"Let us now return to that happy household, where we find the denizens lounging en famille.† 14. En foule (â€Å"in a crowd†): â€Å"He had the remarkable ability to blend in en foule.† 15. En garcon (â€Å"as or like a bachelor†): â€Å"I have separated from my wife and am now living en garcon.† 16. En grande (â€Å"full size†): The bouncer approached and, with a scowl, reared up en grande.† 17. En grande tenue (â€Å"in formal attire†): â€Å"She arrived, as usual, en grande tenue, and in consternation that everyone else was dressed causally.† 18. En grande toilette (â€Å"in full dress†): â€Å"The opening-night crowd was attired en grande toilette.† 19. En guard (â€Å"on guard†): â€Å"She assumed a defensive position, as if en guard in a fencing match.† 20. En haute (â€Å"above†): â€Å"From my perspective en haute, as it were I’d say you are both wrong.† 21. En masse (â€Å"all together†): â€Å"The members of the basketball team arrived en masse at the party.† 22. En pantoufles (â€Å"in slippers, at ease, informally†): â€Å"He had just settled down for a relaxing evening en pantoufles when the doorbell rang.† 23. En passant (â€Å"in passing†): â€Å"She nonchalantly mentioned the rumor en passant.† 24. En plein air (â€Å"in the open air†): â€Å"We celebrated by venturing en plein air.† 25. En plein jour (â€Å"in broad day†): â€Å"They boldly rendezvoused en plein jour.† 26. En poste (â€Å"in a diplomatic post†): â€Å"Though he was a friend, I decided to send the memorandum en poste.† 27. En prise (â€Å"exposed to capture†): â€Å"He found himself en prise, beset on all sides.† 28. En queue: (â€Å"after†): â€Å"I bided my time and followed en queue.† 29. En rapport (â€Å"in agreement or harmony†): â€Å"I’m delighted that we are all en rapport on the subject.† 30. En regle (â€Å"in order, in due form†): â€Å"I believe you will find the documents en regle.† 31. En retard (â€Å"late†): â€Å"Typically, they arrived en retard for dinner.† 32. En retraite (â€Å"in retreat or retirement†): â€Å"After uttering the verbal blunder, she ducked her head and exited the parlor en retraite.† 33. En revanche (â€Å"in return, in compensation†): â€Å"En revanche, I invite you to attend my upcoming soiree.† 34. En rigueur (â€Å"in force†): â€Å"We have arrived en rigueur to support you.† 35. En route (â€Å"on the way†): â€Å"En route to the post office, she passed by the derelict house.† 36. En secondes noces (â€Å"in a second marriage†): â€Å"The community was so conservative that she found her matrimonial state, en secondes noces, to be the topic of gossip.† 37. En suite (â€Å"connected, or in a set, as a bedroom with its own bathroom†): â€Å"She was pleased to see that the room was en suite.† (Also spelled ensuite.) 38. En tasse (â€Å"in a cup†): â€Å"I’ll take some en tasse.† 39. En tout (â€Å"in all†): â€Å"We’d like to use your banquet room, please we are a score or more en tout.† 40. En verite (â€Å"in truth†): â€Å"En verite, I am the one responsible.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Expressions category, check our popular posts, or choose a related post below:100 Beautiful and Ugly WordsEmail EtiquetteFew vs. Several

Sales promotion and Management Essay Example | Topics and Well Written Essays - 2500 words

Sales promotion and Management - Essay Example For instance, coffee is one of the most valuable import commodities in the whole of the United States of America. To be able to cope with the demand resulting from the popularity of coffee as the most preferred beverage in the world, there have been numerous retail chains that have been established. There has been a remarkable and continued expansion of their operations in the sector. This paper will analyze and critically evaluate the various promotional techniques used in the sector and further evaluate their effectiveness. In addition, the issue of budgeting for the chosen promotional activities and the respective returns will also be discussed. Large self-service retail chains or coffee shops have always provided customers with an experience. This is by the way they provide a wide range of innovative products and services, through well-targeted promotions that have an impact on their buying decisions. Some of the most common promotional techniques that are closely related to product trial include the use of free samples, bonuses, coupons, and discount on purchases and in the shop display. The main reason behind the use of trials is that they determine repurchase behaviour among consumers. In addition, they also mediate in the relationship between sales promotions and repeat-buying behaviour. Repeat-buying behaviour of customers is widely influenced by the values or tastes obtained and perceived on the product or the taste of the coffee in a given retail chain as commonly stated by many. Additionally, the product characteristics, knowledge, trial, availability and subsequent purchase factors influence the customers towards making re-buying decisions in relation to the type of promotional technique employed by the coffee chains. Moreover, the decision by consumers to re-purchase the products on offer or in this case, revisit the retail chains is largely affected by customers’ level of satisfaction that is obtained from the products. It is also

EasyJet Airlines Case Study Example | Topics and Well Written Essays - 1750 words

EasyJet Airlines - Case Study Example ii. Short haul and direct trips: This feature would attract customer's attention since most of the passengers would be keen on reducing their travel time. iii. Using smaller airport as base airport: In comparison to the bigger airports, the road traffic moving towards smaller airports is less congested. This would make customer's journey to the airport shorter. (4) (a) Distinctive Competence: i. Ability to provide low cost services to its customers ii. Ability to increase number of customers by making extra rotations and effective online system. iii. Ability to manage its employees well by maintaining an informal company culture, a flat management structure and providing them effective training. (b) Operations Mission: The central mission of entire operations of Easyjet is to provide low cost air services to its customers and maintain its standards in order to win maximum possible number of customers. (5) Operational Objectives: (a) The operational objectives of Easyjet can be ranked as follows: 1. Cost 2. Delivery 3. Quality 4. Flexibility (b) Easyjet manages to achieve these objectives in the following ways: i. Cost - Easyjet has been successful in providing low cost services by taking the following steps: (a) Using smaller airports as base airport works out cheaper. (b) As the number of customers increased, Easyjet decided on using Airbus A319. This resulted in savings due to its extra seats and better fuel consumption. (c) By the year 2000 Easyjet decided to perform on its own the jobs that were outsourced until then. This too would have resulted in savings. (d) Through ticketless travelling, Easyjet has been able to reduce it's distribution costs. (e) By charging the customers separately for the food and drinks... ii. Online Discount: The online discount given in March 2000 was higher than that given by Easyjet's competitors. Though it was for just a single trip, it still would have made the impact intended. It resulted in an increase in the number of customers booking tickets online. This in a way acts as an aid for sales promotion. i. Punctuality: Easyjet gives high priority to punctuality and since it has succeeded in maintaining it at industry standards, it would induce the customers to consider Easyjet as one of the options for air services. iii. Using smaller airport as base airport: In comparison to the bigger airports, the road traffic moving towards smaller airports is less congested. This would make customer's journey to the airport shorter. (b) Operations Mission: The central mission of entire operations of Easyjet is to provide low cost air services to its customers and maintain its standards in order to win maximum possible number of customers. (e) By charging the customers separately for the food and drinks served on board, Easyjet is able to exclude the cost of food and drinks from the air fare

None Essay Example | Topics and Well Written Essays - 250 words - 6

None - Essay Example The world is viewed as a place where determination is intelligent and personal. Divine activity is used as an explanation for various events. Another main feature of this view is a partial order and rationality (Cunningham & Reich 36). According to Homeric views, not all events can be put down to intelligent, personal determination. The world blends chance and natural order, with some events coming under rational agent control while others do not. The Etruscans had an outstanding technological ability and sophistication (Cunningham & Reich 88). Their commercial contacts extended to most of Western Mediterranean and Tarquinia and Cerveteri in Italy. Their traditional art while almost spiritually primitive were of highly sophisticated technique and craftsmanship. They, unlike the Greeks, were more interested in the production of instantaneous impact on viewers. They were also responsible for the urbanization of Rome by building shrines, temples, and roads. They also introduced toga and horse racing to the Romans. They were energetic and militaristic, with equality existing between both sexes and between monogamous heterosexuality and male homoeroticism. All artefacts from the Etruscan era have music sensibility, are evidently lively artistic. In addition, has frank sexuality about them (Cunningham & Reich 88). Royal families in this era lived in palaces that were splendid. Their banquet halls were elaborate, with their gardens and rooms being sumptuously decorated (Cunningham & Reich 76). Kings in this era were arts patrons, with commissioning of public sculpture and architecture public works. Jewellery became more elaborate and incorporated stones that were unique and rare. Great libraries and museums were built. In addition, the nude Aphrodite indicated secularized traditional religion. The subject matter widened to include conventional inhabitants and grotesques. Lavish items like furniture with intricate carvings

Miami International Airport Research Paper Example | Topics and Well Written Essays - 1500 words

Miami International Airport - Research Paper Example The airport has three terminals, North, Central, and South. Both the Central and South terminals handle international travelers. Although public transportation from MIA is difficult, taxis, shuttles, and rental cars are available. The Miami International Airport Hotel is located right inside the airport at Concourse E. The airport has over 80 airlines providing flights to over 150 destinations around the world. It occupies 3230 acres of land in downtown Miami with its terminal undergoing an expansion of more than seven million square feet through a capital improvement program to be completed in 2014 (MIA, 2013). The Miami international airport serves other aviation facilities such as the Kendall-Tamaini Executive airport. This airport is 15 minutes away from the business center of south Miami-Dade. The airport’s proximity to Biscayne national park, Florida Keys, and Everglades’s national park makes it the perfect destination for eco-tourism. Its primary business is recr eation and private flights serving as to relieve to MIA. MIA’s general aviation center managed by the Miami-Dade aviation department offers flights round the clock, every day. Its services are minor like telephones, public lounge with vending area and restrooms (Mobile Reference, 2010). It houses the US customs and border protection that clears arriving international flights including charter, cargo, and private. Another executive airport that closely relates with MIA is the Opa-Locka Executive airport that is located just 7 miles away from MIA. It is the largest of the general Miami -Dade county airports that handle private, cargo and business flights as a relief to MIA (FAA, 2013). Chapter 2: MIA’s Airside The Division Director of  Airside Operations is a 30-year veteran Lonny Craven. He ensures the safe day-to-day operations of MIA's airfield. He also ensures Part 139 Compliance with Federal Aviation Administration (FAA) regulations. Above all, he is also responsi ble for all Airside Operations at MIA, including aircraft gate and apron control, the security and safety of aircraft , airside motor vehicle decal program, construction, cargo, aircraft parking, ramp, passenger loading bridges, access (FAA, 2013), Flight Information Display System (FIDS) and, motor vehicles and pedestrian traffic on the Aircraft Operations Area (AOA). The Airfield Operations Division of the Miami-Dade Aviation Department is divided into three different sections. These sections include Ramp Control, Aircraft Gate Control, and Access Control. Each of these Airside sections has a common goal but with distinct responsibilities and a staff reporting to the Division Director, Airside Operations. The three section's principal role is to promote the safe, secure, and efficient operating environment for passenger airlines, cargo airlines, a large General Aviation component, and all the ramp employees. The Ramp Control Section of Airside Operations ensures the safe operation of aircraft on the airfield. It also maintains the Airport's Certification; it reviews all runways, taxiways, and airport surface conditions for compliance with Federal Aviation Regulations, part 139. Ramp Control personnel  also monitor all construction activity in the Aircraft Operating Area (AOA) to ensure compliance with the Department's safety requirements. The Access Control Section monitors the access and movement of vehicles within the restricted areas. Access Control also administers the AOA decal

Assignment1 Industrial Ecology Research Paper Example | Topics and Well Written Essays - 750 words

Assignment1 Industrial Ecology - Research Paper Example 38). Businesses should not be awarded on the basis of the price tag. The business should aim at minimizing the total cost. The business should strive at creating long-term relationships of trust and loyalty through a single supplier of any item. If the buyer and the vendor optimize their own positions, the whole system becomes optimized (Gitlow et al. 39). Improvement of the production and service system should be constant and never ending. This will improve the productivity and quality and the resultant effect is decreased costs. The management can be boosted through operational definitions and empowerment (Gitlow et al. 40). Training of the employees on the job should be instituted. Employees form an important part of the organization and their comfort in the work place requires job skills training. Training itself is a system and effective training has an effect on the skill distribution for a particular job skill (Gitlow et al. 45). Leadership should be instituted. Supervision should make the machines, gadgets and people perform a better job. The supervision of the management and production workers needs a complete overhaul. A leader should be capable of understanding his performance and that of the workers. A leader cannot predict the performance of an individual based on the old job experience but he must have theory to help in the prediction (Gitlow et al. 46). Fear should be driven out if the people in the company have to work effectively. Fear and anxiety are both negative reactive behaviors. Fear may result from job insecurity, poor supervision, faulty inspection procedures and other causes. It is the prerogative of the management to ensure that the causes of fear are eliminated. The barriers between the departments should be broken. People should work as a team regardless of their departments (sales, research, production, or design). They should be able to foresee the

Miami International Airport Research Paper Example | Topics and Well Written Essays - 1500 words

Miami International Airport - Research Paper Example The airport has three terminals, North, Central, and South. Both the Central and South terminals handle international travelers. Although public transportation from MIA is difficult, taxis, shuttles, and rental cars are available. The Miami International Airport Hotel is located right inside the airport at Concourse E. The airport has over 80 airlines providing flights to over 150 destinations around the world. It occupies 3230 acres of land in downtown Miami with its terminal undergoing an expansion of more than seven million square feet through a capital improvement program to be completed in 2014 (MIA, 2013). The Miami international airport serves other aviation facilities such as the Kendall-Tamaini Executive airport. This airport is 15 minutes away from the business center of south Miami-Dade. The airport’s proximity to Biscayne national park, Florida Keys, and Everglades’s national park makes it the perfect destination for eco-tourism. Its primary business is recr eation and private flights serving as to relieve to MIA. MIA’s general aviation center managed by the Miami-Dade aviation department offers flights round the clock, every day. Its services are minor like telephones, public lounge with vending area and restrooms (Mobile Reference, 2010). It houses the US customs and border protection that clears arriving international flights including charter, cargo, and private. Another executive airport that closely relates with MIA is the Opa-Locka Executive airport that is located just 7 miles away from MIA. It is the largest of the general Miami -Dade county airports that handle private, cargo and business flights as a relief to MIA (FAA, 2013). Chapter 2: MIA’s Airside The Division Director of  Airside Operations is a 30-year veteran Lonny Craven. He ensures the safe day-to-day operations of MIA's airfield. He also ensures Part 139 Compliance with Federal Aviation Administration (FAA) regulations. Above all, he is also responsi ble for all Airside Operations at MIA, including aircraft gate and apron control, the security and safety of aircraft , airside motor vehicle decal program, construction, cargo, aircraft parking, ramp, passenger loading bridges, access (FAA, 2013), Flight Information Display System (FIDS) and, motor vehicles and pedestrian traffic on the Aircraft Operations Area (AOA). The Airfield Operations Division of the Miami-Dade Aviation Department is divided into three different sections. These sections include Ramp Control, Aircraft Gate Control, and Access Control. Each of these Airside sections has a common goal but with distinct responsibilities and a staff reporting to the Division Director, Airside Operations. The three section's principal role is to promote the safe, secure, and efficient operating environment for passenger airlines, cargo airlines, a large General Aviation component, and all the ramp employees. The Ramp Control Section of Airside Operations ensures the safe operation of aircraft on the airfield. It also maintains the Airport's Certification; it reviews all runways, taxiways, and airport surface conditions for compliance with Federal Aviation Regulations, part 139. Ramp Control personnel  also monitor all construction activity in the Aircraft Operating Area (AOA) to ensure compliance with the Department's safety requirements. The Access Control Section monitors the access and movement of vehicles within the restricted areas. Access Control also administers the AOA decal

Performance Management Research Paper Example | Topics and Well Written Essays - 1000 words

Performance Management - Research Paper Example The key behaviors that are important for the better job performance are: Effective communication: For retail sales associates, it is necessary to convey complete information and express facts and thoughts in a clear manner. Listen and understand actively to every situation in order to respond creatively. It is essential to adjust communication style according to customers and situations. Create good relationships with customers so that they do not feel reluctant to repeat the store anytime. Inclusiveness: Interact suitably with team, business partners, employees, community and customers without considering individual traits. Make a personal commitment to build an ever welcoming and friendly environment in the store. Ethical and tidy appearance: To gain the customers’ trust, create an environment that respects an individual and their perceptions. Treat and welcome customers with respect and dignity and demonstrate the importance of customers’ need by resolving their issues related to product or store. Tidy appearance is as importance as ethics. Untidiness in representatives’ appearance or store can cause customers to avoid enter in the store. Behaviorally-Anchored Rating Scales (BARS): This evaluation scale appraises the employees on various performance dimensions. BARS involve six or seven performance measurements that are anchored by a multi-point scale. For example, rating specific job performance with different employees’ behavior like poor, normal, or outstanding behaviors, that are relevant to specific job (Kane, Bernardin and Wiatrowski, 2013). Behavior Observation Scale (BOS): This scale enlists the behaviors that are required to perform a specific job successfully. These behaviors are measured based on the rate of recurrences of behaviors. It relates the job performance with the behavior by identifying frequency of employee engagement in

The sounds of excitement and anticipation Essay Example for Free

The sounds of excitement and anticipation Essay The sounds of excitement and anticipation are played out in the symphonic soundtrack to the movie E.T. To feel the emotions of a character, in any story, helps one come to know the hopes, fears, and traits of a character. The contribution of music in the movie ET helps the audience to gain trust and insight into those very bits and pieces of a characters spirit, his mind set, his stance, and his behaviors. How can a movies master soundtrack possibly give the average audience member that much knowledge of a certain characters manner? Perhaps the director, Steven Spielberg, does so by repeating the common piece of music known as the flying theme. We hear the song during moments of sadness, amazement, wonder, and happiness. For example, we hear the theme when E.T. uses his power to fly the young boys and their bicycles over the forest. We hear the song so much that it begins to generate thoughts in our heads as to what the scene will mean and what new aspect of a character will be brought out in the upcoming moments of the film. When we first meet the young character, Elliot, he is at home in his kitchen, and we hear nothing more than the sounds of his mother doing dishes and his brother playing a space game with his buddies. As an audience, all we hear is muffled sound with Elliots sharp, high pitched whines yelling out above the noise. We already know that he desperately wants to be a part of the older kids group. See more: how to cite an article Those of us who are the youngest child of our families may automatically sympathize with Elliots moans and groans. We know and feel the want and need to belong and to fit in. With nothing more than the synchronous sounds of the outdoors gates swinging, dogs barking-Elliot makes his way outside to wait for the pizza man and we are given the chance to observe Elliot alone for the first time. He is young, skinny, pale, and constantly observing the actions and sounds around him. He is blunt, full of curiosity and full of mischief. Elliot is looking to prove himself and his claims of an alien to his family. As an audience member, I cannot help but feel a sense of want for Elliot to prove his family wrong, perhaps the musical themes in the background contribute to that anticipation. He waits outside with his flashlight, and in silence, all we hear is the constant hum of crickets, which helps to build suspense as he waits. Elliot then begins to search through the cornfield, the sounds of weeds and cornhusks as he moves slowly about personifies the anxiousness and fear that Elliot is feeling. They are the sounds which one awaits to hear each October while eagerly waiting in line for a haunted house or a hayride. They are the disguised sounds of adrenaline and anxiety. We can identify with these sounds and feelings which are presented, and therefore we can identify with Elliot. We are not given the chance to see Elliots room, his element, until he introduces it to his new found friend, E.T. With nothing more than the sounds of footprints, E.T.s purring breath, and the sight of Elliots wide eyes, the audience watches as E.T. and Elliot observe each other in silence. As they come to know one another one will notice that there is not dialogue, nothing more than the light trill of a string orchestra and high-pitched violins to accompany the audiences imaginations. E.T. is becoming comfortable with Elliot as Elliot is doing the same with E.T. E.T. is full of confusion, which is accompanied by mischief and wonder. We see this as he explores Elliots room. The solo sounds of Elliots paint brushes in a paint tin clank together as E.T. explores. The exploration of Elliots room and all of his gadgets and experiments illustrates to us that he is a smart, science driven child who longs to create, invent, explore, and build. Elliot is often seen in his flannel shirt, blue jeans, and his long underwear. He is short with a sloppy hair cut, possibly somewhat of a nerd. He longs to be proven. Now that Ive explained the character of Elliot, I will go into more depth about the character of E.T. E.T. is a creature unlike any other. He is an alien with the classic features; a wide, bald head, slimy skin that leaves a clear residue, wide eyes, and he doesnt speak our language, but he learns it eventually. He rarely speaks and he constantly observes his newly remodeled environment. Spielberg helps his audience come to know the character or E.T. by commonly using point of view shots. The first example of this is used in the beginning when E.T. is hiding and watching the hunters in the woods. This helps us to come to know his fear. We also see another example of this in the Halloween scene. We see E.T.s point of view through the two eyes in the white sheet, which is disguises him as a ghost. As a character, E.T. is often seen watching for sadness and longing to help. For example, in the scene which takes place in Elliots closet, we can see the look of hurt and sympathy for Elliots younger sister, Gertie, in E.T.s eyes when Michael and Elliot threaten to hurt Gerties doll if she dares to say a word about E.T.s presence in the house. E.T. is fearful of confrontation, and most often he screams and jumps at the sight of a threatening object or that of a loud, unfamiliar noise. By the end of the film, we know that E.T.s heart is full of love as it beams a bright red glow when Elliot expresses his feelings for him, which ultimately brings E.T. back to life. That scene gives us the guarantee that E.T. thrives off of kindness and love. He is gentle and curious. The synchronous sound of E.T.s purring breath, like that of a baby kitten, expresses to the audience that he is gentle and soft hearted. It seems almost impossible that E.T. could ever cause any harm. Aspects such as these help us to know and fall in love with his character. The music is what feeds the soul and emotion of E.T. It helps the audience to overcome the silence and leads them to think during frequent scenes with no dialogue. The redundant, orchestral themes that play in and out of many scenes help to identify each characters mood and state of mind, which ultimately brings the audience to know the characters spirit. The music helps up to know when they are sad, happy, content, hurt, or amazed. It leaves us with the idea of not only what they are feeling or how they appear on the outside, but who they are on the inside and what their nature is as a character and individual.

Issue of Tuberculosis in Australia

Issue of Tuberculosis in Australia The incidence and prevalence of Tuberculosis in Australia and Peru are of greatly vast differences. This paper will discuss the terms incidence and prevalence; why Tuberculosis remains an issue in Australia; and provide rationales for differences in incidences and prevalences taking into consideration the determinants of health. Incidence and prevalence when describing disease epidemiology are frequently used terms, often intertwined (Advanced Renal Education Program, 2015). Incidence describes the rate of new cases of a disease, generally conveyed as the number of new cases which occur at a given point in time (Advanced Renal Education Program, 2015). The incidence rate is commonly reported as a fraction of a population at risk of developing a disease (ie: per 100 000) (World Health Organization Global Tuberculosis Programme). Whereas prevalence is articulated as a percentage of the number of cases per 100 000 (World Health Organization Global Tuberculosis Programme). Prevalence is the actual number of live cases of the disease during a period (Advanced Renal Education Program, 2015). The association between incidence and prevalence depends on the natural history of the disease being reported (Health, 2017). Tuberculosis (TB) is one of the worlds deadliest diseases, with 1/3 of the worlds population infected (Centre for Disease Control and Prevention, 2017). TB is an infection caused by the bacteria Mycobacterium tuberculosis, and usually affects the lungs (Australia, 2017). However, TB may also involve the kidneys, bones, spine and brain (Australia, 2017). TB is usually spread by breathing in the bacteria after an untreated person has coughed or sneezed (Australia, 2017). Overcrowding is a defining feature of areas of high TB endemicity (Centre for Disease Control and Prevention, 2017). Ongoing close contact between active cases and susceptible individuals is necessary to maintain endemicity in a population, however we will discuss health determinants further into this paper. Australia has maintained a low rate of TB since the mid-1980s, however over the last 20 years TB incidence rates have steadily increased (Teo, Tay, Douglas, Krause, Graham, 2015). Australia has recorded its highest incidence rate since 1985 in 2011 being 6.2 per 100, 000 (Teo et al., 2015). In 2015 Australias TB incidence was 6 per 100, 000 per the World Bank (Trade Economics, 2017). When researching the prevalence of TB in Australia World Health Organisation (WHO) publications noted TB case notifications to the value of 1 254, this being the same rate as per new and relapse cases (World Health Organization, 2015). The incidence of TB in Peru shows a much more alarming story. Perus TB cases were last measured in 2015 with an incidence rate of 119 per 100, 000 (World Health Organization, 2015). Research obtained from World Bank stating these incidences were recorded from new pulmonary, smear positive and extra-pulmonary tuberculosis cases (Economics, 2017). Prevalence information obtained at this time reads TB notification cases of 30 988 (World Health Organization, 2015). Total new and relapse cases registered were reported to be that of 29 833 (World Health Organization, 2015). With Australias TB incidence rate increasing, the question is why is this an issue now? Research shows that many of Australias holiday destinations are teeming with TB that is now becoming resistant to drug treatment (Dunlevey, 2015). Holiday makers such as teachers and childcare workers are reported to be travelling to TB hot-spots and many bringing the bacteria to Australian shores (Dunlevey, 2015). Research has also shown that those living in high TB prevalent countries are migrating to Australia ((AMA), 2008). With the increases in immigrants, overcrowding and malnutrition are common risk factors for the spread of TB (Australian Indigenous Health Info Net, 2015). Australias shoreline is another factor for the increase in TB rates with Western Province of Papua New Guinea and Torres Strait Islands having recorded active strains of Multi-drug resistant strains of TB ((AMA), 2008). TB remains to be a social disease that is inextricably linked to vicious cycles of poverty (Wingfield et al., 2016). Poverty predisposes individuals to TB and hidden costs associated with even free TB treatment can be catastrophic (Wingfield et al., 2015). Other determinants of health that can predispose populations to incidences of TB may include, but are not limited to: Income and social status: research shows that higher income and social status can be linked to better health outcomes. Education: poor health can be linked to lower education levels, increasing stress and lowering self-confidence. Physical environment: safe water and clean air, along with healthy workplaces and safe housing all contribute to good health outcomes. Generally, those people who are employed are healthier. Social support networks: better health outcomes have been linked with communities with greater support from families and friends. Culture and beliefs of family and community can have an overall effect on ones health. Genetics: can play a role in determining lifespan, healthiness and the likelihood of developing certain illnesses. Health services: access and usage of services that prevent and treat diseases influences health. Gender: different types of diseases at different ages can affect both men and women. The determinants of health are typically accountable for health inequities and the unfair and avoidable differences in health status as seen between Australia and Peru (Hargreaves et al., 2011). Social disadvantages such as lower educational attainment, job uncertainties, unemployment and poor access to appropriate housing (Hargreaves et al., 2011). Poor access to communications and environmental challenges also impact on health status (Hargreaves et al., 2011). Research has shown that although Perus malnutrition and school enrolment rates have improved, there is still a majority of poor children who temporarily or permanently drop out of school to help support their families (Agency, 2017). Poverty, malnutrition, and hunger is known to increase the susceptibility to infection leading to significant social and economic barriers that delay their contact with health systems in which an appropriate treatment regime can be commenced (Hargreaves et al., 2011). With this research found, th e author can not state that Australians are better-off than the Peruvians. Non-indigenous Australians living in Metropolitan areas have significantly greater resources at their disposal, housing and schooling is of higher quality, and health and support systems easily accessible (Australian Institute of Health and Welfare, 2012). However, indigenous Australians and those living in rural and remote areas of Australia do not have the same access as their city cousins (Australian Institute of Health and Welfare, 2012). The determinants of health therefore impact on the ability to access, resource, and utilise health care programs (Australian Institute of Health and Welfare, 2012). As discussed, the incidence and prevalence of Tuberculosis in Australia and Peru have been shown to be of great differences. While this paper discussed the terms incidence and prevalence; why Tuberculosis remains an issue in Australia; and provided rationales for the differences in incidences and prevalences while taking into consideration the determinants of health. REFERENCE LIST: (AMA), A. M. A. (2008). Tuberculosis in Australia. Retrieved from https://ama.com.au/media/tuberculosis-australia Advanced Renal Education Program. (2015). Incidence and Prevalence. Retrieved from http://advancedrenaleducation.com/content/incidence-and-prevalence Agency, C. I. (2017). World Fact Book Peru. Retrieved from https://www.cia.gov/library/publications/the-world-factbook/geos/pe.html Australia, D. o. H. W. (2017). Tuberculosis. Retrieved from http://healthywa.wa.gov.au/Articles/S_T/Tuberculosis Australian Indigenous Health Info Net. (2015). Summary of Tuberculosis in Indigenous People. Retrieved from http://www.healthinfonet.ecu.edu.au/infectious-conditions/tuberculosis/reviews/our-review Australian Institute of Health and Welfare. (2012). Australias food nutrition 2012. Canberra: Australian Institute of Health and Welfare. Centre for Disease Control and Prevention. (2017). Tuberculosis (TB). Retrieved from https://www.cdc.gov/tb/statistics/ Dunlevey, S. 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