Gender Normativity in Aurora Floyd; How Variances in Gender Behavior Essay

Gender Normativity in Aurora Floyd; How Variances in Gender Behavior Illustrate Societal Norms - Essay Example It is more likely, however, that Aurora's childhood was the primary influencer of her unfeminine behavior. At the loss of her mother, Aurora was allowed to do anything she pleased, as long as she was happy. Indeed She said what she pleased; thought, spoke, acted as she pleased; learned what she pleased; and she grew into a bright, impetuous being, affectionate and generous-hearted as her mother, but with some touch of native fire blended in her mould that stamped her as original. (Bradden 9) Without the careful training that young girls of the era received, Aurora was unable to succumb to traditional femininity. She read novels with inappropriate content, new of horse racing and betting, spent long days on horseback, and was quick to say what she thought. She was a strong, independent young lady, the exact opposite of what was desired in a woman! exactly the sort of woman to make a good wife. She had been educated to that end by a careful mother. Purity and goodness had watched over her and hemmed her in from the cradle. She had never seen unseemly sights, or heard unseemly sounds. She was as ignorant as a baby of all the vices and horrors of this big world. She was ladylike, accomplished, well-informed. (Bradden 21) Lucy was quiet and calm and good, willing to suffer for her husband and willing to do as she was told. As a model of femininity, she is perfect. There could be no recourse against her. However, it is her very perfection in femininity that makes her less noticeable by the men in the story. While Captain Bulstrode believes she would make an ideal wife, he also ponders the idea that "There are so many Lucys, but so few Auroras; and while you never could be critical with the one, you were merciless in your scrutiny of the other" (Bradden 21). Because she is perfect, it is impossible to fall in love with her, because of an internal fear that the man's own imperfections will be clearer next to her. While she is what should be desired in a wife, it is the wild Aurora that catches men's attentions; with her boldness and imperfection. These two young women represent two very different personalities. Aurora, who has everything, but still maintains the wildness and lower class lifestyle that her mother had, and Lucy, who has modest wealth, but has been raised to be the perfect specimen of femininity. Even their coloring matches the ideals. Aurora is dark haired and dark eyed, and was "a good hater" (Braddon 12). Lucy was fair haired and blue eyed, the Victorian ideal of beauty. Aurora, throughout the novel, acts and does precisely what she wants. However, even she is not able to make all her own choices. By force, she is sent to finishing school in Paris, and then has to endure a woman meant to help polish her when she returns. Lucy, who has the feminine graces, did not have to endure these actions, but instead has to endure the pain of being overlooked by the man she loves, as she can be nothing but

Critical Analysis of Genre in the Film Industry

Critical Analysis of Genre in the Film Industry The topic of Hollywood and genre is multifaceted, dealing with definitions, characteristics and the social cultural roles genre performs. Steve Neales Genre And Hollywood (2000), and Rick Altmans Film/Genre (1999) take on board these a genders both offering a different theoretical approach to the topic, which I will analyze then voice my own conclusion on my findings. Both show that genre is an important, productive way of thinking about Hollywoods film history, and its audience. Each book presents new research, new thinking on genre that will be investigated and applied to its appropriate film style. Questions are raised from these existing accounts: that definitions of genre are restrictive and narrow, that traditional genres are inaccurate and that cultural theories are often over generalized. The arguments on the subject will be looked into detail, presenting my own opinions on these accounts. As genre is a complex subject, with many contexts, I will be breaking the subject up, firstly looking at definitions of genre, and general concepts applying them into individual genres. I will be looking at theories on genre by a number of people all different in there opinion. With the knowledge and understanding of genre, I will look into film noir, a critical category within the Hollywood film industry. Genre has occupied an important part in the study of cinema for years. Genre is French word, meaning kind or type. The term sub-genre is also used to refer to specific traditions within a genre ( as in gothic horror, slapstick comedy and so on). When genre is discussed or defined it is usally focused on commercial mainstream films, Hollywood films in particular. Barry Keith Grant states that genres are exclusively identified with commercial cinema: Genre movies are those commercial feature films which through repetition and venation, tell familiar stories with familiar characters in familiar situations Books and articles were being published in the 1940s and 1950s, in Europe and the USA, talking about individual Hollywood genres, establishing its self more, becoming an academic formal discipline in film studies. Theorists, critics and teachers of film at this time wanted to engage in the appearance of genre and genres inparticular with popular Hollywood cinema, offering a critical approach with a desire to displace or compliment films. Hollywood films had always been discussed by reviwers and critics, usally hostile to to the films Hollywood produced, arguing they aimed at mass market, conservative,commercially produced films lacking in realism, over loaded in fantasy. During the early 1970s a generation of critics began to value elements of popluar American culture, re-assesing its value. Here the auteur theory began, more simply known as auteurism. Based around three basic premises, firstly that cinema is a personal and individual expression. The second is that individual could be the director, a figure equivalent to an artist in painting. Lastly was that cinematography authorship wasnt to be found in just Hollywood cinema. An auteur is a director whos work is characterized by distinctive elements and traits in there films, stamping each piece of work with there own personality. The criticism is that films are just the personal expression of the director. Interpreting each film in the context of the film makers style makes the director responsible for the major creative descisions. The concept of the auteur theory is a crucial development in film theory, moving away from literary analyses of films narrative content to aspects of art and style specific in film. Many questions are raised on genre as a term, with little agreement on what it exactly means, if it can be clearly defined. Genre criticism firstly began from the notion that there are many kinds of literature, with different contexts. Aristotle tried to separate his poetry , from what we call lieterature into categories such as epic, lyric, tradgedy and so on. Distinguieshing each piece of works properties, working out particular properties of each distinctive kind trying to establish their relative importance, applying these into categories. Aristotles ideas were taken up during the Renaissance placed into a set of rules so that each style, were prescribed for each kind. This codeification evolved in the seventeenth and eighteenth centuries, literature was being divided more into categories, each with there own subject matter. Such a doctorial approach became frowned upon. In the late 1930s a Chigargo based school of critisicm known as the neo-Aristiteians, spoke out against this new criticism, which repudiated a historical approach to literature, believing literature exists by itself without contemporary or historical refrence. An attempt was made to rescue literature from isolation, resureting the theory of genres. Now that genre has become much more of a phenomenon, expanding hugly in Hollywood encompassing the cartoon, the B movie, the gangster film and many others. Now that genre has become multi dimensional the building of generic corpuses and audience expectations need to be addressed. Verisimilitude is a theory addressing the point of what justifies a genre, its systems of plausabilty, motivation, and justifications of belief. It is these systems of expectation which the spectator brings to the cinema, in which to interact with the film its self while viewing, providing the spectator with means of recognition and understanding. Verisimilitude helps render individual films of there generic corpuses, working out the significance of what is taking place on screen, why characters are dressed the way they are, why they are acting in a certain stlye. For example if a character bursts into song, the viwer will recognize that this particular film is a musical. Its plot is liable to follow certain directions rather then others, so these systems of expectation involve a knowledge of Verisimilitude which the viewer takes with them to the cinema. Todrov explains different regimes of Verisimilitude, with notions of propriety, of what is probable in a film therefore appropriate. In a musical bursting into song is appropriate therefore probable, there for believable in a musical, but not in a sci-fi or horror film. Murder is possible in westerns, gangster, and thrillers but unlikely in romantic comedy. Singing is obligatory in a musical, likely to be seen within its narrative, the spectator interacts with this being able to acknowledge its genre. Todrov explains how there are two types of Verisimilitude. Generic Verisimilitude and cultural Verisimilitude. Work is said to have Verisimilitude in relation to two chief kinds of norms. The first we call the rules of genre: for a work to be said to have Verisimilitude, it must conform to these rules. These rules Todrov refers to stem back to the idea of regimes within genres, with notions of probability. Todrovs second type of Verisimilitude has a more social context. But there exisits another Verisimilitude†¦that the Verisimilar is not a relation between discourse and its referent, but between discourse and what readers believe is true. Defined Hollywood genres arguably involve transgressions of social cultural Verisimilitude, for the entertainment and aesthetic pleasure. Individual genres have a balance between both social cultural and generic Verisimilitude, some genres appealing more to the generic context. War films mark this appeal by using discourses, maps, memories, and so on. Horror films operate much less to this authenticity, for example the discourses they cite, like the book of revelations in the Omen, is obviously fictional. Inbetween these two cases lie science fiction, films such as Them, draw an authentic status of science and technology to motivate an otherwise non-Verisimilitude event. A relevnt theory is that of Todrovs work on The Fantastic existing of different regimes of Verisimilitude. Two categories lie in the fantastic, The Marvelous and The Uncanny. Events are understood in the marvelous as supernatural, where the uncanny is understood in terms of laws of the natural world, involving a hesitation between the two for the viewer In a world that which is indeed our world, a world without devils or vampires, there occurs an event which cannot be explained by the laws of this same familiar world. The person who experiences the event must opt for two possible solutions: Either he is the victim of an illustion of the senses, of a product of the imagination Or else the event has indeed taken place, an integeral part of reality, controlled by Laws unknown to us. The Fantastic is the uncertainty between the two, the hesitation experienced by the viewer who can only relate to the laws of nature confronting the uncanny, an apparently supernatural event. Noel Carroll applies a similar theory, in two plot structures characteristic in horror films. The first he calls the Discovery plot, consisting of four stages, onset, discovery, confirmation and confrontation. Discovery involves the failure of responsibility and capacity for belief of those in authority, while confirmation is the realignment of their event. This structure articulates a play across themes and positions of responsibility, a play between knowing and not knowing. This plot is the most serviceable narrative armature in the horror film. For example in The Exorcist, the demons presence is established by the girls abnormal behavior, which is then discovered by an individual or group, in this case the poseesed girls mother. For some reason this discovery of this threat is not acknowledged by the police, an authorertive power, as they would not believe in such a erratic tale. Its plot moves away from discovery into confirmation, where the discoverers must convince some one else of the existence and danger of this demon, becoming an elaborate part of the film creating the suspense. While the girls possessed state worsens the mother has to seek other means of help to a higher authority, the time lost during this the demon becomes for powerful. After the hesitation stage of confirmation, it converts to confrontation. The demon is in contact with mankind, as the vicar finally meets the possesed girl. It is this tension between the discoveries (mother noticing abnormal changes in daughter) and the confirmation to convince someone who will believe in the monster or demon (mother seeking help for her possesed daughter) that creates a tension, leaving the audience knowing and not knowing. A second plot is the Overreacher plot, which involves superstition and scientific knowledge. Carrol says this plays an important role to the plot structure 37 . Frankenstein is an example to this approach†¦where the discovery plots often sightedness of science, the overreacher plot critizies sciences will to knowledge. The over reachers plot has four basic movements, the first comprises the preparation for the experiament, including philisophacal approach, or a debate about the experiaments motivation. The overreacher himself can become quite megalomaniacal. Such a theory can only be applied to a horror film, as Carroll states the specifics that the plot must have shortsightedness of science, where the overreacher becomes melodramatic. Frankenstein, and Jekyll and Hyde embody the overreacher, bringing an experiment to life comprehends a debate and motivation Carroll mentions, with this melodramatic behavior from the scientist performing the act. The experiment itself goes wrong, resulting in devastation, only now does the overreacher realize the error in justifying there experiment. It is the death and destruction the monster brings to innocent people, which brings the overreacher to his senses repeling him to destroy his creation. Both theories lean heavily on suspense, which is a key ingreediant in the narrative of a horror genre Narrative suspense can occur in most, if not all, of the plot movements†¦an incident in the onset movement might involve an innocent victim being suspense fully stalked, or our discoverers purseued by the monster. These theories are emboidied in the Horror genre, this repetition of narrative links in with each film, sets the genre away from others. With similar narrative and structure the viewer can relate and then categorize this, knowing that the film they are viewing is a horror film. It is these aesthetic theories that make a genre, the expressionism and communication that define it. As the idea of repetition is inherited in genres, these were thought of as clichà ©s, that the structures are one dimensional, becoming stereo typed. Most critics shared this idea. Shazts contests that Hollywood films involve similar one-dimesional characters acting out a predictable story pattern 208 gh. This pattern becomes familiar with an audience, as each genre contains its own narrative traits such as setting, characters, and plots. A theory by Cawelti called stereotype vitalization shows how characters traits can add to audienes recognition to a genre. Stereotyped characters are commonly found for example in westerns, the audience can expect to see brawls, crooked villains and the cowboy heroine. With such sterotypes within characters it heightens the audiences acknowledgment, as they recognize previous examples with these characters. It is argued however that these stereotypes must be regenerated But a good writer must renew these sterotypes by adding new elements, by showing us some new unexpected facet, or by relating them to other stereotypes in a particular fashion†¦maintaining an interest for later generations and other cultures. Without adding to a stereotype, films would become too familiar and predictable. Stereotyped vitalization contains two elements. The first is that of a stereotyped character which embodies another contradict cal stereotypical trait. For example Sherlock Holmes stereotyped traits are of a rational, logical, man of reason. On the other hand he is also a romantic poet, drug taker, and a musician. Such opposite sterotyped traits is what makes Holmes a striking literary character, this renewal on a character adds a new element referring back to Catweitis idea of adapting on just one stereotype, bringing more to a film. Another example is that of Gary Cooper, a great western star recognized for his violence , and skill to be quick on the draw, despite being a shy man. A second form of stereotyped vitalization is the stereotyped figure becoming complex and frail, such complexity in a character can however damage a narrative. This is a very delicate matter, for if a character becomes too complex it may cast a shattering and disruptive light on the other elements of the formula. This predictability and pattern within the film allows the viwer to distinguish traits between different genres. Neale argues that we must first understand what is meant by a story pattern, and predictability. In a broad sense Neale states that the story pattern refers to the main shape of a story, that violent climaxes of war films are generically requisite therefore predictable, all common plots recognized by a viwer. However Neale states that climaxes to films in there own genre can vary considerably. War films and western films permit death or defeat as well as victory and survival 211 gh. The same can be said for romantic films, where it could end happily or unhappily, so the narrative is not completely predictable. Each genre can then follow its own narrative which contains its own stereotypes so the viwer can comprehend the genre, yet at the same time as Cawelti stated, by adding elements to the sterotype (character,narrative) the viwer can still relate to the film. This makes each film within its own genre more interesting and diverse. All genre films are distinguished by sharing the same subject matter, a samurai film for example involves swords, science fiction embraces technology, or a gangster film with violence and corruption.These films are defined by similar plots and patterns. For example the plot pattern of an investergation that concludes the early mistery, solved at the climax of the film is common in detective films. Neale however points out that although we can separate each genre, it is only by its basic terms ( a detective story is about an investergation). Hybrid films combine two elements of the same genre into one. For example a combination of horror and science fiction in Alien, or a detective tale with science fiction in Bladerunner. Neale states that classification means genres share multiple relations, not all defined by the traits. If traits can be combined in a genre, what classifies a genre? This combination or cross breeding all relates back to repetition and difference in a films genre, hybrid films however become complex, unable to be pinned down to one single defined genre. It seems most genres are hallmarked by this idea of repetition, films sharing similar attributes. Hans Robert Jauss believes genres are best under stood as process. Repetition does dominate this process , but is also marked by difference, variation, and change. There are three levels in which a genre manifests itself. A level of expectation, level of generic corpus, and the rules and norm that administer both. A new film adds an existing generic corpus to a genre, as in Dracula where the character has to be characterized supernaturally or psychologically as is the case in the film Psycho. These are extended in a new genre film by adding new elements or transgressing an old one. John Carpenters Halloween played between psychological and supernatural elements both displayed within the monster. With this a genre is not simply being replayed but its generic corpus is expanded. It is films with the same generic corpus that base around expectation. Generic elements can be found in advertising. Where this develops so to does a films image, where a genre can expand and change as well. An original text is the viewers expectation familiar to him or her from earlier texts; these can be as shown, extended and varied. With each genre expanding on an original narrative it is as Neale states difficult to fully list the characteristics of each individual genre. Only can we define them in a broad sense, for example a war film that represents its wages in warfare, its main familiar trait, yet with each war film with its own separate narrative. Aesthectic characterictics are found in mass produced genres, Neale states that the term genre is not only used in film but in art and entertainment. Williams relates back to the roots of genre as a term, how it has evolved fistly Borrowed as a critical tool from literary studies†¦a concept in film studies raises some fairly tough questions. Genre films referring to a genre category substitute film narrative. Williams believes this to be the real genre, considering genres more as narrative film, documentary, or avant garde. It is these sub-genres that Williams believes to have more significant differences that we can distinguish. Ralph Cohen also relates heavily to the roots of the term genre, as it evolved in the nineteenth century, where popular mass produced fiction was making its first appearance. Hollywoods industry has played a huge role partly responsible for creating genres. Hollywood sets out to make profitable films to a mass market, where directors create different films each time as the audience would get bored seeing the same similar films, resulting in viewers not turning up to cinemas, leaving companies bust. Neale uses a nice analogy to illustrate this idea. A car company creates models to keep up with current trends, to keep there products in demand, yet each car has an idenity with one an other. Its principles apply to the film industry. Hollywood genres have the same ranges, producing films with similariteies but each with its own unique touch to keep its audience entertained They enable the industry to meet obligations of variety and difference inherent in this product†¦to regulate demand Hollywoods studios focus on this idea of adding to a genre to keep up demand, to maximize there profit. Studios developed in the 1920s, where groups of studios began such as Universal Pictures, United Artists, and Columbia Pictures, all producing films. These were the main high profit studios, only later did smaller studios develop creating indepentant films. Backed with money the major studios were creating films for the spectible, with higher budgets to draw in there audience. Smaller companies however were not able to show there films, until 1948 where government legislation meant that the smaller studios could release there films into the cinema. With this, studios could market there films in a predictable way with expert staff, directors, producers, and starts. All this meant studios could create there own generic enterprise. With changing ideas and narrative to engage an audience, a genre keeps to its generic form aswel as incorpaerating new plots and style for the audience to enjoy. John Ellis agrees with the importance of the institutional aspects of genre. Ellis mentions the narrative image for each film is a strong hint to its genre, but also stronger when applied in advertising Television and radio often plays a huge part in the construction of such images†¦but also a key role is played by the industry its self. Films advertising to the public, in posters, or television show a clear image of its narrative. Reviews on films state its generic framework, even on posters, statements are shown the comedy of the year clearly telling the viewer the films genre. It is this that raises the publics expectations through means of media, a method Ellis calls inter-textual relay. As any business, it wants to draw its target audience in; the film industry is no different. By advertising a narrative and in some cases even telling us the genre it sells the film instantly. Without advertising the public would simply have to go on a film by word of mouth. Without advertising its audience would be confused, not knowing the films genre, there for unlikely to go to the cinema and pay to watch the film. Inter-textual relay circulates a number of generic labels, terms, and names. It is there existence that makes a genre, although Altman argues Hollywood has a limited role to play when mentioning categories and terms. The industrial/journalistic term thus finds a hypothesis about presence of meaningful activity, but does not necessarily contribute a definition or delimitation of the genre in question Agreeably advertising does not fully explain the narrative, but does tell us the fundamental framework, the basic premises that the audience analyses and can make there own assumption of its genre.

Software Piracy Essay -- Computer Software Copyright Violation

Software Piracy Software piracy is the copying and selling of copyrighted software. There are many types of software that can be pirated including operating systems, application programs, internet downloads, including music, software, or movies. Many people do this knowing that they are partaking in something illegal; however some people have no clue that they are breaking the law. In some cases a person may have inadvertently purchased pirated software. The consequences of having or distributing pirated software can be serious in some cases. Software piracy is a common practice that can be easily avoided. Software piracy is an equal offense to downloading of music, movies, books, magazines, or any other copyrighted material. It is as simple as downloading a program from the internet, or using a friend’s copy of Office. Software piracy can also be as complex as a computer store re-selling software with a fake or counterfeit product key or registration code. To avoid this look out for software that seems less expensive than it should be or software that comes with a key generator. If you suspect software piracy you can contact, The Software & Information Industry Association, on their website http://www.siia.net/piracy. On their website they are actually offering rewards of up to $50,000 to any person that reports a company that is using pirated software. People partake in software piracy because it as an easy way out of purchasing software. Some software programs can cost over a thousand dollars, whereas some only cost twenty or thirty dollars. Software piracy has said to have begun around the 1960’s. Over time it has grown and it accounts for â€Å"25% - 50%† of software curr... ... 83% Tunisia 82% Kenya 80% Thailand 80% Nicaragua 79% El Salvador 79% Bolivia 78% Guatemala 77% Lebanon 74% Romania 73% Morocco 73% Honduras 73% India 73% Philippines 72% Venezuela 70% Works Cited "Learn About Piracy." Prevent Software Piracy. 2005. Intuit. 8 November 2005. . "What is Piracy?" Anti Piracy. 2005. The Software & Information Industry Association. 8 November 2005. . "Massachusetts Man Pleads Guilty in New Hampshire Software Piracy Conspiracy." Software Piracy. 2005. U.S. Department of Justice. 8 November 2005. .

Dementia And The Associated Stigmatisation Health And Social Care Essay

Dementia derives from Latin de intending ‘out of ‘ and work forces intending ‘the head ‘ . Dementia is an organic mental upset which affects the encephalon. Furthermore, dementedness is a degenerative progressive procedure. The CDCP ( 2004 ) states that dementedness is the 5th taking cause of decease amongst the 65 plus group. Dementia affects all groups every bit ; â€Å" no societal or racial lines, and the hapless, the wise and the simple alike are affected. † ( McCugh et al, 1999: 7 ) No two people will hold symptoms that develop in precisely the same manner, and symptoms vary depending on the advancement of the unwellness. Symptoms by and large comprise of memory loss, freak out, damages with logical thinking, opinion and apprehension, trouble with executing daily things, psychotic beliefs, agitation, restlessness and rational damage. Age is an of import hazard factor. Dementia is rare below the age of 65, but unluckily it still can happen but on the plus side it can still be diagnosed. Those people diagnosed with dementedness under the age of 65 are described to hold early onset dementedness. A recent instance survey is that of Mark Priddy who was diagnosed with Alzheimer ‘s disease at the age of 36. As a individual ‘s age additions, the prevalence of dementedness additions. The prevalence of dementedness amongst the over 65 is one out of 20, increasing to one individual out of five amongst the over 80. Types: There are many types of dementedness as dementedness is the umbrella term.Alzheimer ‘s is the most common type of dementedness. The Alzheimer ‘s Society found that Alzheimer ‘s disease affects around 417,000 people in the UK. Alzheimer ‘s disease occurs when a alteration in construction of the encephalon occurs, where ‘plaques ‘ and ‘tangles ‘ develop. There are besides a diminishing figure of nervus cells. Chemical alterations besides occur within the encephalon, where chemicals are involved with the transmittal of messages within the encephalon are at a deficit peculiarly the neurotransmitters acetylcholine. Changes such as these within the encephalon construction and the chemical science of the encephalon, cause encephalon cells to decease. Symptoms of Alzheimer ‘s disease involve confusion, temper swings, backdown, and communicating jobs and the ulterior phase, trouble with feeding, walking and continency occurs where the likelihood of dependence will happen. Blood supply to the encephalon allows the encephalon to work decently, and to be healthy. Blood is delivered through the vascular system, supplying O to the encephalon. When blood ca n't make the encephalon, the cells dice and the encephalon becomes damaged, taking to vascular dementedness. High blood pressure can be a cause for vascular dementedness. It is really of import to place and handle high blood pressure. A individual shot is called single-infarct dementedness, nevertheless, it is more common that a series of little shots occur, which is so called multi-infarct dementedness. It is said that vascular dementedness has a ‘step-like ‘ patterned advance, of where a sudden impairment occurs. Dementia with Lewy organic structures histories for a little figure of the entire instances. The Alzheimer ‘s Society has estimated that dementedness with Lewy organic structures histories for around 4 % of all instances of dementedness with the aged. Lewy organic structures occur when proteins in the celebral cerebral mantle and the encephalon root develop and construct up. It portions its features with Alzheimer ‘s disease and Parkinson ‘s disease. However, the individual ‘s memory is less affected compared to Alzheimer ‘s. Similar symptoms to Parkinson ‘s disease include musculus stiffness, awkwardness, loss of facial looks and scuffling. The differentiation between the two is of import as it can hold profound deductions for direction. Front-temporal dementedness is another rare signifier of dementedness, and includes Pick ‘s disease. Damage occurs to the front-lobe of the encephalon, which is responsible for our behavior, emotional responses and linguistic communication accomplishments. Often, the person ‘s memory remains integral, but their personality and behavior alterations. Other symptoms include loss of suppressions, a decrease in or deficiency of address, acting unsuitably, and or going aggressive. This type of dementedness is characterised by a younger of oncoming, with the 75 old ages old being a rare to be diagnosed. Diagnosis: Early on symptoms are frequently elusive doing it hard to name. It frequently takes up to one twelvemonth or longer for a concluding diagnosing to be made. Dementia is merely identifiable with certainty after a post-mortem scrutiny. Early diagnosing is of import as it allows better attention programs to be developed for the hereafter, and interventions can besides be started. Doctors employ a figure of schemes to name dementedness. It is of import that they rule out any treatable conditions, such as depression, or vitamin B12 lack. Doctors frequently begin with patient history and physical scrutiny. They can urge a specializer, of which encephalon trials take topographic point. Imaging scans, such as a magnetic resonance imagination ( MRI ) scan, which can supply information about the physical province and construction of your encephalon The mini-mental province scrutiny ( MMSE ) is a Screen for Cognitive Impairment. It is most normally used to prove for ailments of memory jobs or when a diagnosing of dementedness is being considered. The trial consists of a series of inquiries and trials, where each inquiry answered right receives points. From an accomplishable mark of 30, the lower the mark the more terrible the disease.A Peoples with Alzheimer ‘s disease by and large score 26 points or less. It must be noted that the MMSE is non a trial for Alzheimer ‘s disease or any other cause of dementedness. However, the trial is questionable. First, there are many other grounds why person might score less than 26 points. Second, Holzer at Al ( 1984 ) argues that the †choice of a cut-off mark to find the presence of dementedness is slightly arbitrary. † ( Ineichen, 1998: 11 ) Treatments and Remedies: Although dementedness is irreversible and incurable, intercession techniques have been developed to better the jobs every bit much as possible. The attacks do non work with everyone, so there must be an recognition of single differences, jobs and their willingness to set about intercession. For illustration, if depression is developed during the early phases of Dementia, this can be treated. Besides, prompting techniques can be used for memory loss. Busch ( 1984 ) found four subjects within curative attacks. These include world orientation, reminiscence, remotivation and resocialisation. It is non merely the patients who can be approached but besides the household and health professional via reprieve and support groups. Taulbee and Folson ( 1966 ) back up the methods of intercession, reasoning that it †makes the patient feel that he is worth something after all, that he can still carry through something. † Drugs merely have a impermanent consequence, handling the symptoms but non the causes. Nonetheless, some drug interventions available can better the symptoms or decelerate down the patterned advance of the dementedness in some persons. FDA -approved drugs for dementedness are known generically as donepezil ( Aricept ) , and memantine ( Ebixa ) , and besides galantamine ( Reminyl ) , and rivastigmine ( Exelon ) have been recommended for the intervention of dementedness. Donepezil ( Aricept ) , galantamine ( Reminyl ) and rivastigmine ( Exelon ) are licensed for the intervention of mild to chair dementedness. Aricept, Exelon and Reminyl are known as Cholinesterase inhibitors, which increase the degree of the chemical acetylcholin in the encephalon to increase communicating between nervus cells because dementedness leads to a loss of nervus cells. Memantine ( Ebixa ) is licensed for the intervention of moderate to severe Alzheimer ‘s disease. Ebixa is different in that it blocks t he chemical glutamate. Dementia amendss nerve cells, which release inordinate sums of glutamate, doing farther harm of the encephalon. Drugs are non effectual for everyone, with estimations of between 40 to 60 % of people profiting from drugs. However, these drugs may be seting some aged at hazard with their side-effects. These normally include diarrhoeas, fainting, sickness, fainting and utmost side-effects including fainting, slow bosom beats, and hallucinations. However, drugs have become â€Å" chemical blackjack † in the intervention of dementedness. It was revealed that the NHS has struggled to get by with the lifting Numberss of dementedness patients and as a consequence have turned to anti-psychotic drugs, which was prescribed ab initio for schizophrenic disorder. The National Audit Office says up to 150,000 people with dementedness were unsuitably prescribed drugs, lending to a possible 1,800 deceases a year.A Much research is being done on dementedness in order to assist physicians better understand, diagnose, and handle the disease. Previous researches carried out have found correlativities that vitamin vitamin E and vitamin b12 may forestall the diminution with the aged. An American survey suggests that decrease of fatty acids in the encephalon can assist handle Alzheimer ‘s, yet this survey was carried out on mice and hence can non be generalised to human existences. Experts predict that fleshiness leads to dementia and therefore a healthier lifestyle including a better diet, more exercising and lower blood force per unit area can cut down the hazard. The Dementia 2010 study estimated that the cost of dementedness in the UK was ?23 billion in 2008, with each patient bing ?27,647 per twelvemonth. As Rebecca Atwood emphasiss, â€Å" We need a committedness to a major addition in research support if we are to get the better of dementedness one time and for all. † She stresses farther that â€Å" If we do non significantly increase investing in dementia research in order to develop new interventions, we are headed for an unmitigated societal and economic catastrophe. † The National Dementia Strategy, produced by Department of Health promised ?150m would be used to â€Å" pump premier † diagnosing and intervention. Despite this promise, dementedness is still non seen as a precedence and remains further down the picking order as its cause for concern is non that of a high precedence. Amyyas Morse, the caput of the NAO, said the 2009 authorities scheme had been meant to â€Å" transform the lives of people with deme ntedness † . â€Å" The action nevertheless, has non so far matched the rhetoric in footings of urgency†¦ it is improbable that the intended and much needed transmutation of services will be delivered within the scheme ‘s five twelvemonth timeframe. † Curates have admitted merely 3 per cent of the medical research budget is spent on analyzing Alzheimer ‘s and its related conditions, while funding for malignant neoplastic disease and bosom disease has risen. The Medical Research Council and the Department of Health revealed that in 2008/09, passing on dementedness research fell 7 per cent to ?29.9 million. At the same clip, funding for malignant neoplastic disease surveies rose to ?250 million and ?75 million for bosom disease. ( Martin, 2009 ) Despite warnings of increased agony, the deficiency of concern may be related to perceptual experiences of ageing. In decision, one of the stigmatism of dementedness is agism, and this agism is holding an consequence on research and support of dementedness.

On Chesil Beach

The importance of discussing sexual desires within a marriage January 26, 2013 On Chesil Beach, by Ian McEwan shows a reader the adverse effect on a marriage when sexual wants, desires, fears and expectations are not openly discussed prior to engaging in sexual acts. The lack of communication by the characters causes them to end their marriage less than 24 hours after taking their vows. While I agree that sexual relationships in a marriage are vital; they are not the tell all of a long-lasting committed relationship.From conversations with friends and family members, I’ve learned that as time passes in marriage and you become consumed with the business of life; the sexual aspect of your life becomes less important. When speaking to my 82 year old grandmother, she told me she’d like to meet someone again just so she wasn’t alone. She said sex didn’t matter anymore, but it would be nice to have someone hold her hand and take her to dinner. She acknowledged t hat at her age, a lot of men may not be able to physically have sex but also stressed if they could, it would certainly be a bonus.She just wanted companionship. Most important is open communication about sex. These are values that should be discussed prior to marriage, as well as finances, child rearing, and where you will make your home. These are issues that can have wiggle room in a conversation; but they must be discussed. You must give your partner the respect of hearing their concerns, recognizing them as real (even if you don’t agree) and working towards a manageable solution that does not require either of you to completely forfeit your belief. When we first meet someone the first attraction is physical appearance.The thoughts of their sparkling eyes, wide smile and attractive physique appeal to us. In a group of 10 women, you will find 10 different â€Å"types† described. If this were not the case, and every woman was attracted to â€Å"my type† then o nly the 6’2†, muscular, physically active men with dark brown eyes, dimples and a clean shaven head would ever get dates. Due to this physical attraction, we want to meet them; so we approach. We hope they have the intelligence, interest and humor we are searching for. It is not until we establish these basics that we can decide to establish an ongoing relationship. In a successful elationship you are comfortable to talk about your past; the lovers who have come and go; or lack thereof; the heartaches you have suffered or caused; your youthful memories and relationships built with your family. This shares your core with your partner. When I first met my husband we would spend hours at night sitting on the porch with some wine or cold beers and just talk for hours. He was the first man I ever felt comfortable enough to share my real history with. He is convinced I was attempting to scare him away with the tales of my wild younger days and stories of my criminal family; b ut he stuck it out.Perhaps he is right; perhaps I was testing him. When Florence and Edward in On Chesil Beach do not discuss their expectations they leave the imaginations free to run wild as to how things will play out. Edward so desires his wife and she is repulsed by him. There are lines in the book that made me almost believe she may have been sexually abused by her father; but it is never actually stated. That is a fact that should be shared with a spouse; that touching will make you uncomfortable. The idea that her repulsion of his premature ejaculation repulses her to the point of fleeing the room is unfathomable to me.It seems this is an idea that should be understood as an extreme desire of lust so wild it cannot be controlled. My husband was molested, one time, as a young man. He told me this; there are jokes that are not made and conversations that quickly get turned to something else because of his past. This is the respect I have for him. When the story of a child mole ster comes on the news, I know it touches him even deeper than it does me. I am his support through this. Without this information, I would find his behaviors of walking out of the room during the news to be a strange reaction.I would believe that when I walk up behind him without his knowledge and touch him; his jump was outward expression that he doesn’t want me doing that; when in all actuality, he loves it, but startles very easily. He was raised in a home where sex was never discussed. He tells me about his parents having a black light in their bedroom. When I joke they â€Å"liked to get their freak on†, he just shakes his head as if it’s the most preposterous idea that could be presented. He was never really told about female anatomy or that masturbation was normal; the topics were avoided altogether.He said he felt shame about things he was doing as he perceived them to be secretive. I was raised in a family where sex was openly discussed. We, as childre n, were comfortable enough to speak to either of our parents about any questions or concerns we had about sex. We were never judged; we were never shushed and complete attention was given to us to ensure we had the clearest answer possible. My father has passed, but to this day, I will make a joke with my mother as to whether or not â€Å"she got some sugar† after a night out with her friends.I get that it’s out there and we may be the extreme end of the spectrum but it worked for us and we never had any doubt what we were getting ourselves in to. We were not given permission to have sex but when my mother realized that my high school sweetheart and I were spending a lot of time together; she sat me down and asked if I needed to be put on birth control and if not now, to please speak to her when I thought we were getting to that point. I did and without question or hesitation, she made an appointment the next day for me to see the gynecologist for birth control.If my h usband did not know this information about me; he may think we were part of some sex cult; whackos who joke with their parents/kids about sex too much. We have chosen to be open with our boys about sex. As they reach the ages of sexual interest (14 and 16); we are well aware that sexual temptation is all around them. We do not encourage or condone them engaging in sexual activity at this age, as we believe they are not yet mature enough to handle the seriousness of a relationship that has become sexual.We have explained the seriousness of consequences once a relationship becomes sexual. We encourage them to remain children and enjoy that innocence that can never be taken back for as long as they can. But when the time comes that their desires overwhelm their rationality; and they feel they are mature enough to handle a sexual relationship; I hope we, as their parents, have given them the information they need to be kind, loving, understanding and respectful men.After years of marria ge, my husband and I still have an active sex life. While we are not tearing each other apart on the kitchen counter anymore; we know that each has their own desires and wants. We understand those desires are fueled by certain actions. For him, it’s holding his hand while we watch some horrible Star Trek rerun that I pretend to find intriguing followed by an amazing home cooked meal by me. For me, it’s cleaning the refrigerator, and folding the laundry so I don’t have to and kissing my forehead.Those are the things we love; those are the things that make us feel special. I know if he does something that I don’t like, I can tell him that without the worry that he’s going to run away and divorce me because of a bad sexual experience. We are on the same page because we talked about this at lengths PRIOR to being married. We have succeeded. So far. References McEwan, I. 2007. On Chesil Beach. London: Jonathan Cape