Anatomy and Physiology Objectives Essays

Life structures and Physiology Objectives Essays Life structures and Physiology Objectives Essay Life structures and Physiology Objectives Essay Life structures and Physiology Chapter Objectives Section 1: Introduction to the Human Body Chapter 2: The Chemical Level of Organization Chapter 3: The Cellular Level of Organization Chapter 4: The Tissue Level of Organization Chapter 5: The Integumentary System Chapter 6: The Skeletal System Bone Tissue Chapter 7: The Skeletal System The Axial Skeleton Chapter 8: The Skeletal System The Appendicular Skeleton Chapter 9: Joints Chapter 10: Muscular Tissue Chapter 11: The Muscular System Chapter 12: Nervous Tissue Chapter 13: The Spinal Cord and Spinal Nerves Chapter 14: The Brain and Cranial Nerves Chapter 15: The Autonomic Nervous System Chapter 16: Sensory, Motor, and Integrative System Chapter 17: The Special Senses Chapter 18: The Endocrine System Chapter 19: The Cardiovascular System The Blood Chapter 20: The Cardiovascular System The Heart Chapter 21: The Cardiovascular System Blood Vessels and Hemodynamics Chapter 22: The Lymphatic System and Immunity Chapter 23: The Respiratory System Chapter 24: The Respiratory System Chapt er 25: Metabolism and Nutrition Chapter 26: The Urinary System Chapter 27: Fluid, Electrolyte, and Acid-Base Homeostasis Chapter 28: The Reproductive System Chapter 29: Development and Inheritance 2 3 4 5 6 7 8 9 10 11 12 13 14 Chapter 1: Introduction to the Human Body Define life structures and physiology, and name a few subspecialties of these sciences. Depict the degrees of auxiliary association that make up the human body. Rundown the 11 frameworks of the human body, delegate organs present in each, and their general capacities. Characterize the significant life procedures of the human body. Characterize homeostasis and disclose its relationship to interstitial liquid. Characterize homeostasis. Depict the parts of a criticism framework. Complexity the activity of negative and positive criticism frameworks. Clarify how homeostatic uneven characters are identified with clutters. Portray the anatomical position. Relate the normal names to the comparing anatomical graphic terms for different areas of the human body. Characterize the anatomical planes, areas, and directional terms used to depict the human body. Layout the significant body pits, the organs they contain, and their related linings. Section 2: The Chemical Level of Organization Identify the principle synthetic components of the human body. Depict the structures of particles, particles, atoms, free radicals, and mixes. De? ne a compound response. Portray the different types of vitality. Think about exergonic and endergonic concoction responses. Depict the job of actuation vitality and impetuses in compound responses. Depict combination, deterioration, trade, and reversible responses. Depict the properties of water and those of inorganic acids, bases, and salts. Recognize among arrangements, colloids, and suspensions. De? ne pH and clarify the job of cushion frameworks in homeostasis. Depict the useful gatherings of natural particles. Distinguish the structure squares and elements of starches, lipids, and proteins. Portray the structure and elements of deoxyribonucleic corrosive (DNA), ribonucleic corrosive (RNA), and adenosine triphosphate (ATP). Part 3: The Cellular Level of Organization Describe the structure and elements of the plasma layer. Clarify the idea of specific penetrability. De? ne the electrochemical slope and depict its parts. Depict the procedures that transport substances over the plasma film. Depict the structure and capacity of cytoplasm, cytosol, and organelles. Depict the structure and capacity of the core. Portray the grouping of occasions in protein amalgamation. Talk about the stages, occasions, and signi? cance of substantial and regenerative cell division. Portray the signs that incite physical cell division. Portray how cells vary fit as a fiddle. Part 4: The Tissue Level of Organization Name the four fundamental sorts of tissues that make up the human body and express the qualities of each. Portray the structure and elements of the ? ve primary kinds of cell intersections. Portray the general highlights of epithelial tissue. Rundown the area, structure, and capacity of each extraordinary sort of epithelium. Depict the general highlights of connective tissue. Depict the structure, area, and capacity of the different kinds of connective tissue. De? ne a film. Depict the classi? cation of layers. Portray the general highlights of strong tissue. Difference the structure, area, and method of control of skeletal, heart, and smooth muscle tissue. Depict the basic highlights and elements of sensory tissue. Clarify the idea of electrical volatility. Depict the job of tissue fix in reestablishing homeostasis. Depict the impacts of maturing on tissues. Section 5: The Integumentary System Describe the layers of the epidermis and the cells that make them. Look at the creation of the papillary and reticular locales of the dermis. Clarify the reason for various skin hues. Complexity the structure, appropriation, and elements of hair, skin organs, and nails. Think about basic and utilitarian contrasts in slim and toughness. Think about auxiliary and useful contrasts in slender and toughness. Depict the impacts of maturing on the integumentary framework. Difference the structure, dispersion, and elements of hair, skin organs, and nails. Section 6: The Skeletal System Bone Tissue Describe the six primary elements of the skeletal framework. Depict the structure and elements of each piece of a long bone. Depict the histological highlights of bone tissue. Portray the blood and nerve gracefully of bone. Portray the means of intramembranous and endochondral ossi? cation. Clarify how bone develops long and thickness. Portray the procedure engag ed with bone renovating. Portray the arrangement of occasions engaged with crack fix. Depict the significance of calcium in the body. Clarify how blood calcium level is controlled. Part 7: The Skeletal System The Axial Skeleton Describe how the skeleton is partitioned into pivotal and affixed divisions. Order bones dependent on their shape or area. Depict the chief surface markings on bones and the elements of each. Name the cranial and facial bones and show whether they are matched or single. Portray the accompanying uncommon highlights of the skull: stitches, paranasal sinuses, and fontanels. Portray the relationship of the hyoid issue that remains to be worked out skull. Distinguish the areas and ordinary bends of the vertebral segment and depict its auxiliary and utilitarian highlights. Recognize the bones of the chest. Section 8: The Skeletal System The Appendicular Skeleton Identify the bones of the pectoral (shoulder) support and their important markings. Recognize the bones of the upper appendage and their key markings. Depict the joints between the upper appendage bones. Distinguish the bones of the pelvic support and their primary markings. Portray the division of the pelvic support into bogus and genuine pelves. Think about the important contrasts among female and male pelves. Recognize the bones of the lower appendage and their chief markings. Depict the improvement of the skeletal framework. Think about the main contrasts among female and male pelves. Section 9: Joints Describe the auxiliary and useful classi? cations of joints. Portray the structure and elements of the three kinds of ? brous joints. Portray the structure and elements of the two kinds of cartilaginous joints. Depict the structure of synovial joints. Portray the structure and capacity of bursae and ligament sheaths. Portray the kinds of developments that can happen at synovial joints. Portray the six subtypes of synovial joints. Depict six considers that? uence the kind of development and scope of movement conceivable at a synovial joint. Clarify the impacts of maturing on joints. Clarify the techniques associated with arthroplasty, and portray how an all out hip substitution is performed. Section 10: Muscular Tissue Explain the auxiliary contrasts between the three sorts of solid tissue. Analyze the capacities and uncommon properties of the three kinds of solid tissue. Clarify the significance of connective tissue parts, veins, and nerves to skeletal muscles. Depict the minuscule life structures of a skeletal muscle ? ber. Separate thick ? regrets from meager ? regrets. Diagram the means engaged with the sliding ? regret system of muscle constriction. Depict how muscle activity possibilities emerge at the neuromuscular intersection. Portray the responses by which muscle ? bers produce ATP. Recognize anaerobic and high-impact cell breath. Depict the elements that add to muscle weakness. Depict the structure and capacity of an engine unit, and de? ne engine unit enlistment. Clarify the periods of a jerk constriction. Depict how recurrence of incitement influences muscle strain, and how muscle tone is created. Recognize isotonic and isometric constrictions. Think about the structure and capacity of the three kinds of skeletal muscle ? bers. Depict the impacts of activity on various kinds of skeletal muscle ? bers. Depict the principle auxiliary and useful attributes of heart muscle tissue. Depict the primary auxiliary and practical qualities of smooth muscle tissue. Clarify how muscle ? bers recover. Portray the improvement of muscles. Clarify the impacts of maturing on skeletal muscle. Part 11: The Muscular System Describe the connection among bones and skeletal muscles in professional

Confucian Philosophy Essay

2000 by Andre Levy All rights saved No piece of this book might be repeated or used in any structure or using any and all means, electronic or mechanical, including copying and recording, or by any data stockpiling and recovery framework, without authorization in. composing from the distributer. The Association of American University Presses’ Resolution on Permissions comprises the main special case to this preclusion. The paper utilized in this distribution meets the base necessities of American National Standard for Information Sciencesâ€Permanence of Paper for Printed Library Materials, ANSI Z39. 48-1984. Produced in the United States of America Library of Congress Cataloging-in-Publication Data Levy, Andre, date [La litterature chinoise ancienne et classique. English] Chinese writing, old and old style/by Andre Levy ; interpreted by William H. Nienhauser, Jr. p. cm. Incorporates record. ISBN 0-253-33656-2 (alk. paper) 1. Chinese literatureâ€History and analysis. I. Nienhauser, William H. II. Title. PL2266. L48 2000 895. 1’09â€dc21 99-34024 1 2 3 4 5 05 04 03 02 01 00. For my own initial interpreters of French, Daniel and Susan Contents ix Preface 1 Introduction Chapter 1: Antiquity 5 I. Beginnings II. â€Å"Let a hundred blossoms sprout, Let a hundred ways of thinking fight! † 1. Mo zi and the Logicians 2. Legalism 3. The Fathers of Taoism III. The Confucian Classics 31 Chapter 2: Prose I. Account Art and Historical Records II. The Return of the â€Å"Ancient Style† III. The Golden Age of Trivial Literature IV. Scholarly Criticism Chapter 3: Poetry 61 I. The Two Sources of Ancient Poetry 1. The Songs of Chu 2. Verse of the Han Court II. The Golden Age of Chinese Poetry 1. From Esthetic Emotion to Metaphysical Flights 2. The Age of Maturity 3. The Late Tang III. The Triumph of Genres in Song Chapter 4: Literature of Entertainment: The Novel and Theater 105 I. Account Literature Written in Classical Chinese II. The Theater 1. The Opera-theater of the North 2. The Opera-theater of the South III. The Novel 1. Oral Literature 2. Stories and Novellas 3. The â€Å"Long Novel† or Saga Index 151 Translator’s Preface. I originally became-keen on deciphering Andre Levy’s history of Chinese writing, La litterature chinoise ancienne et classique (Paris: Presses Universitaires de France, 1991), in 1996, subsequent to discovering it in a bookshop in Paris. I read areas and was fascinated by Professor Levy’s approach, which was displayed on artistic sorts as opposed to political times. I quickly pondered interpreting parts of the book for my alumni History of Chinese Literature class at the University of Wisconsin, a class wherein the significance of dynastic change was likewise made light of. In the same way as other plans, this one was saved. The previous spring, in any case, when the board on our field’s desiderata headed by David Rolston at the 1998 Association for Asian Studies Meeting articulated that one of the significant needs was for a brief history of Chinese writing in around 125 pages (the specific length of Professor Levy’s unique content), I resuscitated my enthusiasm for this interpretation. I proposed the book to John Gallman, Director of Indiana University Press, and John affirmed it very quickly at the same time, not before notice me that this sort of undertaking can take significantly more time than the interpreter initially imagines. In spite of the fact that I regard John’s experience and information in distributing, I was certain I would demonstrate the special case. All things considered, what sort of difficulty could a little book of 125 pages cause? I before long discovered. Teacher Levy had initially composed an any longer original copy, which was to be distributed as an advantageous volume to Odile Kaltenmark-Ghequier’s La Litterature chinoise (Paris: Presses Universitaires de France, 1948)’ in the Que sais-je? (What Do I Know? ) arrangement. This idea, be that as it may, was before long relinquished, and it ‘Several decades back Anne-Marie Geoghegan deciphered this volume as Chinese Literature (New York: Walker, 1964). x Translator’s Preface was chosen to distribute the Levy â€Å"appendix† as a different volume-in 125 pages. Educator Levy was then approached to cut his original copy by 33%. Accordingly, he was now and again compelled to assume in his crowd certain information that a few perusers of this book-for instance, college understudies or invested individuals with little foundation in Chinese writing might not have. Thus, working cautiously with Professor Levy, I have included (or restored) various relevant sentences in light of these perusers. More data on huge numbers of the creators and works talked about in this history can be found in the sections in The Indiana Companion to Traditional Chinese Literature (volumes 1 and 2; Bloomington: Indiana University Press, 1986 and 1998). Point by point references to these passages and other applicable examinations can be found in the â€Å"Suggested Further Reading† segments toward the finish of every section (where the contracted reference Indiana Companion alludes to these two volumes). I likewise found that re-deciphering Professor Levy’s French interpretations of Chinese messages once in a while brought about versions that were excessively far from the first, even in this time of â€Å"distance training. † So I have interpreted practically the entirety of the in excess of 120 portions of unique works straightforwardly from the first Chinese, utilizing Professor Levy’s French forms as a guide at every possible opportunity. This was finished with the gift and participation of the creator. For sure, among the numerous individuals who assisted with this interpretation, I might want to particularly express gratitude toward Professor Andre Levy for his undeterred enthusiasm for and backing of this interpretation. Educator Levy has perused a great part of the English variant, including all sections that I knew were hazardous (there are no uncertainty others! ), and offered remarks in a long arrangement of letters in the course of recent months. Without his help the interpretation could never have been finished. Here in Madison, a trio of graduate understudies have helped me with questions Translator’s Preface xi about the Chinese writings: Mr. Cao Weiguo riftlal, Ms. Huang Shuâ€yuang MV and Mr. Shang Cheng I*. They spared me E, from multitudinous blunders and accomplished their work with intrigue and cheerful dispositions. Mr. Cao additionally helped by bringing up issues in my understanding of the first French. Mr. Scott W. Galer of Ricks College read the whole original copy and offered various significant remarks. My significant other, Judith, was tenacious in her requests in the interest of the general peruser. The most cautious peruser was, be that as it may, Jane Lyle of Indiana University Press, who meticulously duplicate altered the content. On the off chance that there is an artistic style to this interpretation, it is because of her endeavors. My because of, the Alexander von Humboldt Foundation which bolstered me in Berlin through the late spring of 1997 when I previously read Professor Levy’s content, and particularly to John Gallman, who remained behind this venture from the earliest starting point. Madison, Wisconsin, 16 February 1999 (Lunar New Year’s Day) Chinese Literature, Ancient and Classical Introduction Could one despite everything compose, as Odile Kaltenmark-Ghequier did in 1948 in the What Do I Know arrangement Number 296, which went before this book, â€Å"the investigation of Chinese writing, since a long time ago ignored by the Occident, is still in itsâ infancy? â€Å"‘ Yes and no. There has been some astounding advancement and some foundering. At any rate, starting toward the beginning of the twentieth century, it was Westerners who were the first-trailed by the Japanese, before the Chinese themselves-to deliver accounts of Chinese writing. Not that the Chinese custom had not observed a development in artistic classes, however the notoriety of wen 5 implying both â€Å"literature† and â€Å"civilization,† set it above history-collections, accumulations, and indexes were liked. In addition, the famous side of writing fiction, dramatization, and oral section due to its absence of â€Å"seriousness† or its â€Å"vulgarity,† was not made a decision about honorable enough to be viewed as wen. Our objective isn't to add another work to an effectively long rundown of narratives of Chinese writing, nor to override the amazing synopsis by Odile Kaltenmark-Ghequier which had the inconceivable errand of introducing a past filled with Chinese writing in around a hundred pages. Our longing would be somewhat to supplement the rundown by giving the peruser an alternate methodology, one progressively concrete, less subject to the dynastic order. As opposed to a history, it is an image unavoidably incompleteof Chinese writing of the past that this little book offers. Chinese â€Å"high† writing depends on a â€Å"hard core† of traditional preparing comprising of the remembrance of writings, almost a half-million characters for each applicant who arrives at the most noteworthy serious assessments. We may consider the to be craft of composing as the organizing, in a proper and sharp style, of lines reviewed by memory, something , ‘Odile Kaltenmark-Ghequier, â€Å"Introduction,† La litterature chinoise (Paris: Presses Universitaires de France, 1948), p. 5; â€Å"Que saisâ€je,† no. 296. 2 Chinese Literature, Ancient and Classical that came naturally to conventional Chinese educated people. The objective of these authors was not exclusively artistic. They trusted through their works to gain a notoriety that would assist them with discovering support for their endeavors to pass the majestic common help assessments and along these lines in the end win a situation at court. In spite of the fact that there were prior tests prompting political headway, the framework that existed about until the finish of the supreme period in 1911 was known as the jinshi Aâ ± or â€Å"presented scholar† assessment (in light of the fact that effective up-and-comers were â€Å"presented† to the sovereign)

Understanding European history Essay Example for Free

Understanding European history Essay Despite the fact that encountering a time of extending scholarly and topographical skylines, European history in the late sixteenth and mid seventeenth hundreds of years saw, overall, a significantly narrow minded age. To explain our feeling, we should initially present European history under the artistic history of this age. Here, we will show our comprehension of European history in the late sixteenth and mid seventeenth hundreds of years, the one by Brecht or the one by Montaigne as two well known creators of the Renaissance age. Herr Bertolt Brecht corresponding to European dramatization and theater Anyone who was anybody in Germany and France composed authentic shows. It is along these lines reasonable that the artists of internal clashes, the prophets of the Byronic saint, likewise rose as scholars of verifiable dramatization and regularly discharged the two topics in a similar play. The most significant condition an authentic dramatization ought to satisfy when it was to be performed was that ought to speak to history as a widely inclusive framework and as a power which assists with characterizing personality. In contrast to ONeil and Pirandello, be that as it may, Brecht doesn't need the observer to recognize or feel sympathy with his legends. In 1922, he noted in his journal: I trust in Baal and Jungle Ive maintained a strategic distance from one normal creative developer that of attempting to divert individuals. Intuitively, Ive stayed away and guaranteed that the acknowledgment of my†¦. impacts stays inside limits. The onlookers awe inspiring segregations is left flawless; it isn't sua res quae agitur. Therefore, Brecht makes very various inferences from the idea of the inconceivability of uniqueness in Baal than do ONeil or Pirandello in their work. Brecht contradicts the possibility of the ever-consistent †heartbreaking or polyvalent †crazy being (Sein) of man with the hypothesis of keeps an eye on variability. He planned the parody Mann IST Mann (Man rises to Man) as a sort of trial contraption which would show the fundamental pre-states of re-gathering one character into another. Herr Bertolt Brecht keeps up man approaches man-a view that has been around since time started. In any case, at that point Herr Brecht brings up how far one can move and control that man. All of Brechts re-writs started from the knowledge picked up from Baal, that man is nothing without his social and monetary relations (One is none) and that it is just through connections that he becomes something; these connections end up being not essentially human ones yet rather connections dependent on product trade. Such connections of proprietorship transform man into an article which can be utilized in a negative or positive manner, as indicated by the circumstance, and this can be exhibited tentatively. Brecht built up the type of Lehrstuck in light of a quite certain difficult which more than once defied his auditorium over the span of 1920s. It worries, from one viewpoint, the new sort, and, on the other, the white collar class crowd reaction to it. Brecht presumes that there can be no uniqueness in the manner brought about by the previous bourgeoisie, and that no conclusive explanations can be made on new trans-singular man since it can just ascent as the aftereffect of an enduring procedure of improvement. Brecht felt bolstered in this view by Marxism, which characterizes man as an alterable and world-evolving being, whose awareness is resolved through his social being. The new man, who will be framed as a result of circumstance where there is no bourgeoisie, in a raunchy society, consequently can't be characterized and fixed ahead of time. The sensational artist in my view is only somebody who records history. He remains above history, in any case, in that he makes history for a subsequent time and places us straightforwardly in the life of a specific time, rather than giving a dry record; he gives characters rather than qualities, and figures rather than portrayals. It is his most noteworthy request to come as close as possible to history as it truly occurred. Brecht developed as direct opposite, from comparable purposes of takeoff he comes to completely different end result: †¢ indisputably the self-acknowledgment of the essential individual, freed from every ethical second thought is unimaginable in middle class society, since this type of society powers everybody to fit in and its shows remain in all out resistance to the people guarantee to bliss and kill independence. †¢ The person who sets himself up to be total, who experiences his unquenchable sexual desire, his incontinent utilization of food and drink, is a colossal social being who either falls into the domains of the mythic or turns out to be a piece of the hover of nature-from the white moms belly to the dim belly of the earth-and breaks up his own singularity. Brecht transforms his decision into a positive one-something just Hugo von Hofmannsthal had perceived around then. Michel de Montaignes articles in the Renaissance age Mantaigne basically created the abstract type of exposition, a short emotional treatment of a given subject, of which the book contains an enormous number. Paper is French for preliminary or endeavor. Montaigne wrote in a sort of created talk intended to interest and include the peruser, here and there seeming to move in a flood of-thought from theme to point and at different occasions utilizing an organized style which gives more accentuation to the educational idea of his work. His contentions are regularly upheld with cites from old style Greek and Roman writings. Montaignes expressed objective in his book is to depict man, and particularly himself, with absolute forthrightness. As a writer, his incredible task fixated on the continued depiction of just one character, which was Montaignes character. He finds the extraordinary assortment and unpredictability of human instinct to be its most essential highlights. A run of the mill quote is I have never observed a more noteworthy beast or wonder than myself, He depicts his own poor memory, his capacity to tackle issues and intervene clashes without really getting sincerely included, his sicken for keeps an eye on quest for enduring notoriety, and his endeavors to disconnect himself from common things to get ready for death. Montaigne is referred to for advancing the paper as an abstract class. He got well known for his easy capacity to consolidate genuine scholarly hypothesis with easygoing stories and personal history and his enormous volume articles (interpreted truly as Attempts) contains, right up 'til today, the absolute most broadly persuasive expositions at any point composed. Montaigne impacted scholars the world over, from William Shakespeare to Rene Descartes, from Ralph Waldo Emerson to Stephan Zweig. Montaigne unreservedly obtained of others, and he has discovered men ready to acquire of him as uninhibitedly. We need not wonder at the notoriety which he with appearing office accomplished. He was, without monitoring it, the pioneer of another school in letters and ethics. His book was unique in relation to all others which were at that date on the planet. It redirected the antiquated flows of thought into new channels. It told its perusers, with unexampled forthrightness, what its essayists supposition was about men and things, and tossed what more likely than not been an odd sort of new light on numerous issues however dimly comprehended. Most importantly, the writer uncased himself, and made his scholarly and physical living being open property. He trusted the world regarding all matters. His expositions were a kind of artistic life systems, where we get a finding of the scholars mind, made without anyone else at various levels and under an enormous assortment of working impacts. It was sensible enough that Montaigne ought to expect for his work a specific portion of VIP in Gascony, and even, as time went on, throughâ ¬out France; yet it is barely plausible that he anticipated how his prestige was to become around the world; how he was to involve a practically one of a kind situation as a man of letters and a moralist; how the Essays would be perused, in all the primary dialects of Europe, by a great many shrewd individuals, who never knew about Perigord or the League, and who are in question, in the event that they are addressed, regardless of whether the writer lived in the sixteenth or the eighteenth century. This is genuine notoriety. A man of virtuoso has a place with no period and no nation. He communicates in the language of nature, which is in every case wherever the equivalent. Assessing the contrast among Brecht and Montaigne In this way, if the Stream of things is a blend of kicking the bucket and recovery, the idea issues standing up to us are persuasive, in the personality of contrary energies, of antagonistic and constructive; and furthermore phonetic, in the legitimate legitimacy of sentences and the shared avoidance of their implications; and furthermore stylish, to the extent that one part of the dead moons proceeded with life is its observation as unusual [fremd] by even one final living being, its alienation of itself and of that being. At long last, causality mediates, and converges the immense sublunary scene of all that is: raising its own semantic and rationalistic inquiries. Brecht was happy to drive the issue considerably more distinctly, as in his recommendation that in spite of the fact that the simply organic demise of the individual IS uninteresting to society, kicking the bucket should none the less to be instructed. It is presumably less a Montaigne-like goal than the declaration of topics encompassing Die Massnahme from this equivalent period. A social Tao, then again, is without a doubt bound up with the issues of innovation and advancement raised above, to which we will all in all. Book reference References utilized in the present article: 1. History of European show and theater, Erika Fischer-Lichte, Jo Riley. Pages 232-238-315-317-318 2. The Complete Essays of Michel de Montaigne, Vol. 1 of 2. Michel de Montaigne. Pages 1-2 3. Brecht and strategy, Fredric Jameson. Page 171

Genetic Drift Examples

Genetic Drift Examples Genetic Drift Genetic drift is a change in the frequency of an allele within a population over time. This change in the frequency of the allele or gene variation must occur randomly in order for genetic drift to occur. There are no environmental influences that cause genetic drift to occur. Examples of genetic drift are more evident in smaller populations of organisms. Examples of Genetic Drift: 1. The American Bison was hunted to near extinction and even today as the population has recovered, the result is a population of bison with little genetic variation 2. A population of rabbits can have brown fur and white fur with brown fur being the dominant allele. By random chance, the offspring may all be brown and this could reduce or eliminate the allele for white fur. 3. A mother with blue eyes and a father with brown eyes can have children with brown or blue eyes. If brown is the dominant allele, even though there is a 50% chance of having blue eyes, they might have all children with brown eyes by chance. 4. A bird may have an allele for two different beak sizes. Depending on which alleles show up in the offspring, genetic drift could cause one of the beak sizes to disappear from the population thus reducing the genetic variation of the birds gene pool. 5. A certain type of plant can produce blue or yellow flowers. During a fire, many yellow flowers are destroyed and now since blue is the dominant allele, the plant reproduces plants that only produce blue flowers.

Analysis Of Henrik Ibsen s A Doll s House Essay

Film and theatre are very closely related, however, it is their cinematic differences that allow you to tell them apart. When a director recreates a play for movie production, the structure often does not change, like the plot and characters, yet the array of things that one can change stylistically are infinite. When performing a play, it is difficult to have multiple scene changes causing a play director to follow the stage directions more step by step, allowing film directors to prosper in this category. Henrik Ibsen’s â€Å"A Doll’s House† is more enjoyable to read than watch because it gives you the freedom to picture things how the reader would perceive the author. Much like director, Patrick Garland, has done. He applied his ideas to Ibsen’s original to produce his version. Now, the question is why are the things he changed different? Is it accidental that this happens over that or is he trying to create significance to another moment. Through care ful review of each of these works, a reader can conclude that Garland has followed along Ibsen’s path as the play progresses, for there are two noticeable major changes. The conversations between Nora and Rank, discussing his death, and Nora and Torvald, discussing their inevitable downfall. Considering that there are multiple other accounts variations, the director was probably leading up to these moments. In Ibsen’s version, Nora is very playful and childlike, sharing a very affectionate relationship with her husbandShow MoreRelatedAnalysis Of Henrik Ibsen s A Doll House 1823 Words   |  8 PagesA Doll House is a play that was written by Henrik Ibsen in 1879. Nora Helmer is a wife and mother who secretly loaned money to save her husband’s, Torvald, life. Torvald views and treats Nora has a doll and she goes along with it. As conflict comes and goes Nora decides that her current life is not what she wants for herself. She no longer wants to be anyoneâ₠¬â„¢s â€Å"doll† and decides to leave her family in search of independence. This play was controversial during the time it was written becauseRead MoreAnalysis Of Henrik Ibsen s A Doll House 1152 Words   |  5 PagesHenrik Ibsen’s play â€Å"A Doll House† addresses the importance of the roles women play throughout this time period. Women are thought to be like â€Å"dolls† to their husbands, by obeying their commands and keeping a good image. We see the main character, Nora Helmer struggle to keep her perfect image of a great wife as troubles start to arise. Throughout the play we begin to see Nora push through her troubles and find her true identity, Nora shifts from being the loving, perfect wife, to being a strongRead MoreAnalysis Of Henrik Ibsen s A Doll House884 Words   |  4 Pagestransform minor lies such as white lies into something more dangerous. When one works to conceal a lie, a cloud of deception hangs over those involved and can lead to the destruction of friendships, relationships, and even marriages. In Henrik Ibsen’s A Doll House, he uses the motif of lies and deception to illustrate the fragileness of the Helmer’s marriage, which ultimately leads to its demise. Nora Helmer, a naà ¯ve woman who has never been given the chance to mature into an independent womanRead MoreAnalysis Of Henrik Ibsen s A Doll House995 Words   |  4 Pagesimagining and guiding the integration of all these elements belongs to the director. One of the toughest tasks of a director is to reinvigorate a socially important and renowned production while maintaining its original message and composition. Henrik Ibsen’s A Doll House is a socially important realistic play that portrays the gender dynamics that plagued the nineteenth century and questions the expectations held for women in a household and society. The play is still incredibly influential because the issuesRead MoreAnalysis Of Henrik Ibsen s A Doll House 851 Words   |  4 PagesHenrik Ibsens’s, A Doll House, details the lives of the Helmers, a seemingly perfect couple. As the story progresses from act to act, it becomes quite obvious that their relationship is everything but perfect. Complic ations arise quickly when a forged loan by Nora Helmer is brought to her husband Torvald’s attention. The prejudices women experience, particularly, Nora is a definite tone in this play. Henrick Ibsen does a great job at showing both sides of the oppression of women, particularly withinRead MoreAn Analysis Of Henrik Ibsen s A Doll s House923 Words   |  4 Pages A Symbol of the Times Henrik Ibsen masterfully uses symbolism to add depth and meaning to his play A Doll’s House. The story is about a housewife named Nora who gets into trouble when she forges her father’s name to borrow money for her husband’s sake. Many objects take on new meaning in this story, from the Christmas tree in the opening scene to the slammed door at the end. Ibsen uses Nora as symbol representing how many women in that time period were treated like objects. The literal meaning ofRead MoreAnalysis Of Henrik Ibsen s A Doll s House 909 Words   |  4 Pages The three-act play A Doll’s House by Henrik Ibsen, is centered around the protagonist, Nora Helmer whose never been by herself. She lived with her father until he became ill and was left to die on his deathbed, to living with her obliviously controlling husband, Torvald Helmer, who treats her like a possession more than a person. In the beginning of the play, Nora’s sneaky attitude is caused by her hu sband treating her like a â€Å"doll† (hence the name, A Doll’s House). He’s about to get a new jobRead MoreAnalysis Of Henrik Ibsen s A Doll s House 1381 Words   |  6 PagesNora’s Transformation from Repression to Liberation in A Doll’s House The play in prose A Doll’s House is written by Henrik Ibsen, and set in Norway in 1879. By inserting symbols into the storyline, Henrik Ibsen reveals the theme of female submissiveness and male superiority during the 19th century and highlights character revelation in the play, namely through Nora’s transformation from being repressed to being liberated. Ibsen includes a variety of symbols throughout this work, specificallyRead MoreAnalysis Of Henrik Ibsen s A Doll s House 989 Words   |  4 PagesHenrik Ibsen’s â€Å"A Doll’s House† is a tragic story depicting women as less equal to men. The story uses symbolism throughout the play, playing off the title. In Ibsen’s story he shows the tale of Nora Helmar, a ditz woman with a spending habit who devotes herself to her husband Torvald. Torvald is an overbearing man who treats his wife Nora as lesser than himself, as if she was a child. Controlling her, the play looks into Torvaldâ €™s mind and shows he believes Nora is actually less than a child butRead MoreAn Analysis Of Henrik Ibsen s A Doll s House 970 Words   |  4 PagesA Doll’s House Ashleen Kaushal TOPIC: The theme of heredity in the play I. Introduction Henrik Ibsen’s three-act play, A Doll’s House, follows a seemingly typical housewife as she becomes painfully aware of the flaws in her marriage with a condescending, chauvinistic man. Ibsen uses the ideology of a Victorian society as a backdrop to inject the theme of heredity in the play. He employs several characters to demonstrate the different facets of heredity in order to highlight how this concept

The Business Of Americ The President Of The 1920 S

Calvin Coolidge the President in the 1920’s, otherwise known as the roaring 20’s said that â€Å"the business of America is business.. It’s safe to say that â€Å"business† for the first 100 years of founding our country was small business. 90 percent of Americans had fewer than 20 employees, but the businesses in America had almost no choice but to be a small business, due to lack in transportation, marketing, and banks weren’t big enough to support big businesses at the moment. Americans though preferred it this way, because then, and as well as today the people believed that it cultivates character, and strengthens democracy. Small business is vital to the overall economic strength and security of this country. (Conte, 2008) In the late 1800’s is when small business values and beliefs would be tested with the growth of railroads, telegraphs. Machinery, steam engines, and the rapid population growth. People from the time currency was created to this day are power and money hungry. They want to capitalize, become larger, bigger without regard or worry. This took a hit to small business across our fairly new nation. If you look at the history of U.S. business then you can figure out that every business started small. Example would be Pittsburgh’s Carnegie Steel Company, now known as U.S. Steel. Now the largest steel producing corporation in the United States of America. (Conte, 2008) Modern small businesses are now advanced in every way possible, thanks to modern

Alice in Quantumland free essay sample

Electrons have no distinguishing features except spin Upon falling into the quantum wonderland while in her living room, Alice finds herself faced with a new reality of existence that seems to baffle her. She is first met with some strange-looking dweller of the new and vastly strange wonderland that she could not make out. She politely introduces herself as Alice, thereby invoking a response from her companion to the effect that it was an electron. Alice also noted that nearby was another similar looking figure to the electron, to which the new acquaintance explained was a different electron. To Alice, the two electrons looked strikingly alike, down to the umbrella they seemed to have been carrying. Her new friend explains to her that the other electron is actually different; that is, it has a different spin. In essence, the two electrons have absolutely no distinguishing features except for their direction of spin. In the real world, however, things are quite the opposite. Two people, even identical twins, always seem to have distinguishing character traits, which are readily observable. This latter truth, however, is only implemented to the larger macro-world of classical mechanics, which was espoused by Sir Isaac Newton. 2. Heisenberg’s uncertainty principle Alice’s escapade continues to get more and more bizarre as she notices that her electron companions seemed to always be moving too fast. She in fact asks them to try and slow down a bit so that she can make out how they look like more clearly. As soon as one of her electron friends attempts to reduce his speed, he begins to expand and spread out, filling the entire space around him. This makes it even harder for Alice to discern how he really looks like. He then tells her that this is part of the standing rule; that they cannot slow down lest they get too cramped together into the entire space available. This concept is especially abstruse. It is almost as if the electrons increase in number when they slow down, but, in essence, they only occupy the entire space around. This phenomenon is called Heisenberg’s uncertainty principle. It means that it is impossible to ascertain the precise position and the precise location of a sub-atomic particle at the same time. In essence, Gilmore explicates that Alice cannot see the electron easily when it slows down since its speed is precisely known: it is zero. This is most certainly not the case in the macro-world of Newtonian classical mechanics where we live. Indeed, it is possible to know exactly where someone is and exactly how fast he or she is moving, both at the same time. 3. Pauli’s exclusion principle Another provocative phenomenon Alice encounters in the quantum wonderland is known as Pauli’s exclusion principle. This principle basically impedes any two subatomic particles to be characterized by the same quantum number. This means that they cannot be in similar quantum states. According to Gilmore, electrons are exactly identical and must therefore abide by the exclusion principle, which was described by Wolfgang Pauli. This meant that Alice’s electron companion could not occupy the same train compartment as its identical counterpart, with a similar spin. Such an elaborate description of the state of affairs at the quantum level is in direct violation of observed phenomena in the macro world of classical mechanics. In the classical world, two identical entities can indeed share the same compartment. Alice’s electron counterpart states that he cannot be doing the same exact thing as another identical electron. This is not verifiable in the observable world of Newtonian mechanics, where it is possible to have similar entities engaged in the same exact event. 4. Superposition Alice heads out to the Mechanics institute where she gets well acquainted with the concept of superposition. In essence, she learns that subatomic particles such as electrons can be in several different places at the same time. She precisely learns that the concept of superposition basically means that an electron is capable of doing all possible things to it. This is verified by the double slit experiment. The experiment yields the phenomenon of interference when electrons are shot out from an electron gun one at a time; they are shot in a beam through an obstacle with two slits and onto a screen. This experiment, and the resulting interference, indicates that each electron passes through the two slits at the same time and essentially interferes with itself. Similar to the other phenomena that Alice encounters, this one is also in direct violation of common sense judgments of observations in the macro-world. In essence, no observable entity in the real world of classical mechanics is capable of doing all things possible at the same time, let alone be in several different positions at the same time. 5. The Copenhagen interpretation and Schrodinger’s cat Alice proceeds to meet with a series of other unusual characters while in the quantum wonderland. One of the most intriguing characters she comes across is undoubtedly Schrodinger’s cat. Alice learns that Schrodinger had left a cat behind with some inhabitants of the quantum wonderland which he used as an experiment to test and prove some of the theories espoused within the larger field of quantum mechanics. Schrodinger set up an experiment in which the cat was to be placed inside a box with a flask of poison, a radioactive source and a mechanism that would ensure the poison is released in case if any radiation. According to Schrodinger’s analysis, the Copenhagen interpretation of quantum mechanics indicates that after some time, the cat is both dead and alive. Nevertheless, when the box is opened, the cat can only be either dead or alive but not both. This abstraction of quantum reality is tormenting to people who live in the macro world of classical mechanics. Things in this world are never in two different states concurrently. Work Cited Gilmore, Robert. Alice in Quantumland: An Allegory of Quantum Physics. New York, NY: Springer-Verlag, 1995. Print.