Pathogencity and Immuneology Host resistence and the immune response Essay

Pathogencity and Immuneology Host resistence and the immune response - Essay Example The bacterium has the ability to cause problems for people who use catheters and heart valve implants. It forms biofilms on these catheters and implants. Over time the bacteria has become resistant to antibiotics and it is because of this resistance that the bacteria has evolved in highly virulent forms. It has the ability to cause infections if removed from its ecological niche. It can also be said to be an opportunistic bacteria because it has the ability to cause pathology in people whose immunity is decreased. Variola Virus On the other hand Variola virus is a virus which causes small pox. Small pox is the only disease which has been eliminated from earth. The virus is brick shaped with a double stranded DNA. It also has an enzyme known as RNA polymerase which helps it to replicate when entering the body. Unlike Staphylococcus epidermidis the variola virus is transmitted through the external world. It does not reside in the normal flora or act as opportunistic bacteria. It can be transmitted through respiratory passageways and skin lesions unlike the bacterium staphylococcus epidermidis which resides inside the body. Staphyloccocus epidermidis may not be harmful in its ecological niche whereas the Variola virus is always harmful because of the disease that it can cause.

Law Term Paper Example | Topics and Well Written Essays - 1250 words - 2

Law - Term Paper Example In this context, some cases will be described and analyzed, in order to understand the law’s influence on the reality. One of the most important acts that protects the copyright holders in Canada is the Copyright Act. In terms of this Act, â€Å"a work or other subject-matter is not deemed to be published or performed in public or communicated to the public by telecommunication if that act is done without the consent of the owner of the copyright.†1 This Act applies to literary or textual works: books, pamphlets, poems, computer programs, dramatic works: films, videos, plays, screenplays and scripts, musical works: compositions consisting of both words and music, or music only (lyrics without music are considered literary works), artistic works: paintings, drawings, maps, photographs, and sculptures, architectural works, (section 2) performer’s performances (section 15); broadcast communication signals (section 21); and sound recordings such as records, cassettes and CDs (section 18). The positive character of this act is that any work which has been created or written becomes automati cally protected from the first moment of its existence. Moreover, the Copyright Act also protects the moral rights of the author. In spite of this, the Copyright Act does have some weak points, such as for example the stipulation included in Section 29, allowing usage of protected works without proper authorization in purpose of â€Å"research or private study†¦ by an educational institution, library, archive or museum, or person acting under its authority†. Internationally speaking, Canada is a party of the Berne Convention for the Protection of Literary and Artistic Works of 1886. Canada has also signed but not yet ratified both the WIPO Copyright Treaty of 1996 and the WIPO Performances and Phonograms Treaty of 1996. In USA, the most outstanding legislative act that protects

Duchess of Malfi Essay Example for Free

Duchess of Malfi Essay The Duchess of Malfi written by John Webster was first performed around 1613. A dramatic tragedy, the play is about a forbidden marriage between the Duchess and Antonio her steward, and the wrath of her brothers which leads to many of their deaths. Webster focuses on the role of rank to detail the emotions between relationships in an aristocratic family in a time when class was all important. He uses many distinctive features to convey the substance of the play and its characters, and give the actors playing the roles cues for stage performance. This extract is part of the proposal and marriage scene, one of the biggest emotional dramatic scenes of the play. The duchess is marrying in secret against her brothers wishes; their fear is that she will demean the family’s honour by remarrying. It also forms the most positive aspect of the play, using one of the traditional stage conventions of love, defiance and disapproval (Pacheco and Johnson (2012) pg. 93). This serves to provide a ‘lift’ to an otherwise dark play, and compares the lighter side of the Duchess’ sexual desire to her brother Ferdinand’s. The extract is set at the second half of Act 1 scene 1, the first half being to set the backdrop for the audience and give them a good idea of each character and a good indication of things to come. Specifically, the extract is between the Duchess finding out how Antonio feels about marriage and their union itself; here, the Duchess is convincing Antonio that he is worthy of her, that she is woman enough despite her brothers, her rank and her status as a widow. This is achieved by the features of Webster’s distinctive language and the stage directions (both written and performed through reading). The Duchess uses double meaning in her dialogue, ‘So now the grounds broke/ you may discover what a wealthy mine/ I make you lord of.’ (Webster, (2010[1623]) 1.1.432-33). She is referring to her own wealth and the value of his rank when they marry. This wordplay is also in the line ‘we are forced to woo because none dare woo us:’ (Webster, (2010[1623]) 1.1.446) she is again referring to her rank and playing on the word ‘woo’ to mean ‘woe’ (and the irony being that she is wooing him). These are very persuasive lines for Antonio, who feels unworthy of the Duchess despite the traditional gender roles being swapped, and the dominance of the Duchess being prevalent. He realises this with the line ‘These words should be mine,’ (Webster, (2010[1623]) 1.1.476). There is also wordplay in ‘All discord, without this circumference, / Is only to be pitied and not feared.’ (Webster, (2010[1623]) 1.1.473). The Duchess is referring to the situation they are in (secret wedding and/or the room), the wedding ring she has given him and to the confinement her brothers wish for her. There could also be reference to how Antonio will be should they marry – a higher rank, but it will be a secret for some time. The duchess is trying to assuage the fear of it all by saying without it there is only pity (for her). The metre and rhythm of the speech in this extract is another distinctive feature. It is un-rhyming blank verse and follows the rules of iambic pentameter except where Webster wants a character to pause, for example, ‘You were ill to sell yourself’ (Webster, (2010[1623]) 1.1.435) is only three feet of the full five feet line, leaving two for pause before the next line. This puts impact on that line but also on the ones following it. This technique is also echoed in the ‘woo’ line (Webster, (2010[1623]) 1.1.446); the metre of the line is slightly too long, which shows the Duchess’ unwillingness to follow orders. Likewise, the line ‘You have left me heartless, mine is in your bosom’ (Webster, (2010[1623]) 1.1.453) is too long, giving emphasis on the line and a cue for the actress playing the Duchess to use it for stage direction. The Duchess and Antonio’s dialogue overlaps through most of this extract; it makes them sound as if they are thinking together – giving the audience a feel for the emotional charge between the two characters. We have already seen from earlier in scene 1 that the Duchess is clearly defiant of her brothers, so it is little surprise to see that in response to Antonio’s fear of them she shrugs them off with the line ‘Do not think of them.’ (Webster, (2010[1623]) 1.1.472). this confirms the audiences view of her as being strong and resilient but also somewhat naive, and also gives them a clue of what is to come, especially when she follows with the lines ‘Yet, should they know it, time will easily/ scatter the tempest.’ (Webster, (2010 [1623]) 1.1.476). This dramatic irony confirms what the audience knows but Antonio does not: that her brothers are unaware of their impending marriage. Indeed, with these lines Webster is inviting the audience to fear the brother’s reaction too after hearing their earlier death threat to the Duchess. (Webster, (2010[1623]) 1.1.298-344) The depth of each character and difference of rank is shown in this extract by Webster’s use of figurative language. The Duchess continuously shows her determination and sprit, something which continues throughout the play – even to her death. And poor Antonio, who despite being honest and loyal, is overwhelmed at the turn of events and the metaphoric swapping of gender roles to the point where he is seeking solace in the Duchess’s words and is happy to be deluded ‘Would not have savoured flattery’ (Webster, (2010[1623]) 1.1.478). He is painfully aware that he is not equal in rank but will be in marriage, and his fears exaggerate her strength ‘These words should be mine,/ And all of the parts you have spoke, if some part of it/ Would not have savoured flattery.’ (Webster, (2010[1623]) 1.1.476-8) As for performance, the extract only provides one written key stage direction ‘(she kisses him)’ (Webster, (2010[1623]) 1.1.468). However, there is plenty in the reading of the extract to relate to performance. This also leaves room for interpretation in relation to performance possibilities. The pace of the dialogue changes depending on which character is speaking, for example, lines 445-462 are full of short syllables which quicken the rhythm of the metre to make it energetic and erratic, ‘And fearfully equivocates,’ (Webster, (2010[1623]) 1.1.448). It could serve to make the Duchess sound tense yet determined, and she could be sort of ranting in her attempts to convince Antonio. These lines also provide many words that can be used as stage direction, for example while she is speaking between lines 445 and 451 she could be pacing the stage and using her hands to emphasise her point ‘The misery of Thing it is not’ (Webster, (2010[1623]) 1.1.445-52). Also in ‘Go, go brag,’ (Webster, (2010[1623]) 1.1.452), she could point off stage as if inviting him to leave, either in an angry or defeated way. After, in ‘You have left me heartless’ (Webster, (2010[1623]) 1.1.453), her hands could go to her heart, and then onto his with ‘mine is in your bosom’ and leave them there for ‘you do tremble (Webster, (2010[1623]) 1.1.453-54). She could shake him at ‘awake, awake, man,’ (Webster, (2010[1623]) 1.1.459). The pace slows down again after Antonio has promised to protect her reputation; the syllables become longer and more even and written commas slow the dialogue to make it measured. This follows to the end of the extract so we can see that the Duchess is calmer and happy now that Antonio has accepted her proposal. This should reflect in the way that the person playing the Duchess should perform, especially when she is shrugging off the fear of her brothers, as it is almost nonchalant. The stage set up should have enough room for there to be complete focus on the characters and no superfluous scenery – perhaps only what is required to make it obvious what the room is, plus the table and chair for Antonio and the curtains for Cariola to hide behind. If the Duchess is pacing the stage while she rants there should be adequate room for this, and Antonio could follow behind her. Indeed, if he is seeking solace in her words, the actor may wish to appear meek (and therefore filling the gender and rank role) by following her blindly but also allowing her to turn to place her hands on him where necessary. In all, we can see how the distinctive features of Webster’s language have brought the play into being. The use of dramatic irony, metre and rhythm, imagery and figurative language to convey emotion, bring scenes to life and help the audiences perception. Webster also especially does this in his use of figurative language to create stage directions for the cast, which in turn helps them to set and convey the scene. With the play only having little written stage directions, Webster leaves the play open for the actor’s interpretation, and its possibilities onstage.

Presence Of Evil Shows God Doesnt Exist

Presence Of Evil Shows God Doesnt Exist Evil can be defined as anything that is painful, malicious or disastrous. There is much evil in the world, which can be split into either natural or moral evil. Natural evil refers to suffering caused by natural disasters whereas moral evil refers to suffering which has been caused by human selfishness.  [1]  I believe that the existence of these evils in the world disproves the existence of God. These evils would not exist if there was a perfectly good, all loving, omnipotent, omniscient God as He would want to prevent all evils and would be able to do so. In this essay I am going to look at the logical problem of evil, looking at the arguments put forward by Epicurus, Hume and Aquinas. I will also look at the evidential problem of evil, in particular the arguments put forward by William L. Rowe and Paul Draper which support the claim that the existence of evil disproves the existence of God. I will also look at Augustines and Irenaues theodicies against these arguments. Then fi nally I will look at problems with these theodicies and why I believe the existence of evil as well as the existence of God is incompatible. The logical problem of evil put forward by Epicurus states that evil could not exist if god was all loving and omnipotent. Thus, because there is evil in the world God cannot exist. He argues that an all loving god would not tolerate the suffering of his creatures therefore he would have created a world in which this suffering does not exist in the first place, or would step in to prevent it.  [2]  Similarly if god was omnipotent he would have been able to create a universe without evil and suffering to begin with. Therefore, the existence of evil in the world supports the claim that either God does not exist, or that he is either not omnipotent or not all loving. Humes similarly argued that the existence of evil in the world meant that God would need to be either not omnipotent or not all-loving. As it is not possible for God to be either of these things Humes concluded that God does not exist. Aquinas saw evil as the absence of good, or failure to achieve potential. In his book Summa Theologica, Aquinas states that the name of god means that He is infinite goodness. If, therefore God existed, there would be no evil discoverable; but there is evil in the world. Therefore God does not exist.  [3]  This argument is similar to that of Epicurus and Humes, stating that the existence of evil in the world contradicts the idea of an all loving, omniscient, omnipotent god. Thus again supporting my claim that the existence of God is incompatible with the existence of evil in the world. There is also the evidential problem of evil which contends known facts about evil as evidence against the existence of God.  [4]  William L. Rowe argued that there exist instances of intense suffering which an omnipotent, omniscient being could have prevented without thereby losing some greater good or permitting some evil equally bad or worse.  [5]  He then goes on to argue that such a God would want to prevent such suffering and would be able to do so and concludes that because this kind of suffering exists then God cannot. The existence of gratuitous evil in the world can similarly be used to disprove the existence of God according to Paul Draper. Evil which is without apparent reason or justification would not exist if God existed as He would not allow it. Therefore because there are cases where gratuitous evil can be said to exist God does not exist. Theodicies have been put forward in an attempt to justify the existence of God alongside the presence of evil in the world. Augustine argued that Gods creation was faultless and perfect and that evil came from within the world.  [6]  As an explanation for the existence of evil in the world Augustine blamed the fall of man from the Garden of Eden (Genesis 3). Disobeying God in the Garden of Eden is seen by Augustine as a moral evil leading to the evil within the world. The cause of this is free will and the allowance of man to have control over their actions and freedom of choice, including the ability to choose evil instead of good. Thus Augustine argues that God is still all loving, omniscient and omnipotent therefore he allows us to have free will and it is our fault we choose to do moral evil. To take away our free will would be unloving as it would take away our ability to choose good and to love God. Natural evil, on the other hand, can be seen as a consequence of the dishar mony of nature brought about by the fall.  [7]   The presence of evil does not necessarily disprove the existence of God according to Irenaeus. In his theodicy, Irenaeus attempts to justify the existence of evil as a sign of Gods goodness. He claims that evil and suffering in the world are useful as a means of knowledge, vital for character-building and provide a predictable environment. It is claimed by Irenaeus that without the presence of evil these attributes would be unobtainable. Therefore an all loving, omniscient, omnipotent God has allowed for evil to exist as a means for humans to learn and ultimately reach perfection. Although providing a possible explanation of the existence of evil in a world created by an all loving, omniscient and omnipotent God, Augustines theodicy does have some problems. Firstly, the theory of natural selection could be seen to contradict the idea that the Garden of Eden existed in blissful ignorance as it relies upon the selfishness of creatures as vital to their survival.  [8]  Also, God must still be responsible for the evil that has come from within the world as he created it. An omniscient God would have been able to foresee the evil which would come about and have been able to prevent it. Augustine also claimed that we are all being punished for Eves actions in the Garden of Eden which contradicts the bible itself should the childrens teeth be set on edge because the Fathers have eaten sour grapes? (Jeremiah 31:27-34). The existence of hell also shows that God must have foreseen the need for punishment therefore showing that God cannot be all loving and that mank ind cannot be held fully responsible for the fall of man. Similarly, there are problems with Irenaeuss theodicy. The main issue with this theodicy is whether suffering and evil is really necessary in order to achieve the desired goals. Surely an all loving, omnipotent, omniscient God would be able to devise a way in which humans could learn and develop without the need for evil and suffering. It is also not in the nature of an all loving God to allow certain people to starve to death in order to provide the knowledge to others to feed them. I therefore do not believe that these theodocies provide a conclusive defence for the existence of evil alongside the existence of god in the world. In conclusion, throughout this essay I have attempted to prove why the existence of evil within the world shows us that God does not exist. By looking at the arguments of famous philosophers I have found evidence to support this claim. I have also looked at theodicies which disprove my argument and found possible errors with these arguments. I believe that the existence of an all loving, omniscient, omnipotent God is simply incompatible with the existence of evil. In order for evil to exist God cannot be all of these things, if God is not all of these things then he simply isnt God. Therefore God cannot exist. Although the existence of God and evil may not necessarily be logically and evidentially compatible, I believe that God is necessary for many people across the world to understand why evil and suffering occurs and to have someone to blame. Thus regardless of what evidence is available I dont think it would ever be completely possible to disprove the existence of God in its enti rety as believers would still come up with situations in which an all loving, omniscient, omnipotent God would allow for the existence of evil. Word Count: 1483

Varying Attitudes Toward Death in the Masque of the Red Death Essay

Varying Attitudes Toward Death in the Masque of the Red Death      Ã‚  Ã‚   "Since the day of my birth, my death began its walk. It is walking toward me, without hurrying." Edgar Allen Poe provides us symbolically with the reaction of man to the pursuance of death that Jean Cocteau described before, in his gothic short story, "The Masque of the Red Death." Prince Prospero symbolizes the optimist who seeks to avoid death. The Masqueraders represent the pessimist-the carefree who seek to forget about death. The Masked Red Death is the ultimate realization and enlightenment of death's power over all-the realist view. Poe's work symbolically demonstrates the attitudes of man through Prince Prospero, the Masqueraders, and the Masked Red Death.    Prince Prospero symbolizes the optimist who is defiant and furious. Prospero believes that death can be evaded if not escaped entirely. Prospero seeks to protect himself from the red death, a disease that has ravaged his kingdom. He does this by taking a thousand of his friends, with whom he "retires to the deep seclusion of one of his castellated abbeys" (Poe 176). However he does more than try to dodge or hide from death's powers. Prospero has his courtiers take hammers and furnaces to weld the bolts shut so to leave no "ingress or egress," effectively he barricades himself taking faith the physical barriers of man can somehow defeat the non-corporeal entity. While the pestilence rages outside the prince's secure shelter, Prospero arranges that a masquerade or ball take place. He and his revelers take part in jovial and pleasant activities during a time when hundreds are suffering. What's more is that he has his party be "waltzers" (Poe 177). Such a dance involves t... ...to death in the masqueraders one can see the third attitude toward death, one of understanding and acceptance because the ignorance that shrouded their eyes has been removed. With understanding which comes when one becomes closer to death one may adopt the third attitude which Bhagavad Gita has, "Death is as sure for that which is born, as birth is for that which is dead. Therefore grieve not for what is inevitable."       Sources Consulted: Cassuto, Leonard. " The Coy Reaper: Unmasque-ing the Red Death". Stud Short Fiction, 25(1988) 317-320. Poe, Edgar Allan. Tales of Mystery and Imagination Norwalk: Heritage P.,1969. 317-322. Starret, Vincent. "Tales of Mystery and Imagination." Norwalk: Heritage P., 1969. Intro. Wheat, Patricia H. " The Masque of Indifference in The Masque of Red Death". Stud Short Fiction, 19(1982), 51-56.   

Philosophy of Education :: Philosophy of Teaching Statement

Philosophy of Education As a future educator, there are many pieces of knowledge that I hope to impart on my future students. I also believe that there are many different ways in which to give this knowledge. I relate myself mostly with the Social Re-Constructionists. They believe in a wide curriculum, covering more than the basics, which I feel is very important. One thing that I do find very important is practical educational experiences. As an elementary teacher, I will not get to see this put to much use, but I hope that my students will have future opportunities to complete internships, work-studies, and many other opportunities along those lines. I am also a very optimistic person when it comes to children and their abilities to learn. I firmly believe that every child can learn just as much as another, they just need to go at their own pace and level. Today, too many teachers pass off children that learn slower as problems in their classroom. This is simply not the truth; everyone should have equal opportunities to learn. I believe in giving children feed back. After they complete a test, I want to give them stickers and smiles for good grades, and sit down and talk with them about bad ones in order to see what we can do to fix the problem. I also want to be in constant contact with the parents, no matter how bothersome they are. I also enjoy change. It keeps things from becoming boring and repetitive. I would welcome other teachers and parents ideas to change my classroom and the way I run it. I feel that too many people disagree with my philosophies, when they are things I feel like every teacher should believe in. These are the reasons I want to be an educator. I want to give kids a chance that may not have had one. I want children who have been told they are stupid to realize that it is the other person’s insecurities, not their own problems. That is why I want to teach; I want to teach children that no matter what they want to do, they can do it. My classroom will be very democratic. Everything, except for the basic rules, will be discussed with my students.

Sacrificial Action

In Bhagavad Gita 4. 31, Krishna said to Arjuna, â€Å"Those who eat the nectar of immortality left over from a sacrificial action, they go to the eternal Brahman† (Phillips 80). This passage is taken from the Bhagavad Gita where Krishna, a divine being, and Arjuna, the third of the five brothers fighting for their land. With Arjuna having a dilemma of fighting his own kinsmen, Krishna explained to him why the right thing to do is to fight (Phillips 80). In chapter three of the Bhagavad Gita, Krishna explained to Arjuna the meaning of the sacrificial action. It is said to be voluntary doing something or ‘sacrificing’ without thinking of the benefits you will earn after the work, will lead to the supreme good. This is called the yoga of action. Attaining this supreme good exempts you from the law of karma (action and reaction) and thus leads to nirvana (Phillips 81). In chapter four, Krishna pointed out how and why he took the form of a mortal being. According to him, he assumed a mortal personification in order to become a model for those people who would want to attain the supreme good. He also states that he had already turned to a mortal being to be able to tell other people the things the he is now sharing with Arjuna (Phillips 81). The Bhagavad Gita 4. 31 passage is the fourth chapter’s main point. In this passage, Krishna told Arjuna how to be like him or to go to eternal Brahman. The ‘nectar’ he mentioned pertains to the example that he or a doer of sacrificial action makes. And the meaning of ‘eating the nectar’ entails following the examples of doing a sacrificial action, in order to attain supreme good or to be like Krishna (Phillips 82).