Nutrition - Teaching our Children to Eat Well Essay -- Health Nutritio

Nutrition - Teaching our Children to Eat Well When I look back at my experience through elementary and secondary school, and think about school lunch my memories are not cherished. The gray messy masses that smell and jiggle in a nebulous blob while the lunch lady deposits it onto my tray. No, those were not fond memories at all. I do remember having to look at the month ahead with my mother, because she wanted me to eat at least eat one school prepared meal a week. These were tough decisions for an elementary student, with picky taste in food. I remember most of the students in my class eating the chocolate cake or the cookies as the main course of their meal. Now that I look back on this, I realize how foolish it was that teachers did not pay better attention to our diets. American's "sweet tooth is tied to sour health" according to Jane Brody of The New York Times. We are "squeezing out nutritious foods like fruits, vegetables, whole grains and low-fat dairy products that can help to prevent disease." A nutritionally complete diet should involve no more than ten percent of its calories from added sugar; "American children now consume nearly twice that amount. The average teenager derives 19 percent of calories from added sugar, with the average boy consuming 34 teaspoons and the average girl consuming 24 teaspoons of added sugar daily, according to Federal surveys. Younger children, too, have diets far sweeter than desirable: 6- to 11-year-olds get 18 percent of their calories from added sugars" (Brody, 7). Yikes, these numbers do not look good when trying to promote nutrition, but how does one teach children to eat things like vegetables? Some children do not like to eat the vegetables that are given to them because they are not quite sure what is in the mushroom surprise. A lot of children just do not like school lunches, while others really enjoy them. Some may think that they are fattening, rubber in them, too greasy and unhealthy. While others find them more convenient, taking some chaos out of their morning routine, since they do not need to pack a lunch, or worry about what to eat. Nancy Polk, for the New York Times, wrote why in the past 5 years, the regulations for the School Meals Initiative for Healthy Children needed to be put in effect. This drastically changed the way we feed American youth. They specifically looked at makin... ...bits for life. Life-long learning and health have been proven to go hand in hand, teaching our children to eat well is just as important as teaching them to read. This might be the key to unlocking a whole new power. A power for learning. A power that will someday set the standard for the world in which we live. Bibliography: Brody, Jane. "Increasingly, America's Sweet Tooth Is Tied to Sour Health." New York Times. New York. September 21, 1999. Friedman, BJ. "Nutrient Intake of Children Eating School Breakfast." American Dietetic Association. Journal of the American Dietetic Association. Chicago. February 1999. Gottlieb, Robert. "The State: In Reforming Schools, Don't Forget Students' Stomachs." The Los Angeles Times. Los Angeles. California. December 27, 1998. "Guidelines for School Health Programs to Promote Lifelong Healthy Eating." Journal of School Health. Washington D.C. January 1997, Vol. 67, No. 1. "Healthy School Meals†¦Healthy Kids! A Leadership Guide for School Decision-Makers." Food and Consumer Service (USDA). Washington D.C. 1997. Polk, Nancy. "Better School Lunches, Fitter Children." New York Times. New York. February 21, 1999.

Finnegans Wake :: essays research papers

Finnegan's Wake is an old Irish tune, but these words were added later for music-hall use during the Victorian era. Some Irish people have objected to them as an English inspired stereotype, but I first heard this song sung by the Clancy Brothers and Tommy Makem, at the Gate of Horn in Chicago, in the late 50s. To me, no one was more Irish than they were. Here it is in honor of Saint Patrick's Day. [C] Tim Finnegan lived on [Am] Walker Street And a [F] gentle, Irishman, [G] mighty odd; [C] He'd a beautiful brogue [Am] so rich and sweet And to [F] rise in the world he [G] carried a [C] hod. You see he'd a sort o' the [Am] tipplin' way With a [C] love of the liquor poor [Am] Tim was born And to [C] help him on with his [Am] work each day He'd a [F] "drop of the cray-thur" [G] every [C] morn. Chorus: [C] Whack fol the die do, [Am] dance to your partner [F] Welt the floor, your [G] trotters shake; [C] Wasn't it the [Am] truth I told you [F] Lots of fun at [G] Finnegan's [C] wake! 2. One mornin' Tim was rather full His head felt heavy which made him shake; He fell from the ladder and broke his skull And they carried him home his corpse to wake. They rolled him up in a nice clean sheet And laid him out upon the bed, With a gallon of whiskey at his feet And a barrel of porter at his head. Chorus: 3. His friends assembled at the wake And Mrs. Finnegan called for lunch, First they brought in tea and cake Then pipes, tobacco and whiskey punch. Biddy O'Brien began to cry "Such a nice clean corpse, did you ever see? "Tim, mavourneen, why did you die?" "Arragh, hold your gob" said Paddy McGee! Chorus: 4. Then Maggie O'Connor took up the job "O Biddy," says she, "You're wrong, I'm sure" Biddy gave her a belt in the gob And left her sprawlin' on the floor. Finnegan's Wake :: essays research papers Finnegan's Wake is an old Irish tune, but these words were added later for music-hall use during the Victorian era. Some Irish people have objected to them as an English inspired stereotype, but I first heard this song sung by the Clancy Brothers and Tommy Makem, at the Gate of Horn in Chicago, in the late 50s. To me, no one was more Irish than they were. Here it is in honor of Saint Patrick's Day. [C] Tim Finnegan lived on [Am] Walker Street And a [F] gentle, Irishman, [G] mighty odd; [C] He'd a beautiful brogue [Am] so rich and sweet And to [F] rise in the world he [G] carried a [C] hod. You see he'd a sort o' the [Am] tipplin' way With a [C] love of the liquor poor [Am] Tim was born And to [C] help him on with his [Am] work each day He'd a [F] "drop of the cray-thur" [G] every [C] morn. Chorus: [C] Whack fol the die do, [Am] dance to your partner [F] Welt the floor, your [G] trotters shake; [C] Wasn't it the [Am] truth I told you [F] Lots of fun at [G] Finnegan's [C] wake! 2. One mornin' Tim was rather full His head felt heavy which made him shake; He fell from the ladder and broke his skull And they carried him home his corpse to wake. They rolled him up in a nice clean sheet And laid him out upon the bed, With a gallon of whiskey at his feet And a barrel of porter at his head. Chorus: 3. His friends assembled at the wake And Mrs. Finnegan called for lunch, First they brought in tea and cake Then pipes, tobacco and whiskey punch. Biddy O'Brien began to cry "Such a nice clean corpse, did you ever see? "Tim, mavourneen, why did you die?" "Arragh, hold your gob" said Paddy McGee! Chorus: 4. Then Maggie O'Connor took up the job "O Biddy," says she, "You're wrong, I'm sure" Biddy gave her a belt in the gob And left her sprawlin' on the floor.

Joseph Heller’s Catch 22 and Joan Littlewood’s Oh! What a Lovely War Essay

Compare the ways in which figures of authority are portrayed in Joseph Heller’s Catch 22 and Joan Littlewood’s Oh! What a Lovely War. Both Catch 22 and Oh! What a Lovely War are satirical comedies looking at the absurdity and tragedy of war. Being satires, they serve to expose the flaws in wartime situations and in doing so often develop criticisms of authoritative figures. Both texts approach the portrayal of authority in slightly different ways; being a play, Oh! What a Lovely War has a lot more scope for portraying its characters visually and aurally, whereas Catch 22 must work within its boundaries as a novel. Both texts employ humour to portray characters of authority; whereas Littlewood’s play is more focused on dark humour, Heller uses his own brand of absurd irony throughout the novel – this humour is central to most techniques used in both pieces of literature. Both texts were written in the 1960’s, (Catch 22 was published in 1961 whilst Littlewood’s play was performed two years later) an era synonymous with the development of youth culture and radical change. Although Catch 22 was initially snubbed by many of its critics, the novel found its readership amongst the emerging generation of men and women who were fiercely opposed to the Vietnam war. Littlewood did not face the same hostility in 1963 when Oh! What a Lovely War was first shown to the public. Performed by the Theatre Workshop – a company she had co-created – the play was warmly received by the audience and critics alike. Despite their different reactions, both texts were on the cutting edge of anti-war sentiment and continue to be modern classics. Although the texts focus on different wars and different perspectives (Littlewood’s play explores World War One from a primarily British perspective and Heller’s novel is an American outlook on World War Two) their main themes are similar. Both texts are exploring the tragedy of war, the utter absurdity of it, the thirst for power and money war brings, and the ignorance of authoritative organisations. Figures of authority are numerous in both pieces, and do not only include the upper ranks (such as Generals, Field Marshalls and Colonels) but also the representations of business and religious organisations, for they too can be viewed as having ‘authoritative’ roles in society, especially in wartime. One technique used by both authors is a demonstration of the lack of communication between commanding powers. Littlewood’s portrayal of the allied army leaders is very effective in signalling how inefficient they are at communicating with one another. The French General Lanzerac and British Field Marshall ‘French’ do not even speak the same language, and French’s unwillingness to do so reveals the total futility and worthlessness of their meeting: Aide: Do you think I ought to organise an †¦ interpreter? French: Don’t be ridiculous Wilson; the essential problem at the moment is †¦ the utmost secrecy.(p21) In this scene the obsession with secrecy over commonsense negotiations shows us how inefficient the allied army authorities are, and the analogy of the different languages spoken serves to demonstrate the complete lack of communication amongst authoritative powers that hold the fate of thousands in their hands. In the same way, Catch 22 looks at the problem of communication within the upper ranks. The call General Peckam receives from Ex P.C Wintergreen – the sole words being ‘T.S. Elliot'(sic) – has no hidden meaning but is interpreted in an absurd way; â€Å"Perhaps it’s a new code or something, like the colors of the day. Why don’t you check with Communications and see if it’s a new code or something or the colors of the day?† (p45). This sentence also shows us some insight into General Peckam’s intellect, which doesn’t seem to be substantial – demonstrated by the repetition and imprecision of speech. Another example of these communicative difficulties is the case of Major Major who receives documents to sign, which have his signature already. The squabbling within the upper ranks is evident in both texts and serves to show us the pettiness and idiocy of figures of authority. There are many instances in Catch 22 where the Generals are engaged in sneaky tricks against one another. General Dreedle’s hatred of his son-in-law Colonel Moodus for example, inspires him to keep a beautiful nurse just to torment him with, and the ‘Great Loyalty Oath Crusade’1 is started by Captain Black in an attempt to avenge himself on Major Major (who gained the promotion Captain Black was waiting for). Similarly in Oh! What a Lovely War, the Belgian, British and French army officials are at odds with one another. The Belgian army are in a sorry state, the French are angry at the British, and the British refuse to believe they have any responsibility in the war; ‘We’re not here under any obligation’ French persists in telling Lanzerac. The heated discussion only ends when Lanzerac is offered a medal on behalf of the King of England. This gesture pleases the General, who ‘kisses French on both cheeks’ and leaves, suggesting that the upper ranks of the army are only interested in recognition and promotion. This is a very powerful notion in Catch 22, in which key characters such as Colonel Korn and Colonel Cathcart will do everything in their power to be promoted. Cathcart says of his ambition: â€Å"What else have we got to do? Everyone teaches us to aspire to higher things. A general is higher than a colonel and a colonel is higher than a lieutenant colonel. So we’re both aspiring† (p450). One of the most important aspects of both texts is how different the experience of war is for the upper ranks and the ordinary men. The inability of authoritative figures to understand the realities of war and their cruel, seemingly deliberate ignorance in many situations is demonstrated in a number of key scenes. An important example of this in Oh! What a Lovely War is on pages 50/51 where a commanding officer reveals his detachment from ordinary trench life, and his unawareness of the death that surrounds the men every day; â€Å"Ye Gods! What’s that?† he asks the Lieutenant upon encountering a German limb that holds up the parapet, immediately telling the men to get rid of it as soon as possible. The Sergeant’s response reveals how clueless those in authority are to the brutalities of war: â€Å"Heads, trunks, blood all over the place, and all he’s worried about is a damned leg†. This warped, uninformed sense of priority and general detachment is evident in Catch 22, especially within Colonel Cathcart’s storyline. Heller’s novel is jumbled chronologically, but one dependable indication of time is the number of missions the men are forced to fly under Cathcart’s orders, which steadily increases as the story progresses. What is simply a number for the colonel is a very real death threat to the men of his squadron, many of whom reach the target just as the missions increase. Cathcart raises them for purely selfish reasons – he hopes to gain recognition for his squadron’s record and receive a promotion. The Colonel’s constant cry of â€Å"Doesn’t he know there’s a war going on† when Yossarian refuses to fly further missions is one of Heller’s brilliant lines of absurd irony, as it relates directly to the figures of authority in the novel. They seem to be playing an insane game, unaware of how t heir actions affect the men – they themselves don’t realise they’re fighting a war. Other instances of differences between upper and lower rank men can be found in both texts. The final scene of Oh! What a Lovely War portrays the men as lambs to the slaughter at the order of their glory-obsessed officer, and we find them shouting â€Å"Baaa – baaa – baaa †¦Ã¢â‚¬ (p86) as they advance towards the guns. In Catch 22 the Colonels are amazed that the ordinary men worship the same God as them, and after the revelation from the Chaplain refuse to believe it saying â€Å"What nonsense!† â€Å"Does he expect us to believe that?† and â€Å"Chaplain, aren’t you stretching things a bit far now?†(p407). A noticeable aspect of both texts is the portrayal of other key figures of authority – primarily those of big business and religion. Where Littlewood is severely critical of both, Heller holds some sympathy for his character the Chaplain (a representation of religion). Common to both writers is a disgust toward capitalists who exploit war for their own commercial gain. The munitions manufacturers in Oh! What a Lovely War are introduced on stage as members of a shooting party, an ironic analogy highlighting the part they play in the destruction of so many young men. They discuss the ‘peace scares’ that threaten their income, and congratulate one another for their inhuman schemes in money making: Britain: German chappies were caught on their own barbed wire?†¦.Dashed clever. (p46) In the same way, the character Milo Minderbinder in Catch 22 exposes the lack of morals and boundaries capitalism creates in wartime. His collaboration with the enemy goes unnoticed due to his profit-making, and he even ends up bombing his own men and planes as part of a German contract; ‘If I can persuade the Germans to pay me a thousand dollars for every plane I shoot down, why shouldn’t I?'(p273) he tells Yossarian. The forces of religious belief in Littlewood’s play are greeted with hostility as tools for the war propaganda machine, who support the war effort rather than fighting for the rights of the soldiers; Chaplain: †¦ it is no longer a sin to labour for war on the Sabbath†¦the Chief Rabbi has absolved your Jewish brethren from abstaining from pork in the trenches. (p77) Religion is portrayed in a slightly more sympathetic light in Heller’s novel. The Chaplain is the only character who really connects with Yossarian, and his efforts to help dissuade the Generals from raising the number of missions proves a real commitment and solidarity to the squadron. He is rejected from the Officer’s Hall and treated disrespectfully by the Colonels, showing us that even Christianity is powerless in the face of such frighteningly stubborn authority. Another key theme of both texts is the portrayal of war as a game, or as something frivolous and light-hearted by those in authority. The very form of Oh! What a Lovely War is as a musical show, with song and dance. Key song titles include ‘I’ll make a man out of you’ and the grand finale track ‘Oh it’s a lovely war’ which paints the text as a Broadway extravaganza rather than a harrowing look at battle. This technique is very effective in creating a bitter and attacking tone towards authoritative powers – especially considering the nature of the opening scene. In a circus like frenzy the MC brings on the players of the ‘war game’; France, Germany, Austria, Ireland, Great Britain and Russia. This structural difference between the play and Catch 22 means that Oh! What a Lovely War parodies authority more consistently. Littlewood constructed the play as a ‘show’, so the ability of characters in power to undermine the seriousness of war is endless. ‘The War Game’ is a classic example of this, as is the ‘grouse-shooting party’ which consists of munitions manufacturers from the key nations involved in war. Other techniques were available to Littlewood – lyrically bitter songs and the use of slides as an accompaniment to the speech, which both served as attacking forces against the power of authority in the play. Examples of this can be found in song titles such as ‘If the sergeant steals your rum’ and ironic lyrics like ‘with our old commander, safely in the rear’ in the hymn ‘Onward Christian Soldiers’. The use of slides and the ‘newspanel’ is used on many occasions as a reinforcement of the ignorance seen in authoritative men such as Haig: Newspanel: BY NOV 1916 †¦ TWO AND A HALF MILLION MEN KILLED ON WESTERN FRONT Haig: I thank you, God; the attack is a great success. (p78) They are also used comically to outline the stupidity of the Generals: British Admiral: †¦ Have you got a plan? British General: Of course. Slide 5: A blank British Admiral: Yes, I thought so. (p6) In a structural sense, the techniques available to Heller with which to parody authority are much more limited. In a novel, all character representations are formed with literary descriptions and cannot rely on visual or aural aids like a play. His technique of storytelling is not as varied or spectacular as Littlewoods, but the effects of his bizarre plots are as successful in criticising authoritative powers as the use of slides and song in Oh! What a Lovely War. Colonel Cathcart’s ‘bombing pattern’ is a sufficient example of this and bears comparison with the ‘War Game’ approach by Littlewood. Disregarding the fact that men are risking their lives on the insane bombardier missions they are forced to fly, Cathcart’s sole concern is whether their bombs create an aesthetically pleasing pattern from the air – ‘We didn’t get the bridge’ he tells Milo whilst recalling a previous mission, ‘but we did have a beautifu l bomb pattern. I remember General Peckam commenting on it’. (p†¦ The episodic form of both texts may disrupt the sense of progression, but it is noticeable that the tone of both pieces of literature changes as they near completion. The bitterness towards authority increases, and humour is more often interspersed with moments of seriousness and tragedy. In Act Two of Littlewood’s play, a moment of chaos reaches a serious climax with the juxtaposition of Haig and the British General’s telephone conversations against a background of men singing ‘They were only playing leapfrog’. The two men speak simultaneously in broken sentences until Haig’s final comment ‘No, you must reserve the artillery; we are using too many shells’ is uttered at the same time as the General’s last words, ‘Night has fallen. The clouds are gathering. The men are lost somewhere in no man’s land.’ This uncharacteristically sombre moment is shocking and serves to signpost the ignorance and inhumanity of Haig in times of crisis. In a similar way the absurd force of bureaucracy in Heller’s novel borders on seriousness when Don Daneeka is recorded as killed and remains dead due to the power of paperwork. His presence in the novel is a tragic reminder of the madness of war, and his character becomes a living ghost, ‘the sacks under his eyes turned hollow and black, and he padded through the shadows fruitlessly like an ubiquitous spook†¦then, only then, did he realize that, to all intents and purposes, he really was dead.’ (p366) The endings of both texts leave the reader with a slightly different outlook of authority and war. Whereas Oh! What a Lovely War finishes as it started, with a grand song in the traditional musical style, Catch 22 is much more subdued and understated. Both endings tell us something about the intention of the author, and of their opinion on the subject of war and authority. Littlewood wants to leave the audience feeling embittered and slightly outraged at the notion of the Great War as a show, in order to demonstrate the atrocities committed by those in authority against the ordinary men. The final songs ‘Chanson de Craonne’, ‘ I don’t want to be a Soldier’, ‘And when they ask us’, and ‘Oh it’s a lovely war’ express both comic elements (‘I’d rather stay at home †¦ and live off the earnings of a lady typist’) and the tragic undertones that run throughout the play (‘I don’t want a bayonet in my belly’). Although these final songs are more preoccupied with the tragedy and futility of warfare, their tone is still bitter towards commanding powers – such as the King and the Generals – who promised them a ‘lovely war’, and described the life of a soldier as the ‘cushiest job’ they would ever have. The cause of this great tragedy is clearly explained in Littlewood’s play as a direct result of the ignorance and greed of commanding powers, in particular the European Empires and Haig, along with his circle of title-seeking aristocrats. Within the play there are other specific objects of blame; firstly the British Generals, Field Marshall French, and the British Aristocracy. Other possible areas of criticism lie in the portrayal of religion, and of the capitalists who profited from the war. Oh! What a Lovely War is a text very much favouring the ordinary soldiers, all of whom are represented as decent, kind-hearted, and spirited young men. These soldiers are the victims of authoritative powers, they are the lambs going to slaughter, and the grouse at the shooting party. Littlewood is not vague or subtle in her attack of the commanding men, and portrays them as idiots, fat cats and cowards. She intends to show us that they were the main cause of madness in wartime, and that t hese men of authority should be held to blame for the destruction of a generation. The conclusion of Catch 22 is quite different, and ends with the spontaneous attempt by Yossarian to run away from the military base. Heller’s ending is a very interesting final act of defiance for his character, against the powers of authority in the novel. Despite having an easy route out of the air force – a simple but dishonest deal with Colonel Cathcart and Colonel Korn – Yossarian chooses to reject it. The presence of Nately’s whore at the very end of the novel, who unsuccessfully tries to stab him, is perhaps an indicator that Yossarian is making the right choice in escaping from the madness and corruption of ‘bureaucracy’ (the main authoritative force in Catch 22). The specific targeting of key characters is evident in Heller’s novel as it was in Oh! What a Lovely War, with the Colonels and Generals (Cathcart, Korn, Dreedle and Peckam among others) being the main hosts for criticism. However, I believe there is a difference between both texts regarding the role authoritative figures play in war. Whereas Littlewood shows us that the commanding men create the chaos due to their own callous stupidity, in Catch 22 the madness of war seems to be a character unto itself. Although the commanding officers are idiotic and dangerously selfish, this insane wartime logic affects most of the ordinary men – except for Yossarian and the Chaplain. A good example of this is near the end of the novel when Aarfy – one of the men in the squadron – rapes and kills a young girl. wYossarian’s utter horror when he discovers the scene is elevated further with the arrival of the police, who arrest him for being in Rome without a pass, completely ignoring the dead body on the pavement. Aarfy’s explanation ‘I hardly think they’re going to make too much of a fuss over one poor Italian servant girl, when so many thousands of lives are being lost every day’ seems to bear a lot of truth. The infuriating authority figures in this novel and the foolish stunts they are engaged in appear to be more a product of war madness than a cause of it. Therefore, although both texts portray figures of authority in similar ways, their intentions are fundamentally different. Littlewood blames the commanding individuals and glorifies the men who were sacrificed under ridiculous orders. Heller looks beyond these small but powerful characters to a greater evil – the madness of war and the insane chaos it creates in all; Colonels, Generals, Capitalists and even ordinary soldiers. 1 The Great Loyalty Oath Crusade was created to divert attention towards Captain Black and thus gain him a promotion – the men must swear an oath of allegiance ‘to get their pay from the finance officer†¦to have their hair cut by the barbers.’ (p125)

Ayurvedic Medicine Essay

Ayurvedic medicine is one of the world’s oldest medical practices. It is also called Ayurveda and means â€Å"the science of life† (Cherry and Jacob, pp239, para 5). This practice originated in India and is now world known. Ayurveda’s goal is to â€Å"integrate and balance the body, mind, and spirit† (Ayurvedic Medicine, para 2). This practice is uses a variety of products and techniques such as herbal remedies, massage, meditation, breathing exercises and special foods to help cleanse the body and attempt to restore balance. This is believed to prevent illness and maintain wellness. Before using this therapy, you must first consult your healthcare provider because certain herbs have various side effects and may counteract with certain medications. Some view these practices as holistic medicine, however in the United States, it is viewed as a CAM and a whole medical system. It is believed that a person’s chances of developing certain diseases depends on the way doshas, which are â€Å"distinct metabolic body types† (Cherry and Jacob, pp 240, para 1), are balanced, their mental and physical wellbeing and lifestyles. There are three types of doshas. 1. Vata, which are unpredictable, hyperactive, impulsive, slender, prone to insomnia, have fluctuating energy levels, cramps, and constipation. 2. Pitta, which are predictable, efficient, perfectionist, passionate, short-tempered, prone to heavy perspiration, medium build, have acne, ulcers, and stomach problems. 3. Kapha, which are relaxed, affectionate, forgiving, sleeps long and deeply, have a tendency toward procrastination, obese, have high cholesterol, allergies and sinusitis (Cherry and Jacob, pp 240, table 11-1). The treatment process depends on the body type a patient possesses and may include using any of the following techniques: cleansing, detoxification, palliation, rejuvenation through special herbs and minerals, mental hygiene and spiritual healing (Cherry and Jacob, pp 240 para 2). Another goal to Ayurveda is to promote spiritual healing and remove oneself from negative situations to aid in mental nurturing. Some therapies that are currently approved for Ayurveda usage include a herbal remedy curcuminoid from turmeric used in cardiovascular conditions, cowhedge plant compounds used to lessen the side effects of Parkinson’s disease drugs, ginger, turmeric and  boswellia used in inflammatory diseases such as arthritis, and the herb gotu kola to treat Alzheimer’s disease (NCCAM-Funded Research, para 1) . There is no process for certifying or licensing Ayurvedic practitioners currently (Cherry and Jacob, pp 240, para 3). However, many practitioners study in India where training may take up to 5 years to complete. After graduating, these practitioners may choose to provide care in the United States. Although there are no national standard for training in the US for Ayurveda, a few states have approved these schools as educational institutions (Practioner Training and Education, para 1). To locate qualified practitioners, you may visit the website www.ayurveda.com or http://ayurvedanama.org/find-practitioner/. Or for general information on Ayurvedic medical practice, you may visit www. nccam.nih.gov. REFERENCES Ayurvedic Medicine: An Introduction, 2009 July, retrieved from http://nccam.nih.gov/health/ayurveda/introduction.htm, on August 4 2012. Cherry, B., & Jacob, S. R. (2011). Contemporary nursing: Issues, trends, and management. (5th ed.). St. Louis: Mosby, Chapter 11, pp 239-240.

Mediterranean fruit fly (ceratitis capitat) in NewZealand Essay

Mediterranean fruit fly (ceratitis capitat) in NewZealand - Essay Example It is also referred to as the med fly for short. It belongs to the Animalia Kingdom. Its phylum is anthropoda. The class is an insect. The order is diptera. The family is tephritidae and the genus ceratitis ("Ceratitis capitata," 2011). As a species of fruit fly, the insect is able to cause significant damage to a wide array of fruit agricultural crops. This insect is native to the Mediterranean region; however, it has spread to many other parts of the globe. These areas include Australia, as well as a variety of regions throughout North and South America. This fruit fly’s invasive nature has made it a particular problem in many of these regions. In terms of reproductive elements the fruit fly lays its eggs under the skins of fruit. This occurs most frequently in fruit where the skin is already broken. After three days, the larvae develop inside the fruit. While the insect has been viewed largely as an invasive species, it additionally has an ecological purpose as it can serve to control specific plant growth. There are significant implications for the Mediterranean fruit fly’s invasion into New Zealand. In understanding these implications there is the understanding that this insect has caused significant problems in other areas. Attacks between 1975 and 1993 in California cost the state over $170 million in prevention measures. Australia and Hawaii experienced similar incursions of the fruit fly. In Australia, over 200 fruit crops became infested before preventions measures were put into place. For New Zealand, it’s noted that there would be a significant impact on the horticulture industry ("Mediterranean fruit fly," 2011). This is highly significant because of the impact it would have on the New Zealand economy, including potential job losses. Indeed, it’s noted that among the products that there are more than $58 million worth of crops that are in the highly susceptible range

The history and culture of Japan Essay Example | Topics and Well Written Essays - 2250 words

The history and culture of Japan - Essay Example Japan's history is a rich and varied one, with the different periods marked by remarkable change. In the Yayoi period (300 BC - AD 300), rice cultivation was introduced from China and Korea, and Japan's oldest religion, Shinto, identified "divine forces in nature and in such human virtues as loyalty and wisdom."The Kofun period (300-645) showed the emergence of powerful clan rulers, and Japan begins to establish close contacts with mainland Asia. The Asuka period, (645-710) brought a great wave of reforms and new aristocratic families were created. During the Nara and Heian periods (710-1185) the emperors began to practice Buddhism, believing its teachings would protect the state. The Muromachi era (1333 to 1568) brought disintegration of the central government, firearms were introduced by the shipwrecked Portuguese soldiers, and Christianity was introduced . Finally in the Edo period (1600-1868) Japan enters into an age of "peace and national isolation". The United States wants to u se the Japanese ports as supply bases for its commercial fleet, and, in a surprise move, Japan accepts the US demands and opens its doors for the first time in two centuries. In the Meiji period (1868-1912), the emperor was restored, and Japan made its transition to nation-state. The Showa period (1926-1989) brought many more changes for Japan, including World War II and its aftermath, including the necessary economic recovery. In 1941 Pearl Harbor brought the US into war in the Pacific and in August of 1945 "the first atomic bomb was dropped on Hiroshima, the second on Nagasaki; the emperor airs by radio a statement of unconditional surrender." (Background, 2005, p. 5). The years of 1945-1952 brought allied occupation of Japan, with women gaining legal equality as well as the right to vote. Japan's political life was changed to a parliamentary state, and with the peace treaty signed in 1951, Japan regained independence. The "High Growth Age" in Japan occurred from the late 1950's t o the early 1970's and Japan was rewarded with a booming economy. (Background, 2005, p. 5). Japan is made up of five islands; however there are some thirty-six hundred islands in the entire group, and dozens that are actually inhabited. Japan has twenty-nine thousand kilometers of coastline, and the total land area is 142,000 square miles which makes Japan one-twenty-fifth the size of the United States, or roughly the size of Montana. Ostensibly, some one billion years ago these Japanese islands were part of the Asian mainland, however movement of the earth's plates resulted in part of the Asian coastline breaking free and traveling east. Then a mere 100 million years ago, in the area that is now the Sea of Japan, a huge lake appeared, eventually linking up with the Pacific Ocean in the north and south, leaving the highest regions to become the islands of Japan. (Lafayette, 1995, p. xi). Seventy percent of Japan's land mass is made up of high mountains and hills. These mountains have over two hundred volcanoes and geothermally active areas. There are eleven peaks in Japan that are over three thousand meters high, and thirteen that are over 2500 meters high. These mountainous areas make Japan one of the most scenic groups of islands in the world.(Layfayette, 1995, p. xi). The climate of Japan is generally rainy, with a fairly high humidity. The Japanese enjoy warm summers and long cold winters in the north, and hot humid summers and short winters in the central regions. The southwest has long, hot, humid summers, and mild winters. (Library, 2005, p. 1). Japan's population is currently 127,417,224 million people, a huge number for such a small area. Japan is second only to the United States in the number of large cities-they presently have ten cities with populations over one

Population Crisis in India Research Paper Example | Topics and Well Written Essays - 1000 words

Population Crisis in India - Research Paper Example A vast majority of the Indians are deprived of clean water for drinking, education, health care, sanitation, and employment opportunities. If the population of India continues to grow at the present rate, it is anticipated that it would have crossed the limit of 1700 million, which would be even more than the population of China. At the present rate of growth of population, India gets 16 million more people to take care of on a yearly basis. This paper discusses the effects of overpopulation in India. Population crisis in India is causing a lot of social, health, and technical problems, which endanger the solidarity and stability of India. Overpopulation in India is also a cause of myriad of social problems. People have an urge to have boys. People live in extreme poverty, to alleviate which, they encourage their children to enter the workforce in their childhood rather than getting them educated in schools. In fact, one of the main reasons of overpopulation is poverty. Poverty is bo th a cause and effect of overpopulation in India. Since India is conventionally a male-dominated society, having girls is not appreciated in India. People find it hard to marry their daughters since they have to give dowry, which they cannot afford owing to their poverty. Many Indians either abort their baby girls during pregnancy, or kill them immediately after they are born in an attempt to shed off the weight on their shoulders. Continuation of this practice over the decades has led to an imbalance between the population of men and women in India. The population of men outweighs that of the women which has led to spread in the culture of brothel houses, rape, and incest in India. Overpopulation of men in India plays a role in making it an even more conservative society, wherein women are denied their rights of working shoulder to shoulder with men. Another social problem caused by overpopulation in India is increase in crime rate. There are a lot of candidates for a single job. A ccordingly, many are left unemployed. In order to make both ends meet, people tend to acquire money through illegitimate means, thus indulging into such acts of crime as theft and robbery. It is not hard to hire a man to get someone killed in India as the frustrated poor people would agree to do anything for money. This has helped the terrorists to gain more control in India as they pay such poor people to practice their evil machinations. In addition to that, overpopulation in India has led to civil unrest and a lot of communal tensions. Overpopulation in India has exposed the people of India to a lot of health risks. Diseases like hepatitis, cancer, and AIDS are spreading rapidly. The fundamental cause of the spread of hepatitis is lack of supply of clean water for drinking. Malnutrition also increases the chances of an individual to acquire hepatitis. Millions of Indians acquire some sort of cancer every year as a result of living in a polluted environment. Among all sorts of pol lutions, air pollution and water pollution are amongst the most frequent causes of cancer in India. More and more Indians are acquiring AIDS because of lack of sex education, lack of use of contraception, and the availability of brothel houses. These and many more similar health risks have led to an increase in the spread of diseases in India. People are too poor to afford good health care. The mortality rate has surged up as a result of poor health care facilities. Overpopulation