Essay --

Hi my name is Ethyn Scott, can I ask everyone to stand up please – That was fairly easy for most of us right? Thank you, please be seated. There are approximately 1.7 million Americans living with being an Amputee, according to statistics verified by Diabetes Amputation Prevention, Net Wellness Foundation on July 28,2013. Many of these people become amputees due to health issues but most are males under age 45 that had injuries that lead to amputations due to trauma. The War in Iraq has left more soldiers with amputations than any other previous war and coined a new term Dismounted Complex Blast Injury, which involves multiple limb amputations.[1] With such high numbers of young people with multpile amputees, the need for better prosthetics , and technological advances, what was once science fiction is now a reality with the creation of the Exoskeleton. A robotic suit that allows paraplegics the use of their limbs and gives the military personal super human strength. When President Obama ended the 9 year War in Iraq 4,400 United States troops were ordered to return to their homes by January 2012. According to the U.S Defense Department the human cost of more than 5,225, deaths, 50,159, injured, over 1,572 amputees have lost one or both legs, as well as with 486 soldiers having multiple amputations, The Exoskeleton is not just for paraplegics but also the military, and what was once science fiction is now a reality. The Exoskeletons similar to Tony Stark AKA Iron Man! How many of you have seen the Iron Man movies? Well did you know his bulletproof, computer interfaced, flame-throwing, flying, weapon- loaded, body armor suit that allows him to become super human actually exists! Well not entirely, the Exoskeleton is the Iron... ... maneuverability and agility over the XOS 1 version. It is also more resistive to environmental challenges.† The XOS2 astonishing great new features allows the operator to run and walk but it is not only limited to that. â€Å"Approximately 70% of the injuries orthopedic surgeons see while serving in the region are orthopedic-related.† Due to the new ability of the suit allowing soilders to lift a large object and hold for a long period of time with out pain, this should stop the orthopedic pain caused to the body by the heavy loads. The XOS2 like the first verison the XOS(used in hospitals) is tethered to the hydraulics power source by a wire. There is a develop in a XOS2 Suit not requiring a power wire, Researchers plan to develop a fuel carrying backpack in hopes of having a battery that last 8 hours long and will allow mobility and the user in combat environments.

The Lost Duke of Wyndham Chapter Ten

Jack's usual response when delivered unpleasant tidings was to smile. This was his response to pleasant news as well, of course, but anyone could grin when offered a compliment. It took talent to curve one's lips in an upward direction when ordered, say, to clean out a chamber pot or risk one's life by sneaking behind enemy lines to determine troop numbers. But he generally managed it. Excrement†¦moving defenseless among the French†¦he always reacted with a dry quip and a lazy smile. This was not something he'd had to cultivate. Indeed, the midwife who'd brought him into the world swore to her dying day that he was the only baby she'd ever seen who emerged from his mother's womb smiling. He disliked conflict. He always had, which had made his chosen professions – the military, followed by genteel crime – somewhat interesting. But firing a weapon at a nameless frog or lifting a necklace from the neck of an overfed aristocrat – this was not conflict. Conflict – to Jack – was personal. It was a lover's betrayal, a friend's insult. It was two brothers vying for their father's approval, a poor relation forced to swallow her pride. It involved a sneer, or a shrill voice, and it left a body wondering if he'd offended someone. Or disappointed another. He had found, with a near one hundred percent success rate, that a grin and a jaunty remark could defuse almost any situation. Or change any topic. Which meant that he very rarely had to discuss matters that were not of his choosing. Nonetheless, this time, when faced with the dowager and her unexpected (although, really, he should have expected it) announcement, all he could do was stare at her and say, â€Å"I beg your pardon?† â€Å"We must go to Ireland,† she said again, in that obey-me tone he expected she had been born with. â€Å"There is no way we shall get to the bottom of the matter without visiting the site of the marriage. I assume Irish churches keep records?† Good God, did she think all of them were illiterate? Jack forced down a bit of bile and said quite tightly, â€Å"Indeed.† â€Å"Good.† The dowager turned back to her breakfast, the matter good and settled in her mind. â€Å"We shall find whoever performed the ceremony and obtain the register. It is the only way.† Jack felt his fingers bending and flexing beneath the table. It felt as if his blood were going to burst through his skin. â€Å"Wouldn't you prefer to send someone in your stead?† he inquired. The dowager regarded him as she might an idiot. â€Å"Who could I possibly trust with a matter of such importance? No, it must be me. And you, of course, and Wyndham, since I expect he will want to see whatever proof we locate as well.† The usual Jack would never have let such a comment pass without his own, exceedingly ironic, One would think, but this current Jack – the one who was desperately trying to figure out how he might travel to Ireland without being seen by his aunt, uncle, or any of his cousins – actually bit his lip. â€Å"Mr. Audley?† Grace said quietly. He didn't look at her. He refused to look at her. She'd see far more in his face than the dowager ever would. â€Å"Of course,† he said briskly. â€Å"Of course we must go.† Because really, what else could he say? Terribly sorry, but I can't go to Ireland, as I killed my cousin? Jack had been out of society for a number of years, but he was fairly certain this would not be considered good breakfast table conversation. And yes, he knew that he had not pulled a trigger, and yes, he knew that he had not forced Arthur to buy a commission and enter the army along with him, and yes – and this was the worst of it – he knew that his aunt would never even dream of blaming him for Arthur's death. But he had known Arthur. And more importantly, Arthur had known him. Better than anyone. He'd known his every strength – and his every weakness – and when Jack had finally closed the door on his disastrous university career and headed off to the military, Arthur had refused to allow him to go alone. And they both knew why. â€Å"It might be somewhat ambitious to try to depart tomorrow,† Grace said. â€Å"You will have to secure passage, and – â€Å" â€Å"Bah!† was the dowager's response. â€Å"Wyndham's secretary can manage it. It's about time he earned his wages. And if not tomorrow, then the next day.† â€Å"Will you wish for me to accompany you?† Grace asked quietly. Jack was just about to interject that, damn yes, she'd be going, or else he would not, but the dowager gave her a haughty look and replied, â€Å"Of course. You do not think I would make such a journey without a companion? I cannot bring maids – the gossip, you know – and so I will need someone to help me dress.† â€Å"You know that I am not very good with hair,† Grace pointed out, and to Jack's horror, he laughed. It was just a short little burst of it, tinged with a loathsome nervous edge, but it was enough for both ladies to stop their conversation, and their meal, and turn to him. Oh. Brilliant. How was he to explain this? Don't mind me, I was simply laughing at the ludicrousness of it all. You with your hair, me with my dead cousin. â€Å"Do you find my hair amusing?† the dowager asked sharply. And Jack, because he had absolutely nothing to lose, just shrugged and said, â€Å"A bit.† The dowager let out an indignant huff, and Grace positively glared at him. â€Å"Women's hair always amuses me,† he clarified. â€Å"So much work, when all anyone really wants is to see it down.† They both seemed to relax a bit. His comment may have been risque, but it took the personal edge off the insult. The dowager tossed one last irritated look in his direction, then turned to Grace to continue their previous conversation. â€Å"You may spend the morning with Maria,† she directed. â€Å"She will show you what to do. It can't be that difficult. Pull one of the scullery maids up from the kitchen and practice upon her. She'll be grateful for the opportunity, I'm sure.† Grace looked not at all enthused, but she nodded and murmured, â€Å"Of course.† â€Å"See to it that the kitchen work does not suffer,† the dowager said, finishing the last of her stewed apples. â€Å"An elegant coiffure is compensation enough.† â€Å"For what?† Jack asked. The dowager turned to him, her nose somehow looking pointier than usual. â€Å"Compensation for what?† he restated, since he felt like being contrary. The dowager stared at him a moment longer, then must have decided he was best ignored, because she turned back to Grace. â€Å"You may commence packing my things once you are done with Maria. And after that, see to it that a suitable story is set about for our absence.† She waved her hand in the air as if it were a trifle. â€Å"A hunting cottage in Scotland will do nicely. The Borders, I should think. No one will believe it if you say I went to the Highlands.† Grace nodded silently. â€Å"Somewhere off the well-trod path, however,† the dowager continued, looking as if she were enjoying herself. â€Å"The last thing I need is for one of my friends to attempt to see me.† â€Å"Do you have many friends?† Jack asked, his tone so perfectly polite that she'd be wondering all day if she'd been insulted. â€Å"The dowager is much admired,† Grace said quickly, perfect little companion that she was. Jack decided not to comment. â€Å"Have you ever been to Ireland?† Grace asked the dowager. But Jack caught the angry look she shot him before turning to her employer. â€Å"Of course not.† The dowager's face pinched. â€Å"Why on earth would I have done so?† â€Å"It is said to have a soothing effect on one's temperament,† Jack said. â€Å"Thus far,† the dowager retorted, â€Å"I am not much impressed with its influences upon one's manners.† He smiled. â€Å"You find me impolite?† â€Å"I find you impertinent.† Jack turned to Grace with a sad sigh. â€Å"And here I thought I was meant to be the prodigal grandson, able to do no wrong.† â€Å"Everyone does wrong,† the dowager said sharply. â€Å"The question is how little wrong one does.† â€Å"I would think,† Jack said quietly, â€Å"that it is more important what one does to rectify the wrong.† â€Å"Or perhaps,† the dowager snapped angrily, â€Å"one could manage not to make the mistake in the first place.† Jack leaned forward, interested now. â€Å"What did my father do that was so very very wrong?† â€Å"He died,† she said, and her voice was so bitter and full of chill that Jack heard Grace suck in her breath from across the table. â€Å"Surely you cannot blame him for that,† Jack murmured. â€Å"A freak storm, a leaky boat†¦Ã¢â‚¬  â€Å"He should never have stayed so long in Ireland,† the dowager hissed. â€Å"He should never have gone in the first place. He was needed here.† â€Å"By you,† Jack said softly. The dowager's face lost some of its usual stiffness, and for a moment he thought he saw her eyes grow moist. But whatever emotion came over her, it was swiftly tamped down, and she stabbed at her bacon and bit off, â€Å"He was needed here. By all of us.† Grace suddenly stood. â€Å"I will go find Maria now, your grace, if that is amenable.† Jack rose along with her. There was no way she was leaving him alone with the dowager. â€Å"I believe you promised me a tour of the castle,† he murmured. Grace looked from the dowager to him and back again. Finally the dowager flicked her hand in the air and said, â€Å"Oh, take him about. He should see his birthright before we leave. You may have your session with Maria later. I will remain and await Wyndham.† But as they reached the doorway, they heard her add softly, â€Å"If that is indeed still his name.† Grace was too angry to wait politely outside the doorway, and indeed, she was already halfway down the hall before Mr. Audley caught up with her. â€Å"Is this a tour or a race?† he asked, his lips forming that now familiar smile. But this time it did nothing but raise her ire. â€Å"Why did you bait her?† she burst out. â€Å"Why would you do such a thing?† â€Å"The comment about her hair, do you mean?† he asked, and he gave her one of those annoying innocent whatever-could-I-have-done-wrong looks. When of course he had to have known, perfectly well. â€Å"Everything,† she replied hotly. â€Å"We were having a perfectly lovely breakfast, and then you – â€Å" â€Å"You might have been having a perfectly lovely breakfast,† he cut in, and his voice held a newly sharp edge. â€Å"I was conversing with Medusa.† â€Å"Yes, but you didn't have to make things worse by provoking her.† â€Å"Isn't that what his holiness does?† Grace stared at him in angry confusion. â€Å"What are you talking about?† â€Å"Sorry.† He shrugged. â€Å"The duke. I've not noticed that he holds his tongue in her presence. I thought to emulate.† â€Å"Mr. Aud – â€Å" â€Å"Ah, but I misspoke. He's not holy, is he? Merely perfect.† She could do nothing but stare. What had Thomas done to earn such contempt? By all rights Thomas should be the one in a blackened mood. He probably was, to be fair, but at least he'd taken himself off to be furious elsewhere. â€Å"His grace, it is, isn't it?† Mr. Audley continued, his voice losing none of his derision. â€Å"I'm not so uneducated that I don't know the correct forms of address.† â€Å"I never said you were. Neither, I might add, did the dowager.† Grace let out an irritated exhale. â€Å"She shall be difficult all day now.† â€Å"She isn't normally difficult?† Good heavens, she wanted to hit him. Of course the dowager was normally difficult. He knew that. What could he possibly have to gain by remarking upon it other than the enhancement of his oh so dry and wry persona? â€Å"She shall be worse,† she ground out. â€Å"And I shall be the one to pay for it.† â€Å"My apologies, then,† he said, and he offered a contrite bow. Grace felt suddenly uncomfortable. Not because she thought he was mocking her, but rather because she was quite sure he was not. â€Å"It was nothing,† she mumbled. â€Å"It is not your place to worry over my situation.† â€Å"Does Wyndham?† Grace looked up at him, somehow captured by the directness of his gaze. â€Å"No,† she said softly. â€Å"Yes, he does, but no†¦Ã¢â‚¬  No, he didn't. Thomas did look out for her, and had, on more than one occasion, interceded when he felt she was being treated unfairly, but he never held his tongue with his grandmother just to keep the peace. And Grace would never dream of asking him to. Or scold him for not doing so. He was the duke. She could not speak to him that way, no matter their friendship. But Mr. Audley was†¦ She closed her eyes for a moment, turning away so he could not see the turmoil on her face. He was just Mr. Audley for now, not so very far above her. But the dowager's voice, soft and menacing, still rang in her ears – If that is indeed still his name. She was speaking of Thomas, of course. But the counterpart was true as well. If Thomas was not Wyndham, then Mr. Audley was. And this man†¦this man who had kissed her twice and made her dream of something beyond the walls of this castle – he would be this castle. The dukedom wasn't just a few words appended to the end of one's name. It was lands, it was money, it was the very history of England placed upon one man's shoulders. And if there was one thing she had learned during her five years at Belgrave, it was that the aristocracy were different from the rest of humanity. They were mortals, true, and they bled and cried just like everyone else, but they carried within them something that set them apart. It didn't make them better. No matter the dowager's lectures on the subject, Grace would never believe that. But they were different. And they were shaped by the knowledge of their history and their roles. If Mr. Audley's birth had been legitimate, then he was the Duke of Wyndham, and she was an overreaching spinster for even dreaming of his face. Grace took a deep, restorative breath, and then, once her nerves were sufficiently calmed, turned back to him. â€Å"Which part of the castle would you like to see, Mr. Audley?† He must have recognized that this was not the time to press her, and so he answered cheerfully, â€Å"Why, all of it, of course, but I imagine that is not feasible for a single morning. Where do you suggest we begin?† â€Å"The gallery?† He had been so interested in the paintings in his room the night before. It seemed a logical place to start. â€Å"And gaze upon the friendly faces of my supposed ancestors?† His nostrils flared, and for a moment he almost looked as if he'd swallowed something distasteful. â€Å"I think not. I've had enough of my ancestors for one morning, thank you very much.† â€Å"These are dead ancestors,† Grace murmured, hardly able to believe her cheek. â€Å"Which is how I prefer them, but not this morning.† She glanced across the hall to where she could see sunlight dappling in through a window. â€Å"I could show you the gardens.† â€Å"I'm not dressed for it.† â€Å"The conservatory?† He tapped his ear. â€Å"Made of tin, I'm afraid.† She pressed her lips together, waited a moment, then said, â€Å"Do you have any location in mind?† â€Å"Many,† he answered promptly, â€Å"but they'd leave your reputation in tatters.† â€Å"Mr. Au – â€Å" â€Å"Jack,† he reminded her, and somehow there was less space between them. â€Å"You called me Jack last night.† Grace did not move, despite the fact that her heels were itching to scoot backwards. He was not close enough to kiss her, not even close enough to accidentally brush his hand against her arm. But her lungs felt suddenly devoid of air, and her heart had begun to race, beating erratically in her chest. She could feel it forming on her tongue – Jack. But she could not say it. Not in this moment, with the image of him as the duke still fresh in her mind. â€Å"Mr. Audley,† she said, and although she tried for sternness, she did not quite manage it. â€Å"I am heartbroken,† he said, and he did it with the exact right note of levity to restore her equilibrium. â€Å"But I shall carry on, painful though it may be.† â€Å"Yes, you look to be in despair,† she murmured. One of his brows rose. â€Å"Do I detect a hint of sarcasm?† â€Å"Just a hint.† â€Å"Good, because I assure you† – he thumped one hand against his heart – â€Å"I am dying on the inside.† She laughed, but she tried to hold it in, so it came out more like a snort. It should have been embarrassing; with anyone else it would have been. But he had set her back at ease, and instead she felt herself smile. She wondered if he realized what a talent it was – to return any conversation to a smile. â€Å"Come with me, Mr. Audley,† she said, motioning for him to accompany her down the hall. â€Å"I shall show you my very favorite room.† â€Å"Are there cupids?† She blinked. â€Å"I beg your pardon?† â€Å"I was attacked by cupids this morning,† he said with a shrug, as if such a thing were a common day occurrence. â€Å"In my dressing room.† And again she smiled, this time even more broadly. â€Å"Ah. I'd forgotten. It's a bit much, isn't it?† â€Å"Unless one is partial to naked babies.† Again her laughter snorted out. â€Å"Something in your throat?† he asked innocently. She answered him with a dry look, then said, â€Å"I believe the dressing room was decorated by the present duke's great-grandmother.† â€Å"Yes, I'd assumed it wasn't the dowager,† he said cheerfully. â€Å"She doesn't seem the sort for cherubs of any stripe.† The image that brought forth was enough to make her laugh aloud. â€Å"Finally,† he said, and at her curious look, added, â€Å"I thought you were going to choke on it earlier.† â€Å"You seem to have regained your good mood as well,† she pointed out. â€Å"It requires only the removal of my presence from her presence.† â€Å"But you only just met the dowager yesterday. Surely you've had a disagreeable moment before that.† He flashed her a broad grin. â€Å"Happy since the day I was born.† â€Å"Oh, come now, Mr. Audley.† â€Å"I never admit to my black moods.† She raised her brows. â€Å"You merely experience them?† He chuckled at that. â€Å"Indeed.† They walked companionably toward the rear of the house, Mr. Audley occasionally pressing her for information of their destination. â€Å"I shan't tell you,† Grace said, trying to ignore the giddy sense of anticipation that had begun to slide through her. â€Å"It sounds like nothing special in words.† â€Å"Just another drawing room, eh?† To anyone else, perhaps, but for her it was magical. â€Å"How many are there, by the way?† he asked. She paused, trying to count. â€Å"I am not certain. The dowager is partial to only three, so we rarely use the others.† â€Å"Dusty and molding?† She smiled. â€Å"Cleaned every day.† â€Å"Of course.† He looked about him, and it occurred to her that he did not seem cowed by the grandeur of his surroundings, just†¦amused. No, not amused. It was more of a wry disbelief, as if he were still wondering if he could trade this all in and get himself kidnapped by a different dowager duchess. Perhaps one with a smaller castle. â€Å"Penny for your thoughts, Miss Eversleigh,† he said. â€Å"Although I'm sure they are worth a pound.† â€Å"More than that,† she said over her shoulder. His mood was infectious, and she felt like a coquette. It was unfamiliar. Unfamiliar and lovely. He held up his hands in surrender. â€Å"Too steep a price, I'm afraid. I am but an impoverished highwayman.† She cocked her head. â€Å"Wouldn't that make you an unsuccessful highwayman?† â€Å"Touche,† he acknowledged, â€Å"but alas, untrue. I have had a most lucrative career. The life of a thief suits my talents perfectly.† â€Å"Your talents are for pointing guns and removing necklaces off ladies' necks?† â€Å"I charm the necklaces off their necks.† He shook his head in a perfect imitation of offense. â€Å"Kindly make the distinction.† â€Å"Oh, please.† â€Å"I charmed you.† She was all indignation. â€Å"You did not.† He reached out, and before she could step away, he'd grasped her hand and raised it to his lips. â€Å"Recall the night in question, Miss Eversleigh. The moonlight, the soft wind.† â€Å"There was no wind.† â€Å"You're spoiling my memory,† he growled. â€Å"There was no wind,† she stated. â€Å"You are romanticizing the encounter.† â€Å"Can you blame me?† he returned, smiling at her wickedly. â€Å"I never know who is going to step through the carriage door. Most of the time I get a wheezy old badger.† Grace's initial inclination was to ask him if badger referred to a man or a woman, but she decided this would only encourage him. Plus, he was still holding her hand, his thumb idly stroking her palm, and she was finding that such intimacies severely restricted her talents for witty repartee. â€Å"Where are you taking me, Miss Eversleigh?† His voice was a murmur, brushing softly against her skin. He was kissing her again, and her entire arm shivered with the excitement of it. â€Å"It is just around the corner,† she whispered. Because her voice seemed to have abandoned her. It was all she could do to breathe. He straightened then, but did not release her hand. â€Å"Lead on, Miss Eversleigh.† She did, tugging him gently as she moved toward her destination. To everyone else, it was just a drawing room, decorated in shades of cream and gold, with the occasional accent of the palest, mintiest of greens. But Grace's dowager-inflicted schedule had given her cause to enter in the morning, when the eastern sun still hung low on the horizon. The air shimmered in the early morning, somehow golden with the light, and when it streamed through the windows in this far-flung, unnamed drawing room, the world somehow sparkled. By midmorning it would be just an expensively decorated room, but now, while the larks were still chirping softly outside, it was magic. If he didn't see that†¦ Well, she did not know what it would mean if he did not see that. But it would be disappointing. It was a small thing, meaningless to anyone but her, and yet†¦ She wanted him to see it. The simple magic of the morning light. The beauty and grace in the one room at Belgrave that she could almost imagine was hers. â€Å"Here we are,† she said, a little breathless with the anticipation. The door was open, and as they approached, she could see the light slanting out, landing gently on the smooth surface of the floor. There was such a golden hue to it, she could see every speck of dust that hung floating in the air. â€Å"Is there a private choir?† he teased. â€Å"A fantastical menagerie?† â€Å"Nothing so ordinary,† she replied. â€Å"But close your eyes. You should see it all at once.† He took her hands and, still facing her, placed them over his eyes. It brought her achingly close to him, her arms stretched up, the bodice of her dress just a whisper away from his finely tailored coat. It would be so easy to lean forward, to sigh into him. She could let her hands drop and close her own eyes, tilting her face toward his. He would kiss her, and she would lose her breath, her will, her very desire to, in that moment, be only herself. She wanted to melt into him. She wanted to be a part of him. And the strangest part was – right there, right then, with the golden light rippling down upon them – it seemed the most natural thing in the world. But his eyes were closed, and for him, one little piece of the magic was missing. It had to have been, because if he had felt everything that was floating around her – through her – he never would have said, his voice utterly charming – â€Å"Are we there yet?† â€Å"Almost,† she said. She should have been grateful that the moment was broken. She should have been relieved that she did not do something she was sure to regret. But she wasn't. She wanted her regrets. She wanted them desperately. She wanted to do something she knew she should not, and she wanted to lie in bed at night letting the memory keep her warm. But she was not brave enough to initiate her own downfall. Instead, she led him to the open doorway and said softly, â€Å"Here we are.†

The Role of Attachment in Infancy Is Vital in Subsequent...

â€Å"Attachment is a deep and enduring emotional bond that connects one person to another across time and space† McLeod (2009), as a core component of social and emotional development, the necessity and role of caregivers is a heavily researched area. Theories differ on the impairment that a crippled or complete lack of attachment causes to an infant in terms of social, emotional or intellectual development. These theories range from Harlow’s unethical work with infant rhesus monkeys to Chisholm’s study of Romanian orphans, the work remains relevant however in order to be aware of how to support or setback the deleterious affects that studies appear to be congruent on occur in infants of abuse or that have been abandoned. The paper Total†¦show more content†¦Within an ideal attachment relationship as suggested by Mary Ainsworth (1963, 1967) in the strange situation procedure, the caregiver acts as a secure base where to the infant can return during exploration of the environment if the infant feels insecure or fearful. John Bowlby (1969, 1988) proposed the maternal deprivation hypothesis based on the belief that infants are biologically predisposed to form attachments to a caregiver, founded upon the caregivers ability to respond appropriately to the infants needs. The maternal deprivation hypothesis proposes long-term damage due to absence of attachment with a caregiver during the critical or sensitive period, within the first two to three years of life. Caregivers responses to emotional cues through such things as affect attunement, in which the care-giver is sensitive and attuned to the infants emotions, as well as the care-givers own representation of their childhood experiences, as indic ated by such thing such as AAI are known to predict infant attachment to a caregiver. The AAI or ‘Adult Attachment Interview’ (George et al., 1996) is a semi-structured questionnaire focusing on the participant’s experience of their childhood relativeShow MoreRelatedDevelopmental Psychology : Laser Student Number : Ruby Kiddi1624 Words   |  7 PagesSeptember 2014 Attachment Theory 1. Define attachment, including reference to key theorists/researchers in this field and the contributions they have made. Attachment style theory describes the type of attachment an infant has with its mother or other main care giver which is generally first observed in a child around 5 to 7 months of age and may continue to shape them and their relationships for the rest of their lives (Smith, Cowie Blades, 2011; Downey Feldman, 1996). Attachment is an affectionateRead MoreJohn Bowlby s Theory Of Attachment1423 Words   |  6 PagesJohn Bowlby’s theory of attachment asserts that an infant forms an attachment to the primary caregiver to ensure survival. Developmental psychologist Mary Ainsworth furthered this idea by devising attachment styles in infants. Ainsworth believed that the quality of care given by the mother or primary caregiver results in the infant developing a secure or insecure attachment. Ainsworth identified three attachment styles, namely; secure, avoidant and anxious/ambivalent attachments. As the word infers,Read MoreAnalysis Of Wuthering Heights And The Poisonwood Bible146 8 Words   |  6 Pagestoday’s society. The consequences of abuse and neglect affect a wide range of categories from health and physical development; to intellectual and cognitive development; to emotional and psychological development; and social and behavioral development. In many instances, more than one type of abuse or neglect is involved, resulting in developmental delays in multiple categories. One development area always affected is behavior, as the states of all other parts factor into how a person reacts to surroundingRead MoreAttachment Theory and the Kibbutz Society5271 Words   |  21 PagesIntroduction 2 1.1- Thesis statement 3 1.2- Definition of terms 4 PART 2 5 2- Research description 5 Literature review 5 2.1- Attachment Theory 5 2.2- Growing in Kibbutz 8 2.3- Intervention programs 9 2.4- Physical issues 9 2.5- Mothers sensitivity to infant cues 10 2.6- Externalizing and its impact on children 10 Research design 11 Method 11 Findings 11 Emotional unavailability 11 Complication in mother-infant relationship 12 Limitations 12 PART 3 13 3- Historical background 13 PARTRead More Separation Anxiety and Attachment in Infants and Toddlers Essay2897 Words   |  12 Pagesmight make them wonder if they are causing their child undue stress. 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For more informationRead MoreDefinition of Adolescent Development14194 Words   |  57 PagesAdolescent development: The development of children ages 12 through 19 years old is expected to include predictable physical and mental milestones. Introduction Derived from the Latin verb adolescere (to grow into maturity), adolescence is the period of transition from childhood to adulthood. Adolescent is a distinct and dynamic phase of development in the life of an individual. It is a period of transition from childhood to adulthood and is characterized by spurts of physical, mental, emotional and socialRead MoreDefinition of Adolescent Development14200 Words   |  57 PagesAdolescent development: The development of children ages 12 through 19 years old is expected to include predictable physical and mental milestones. Introduction Derived from the Latin verb adolescere (to grow into maturity), adolescence is the period of transition from childhood to adulthood. Adolescent is a distinct and dynamic phase of development in the life of an individual. It is a period of transition from childhood to adulthood and is characterized by spurts of physical, mental, emotional and

Sonnet 71 And Annabel Lee Analysis - 1412 Words

â€Å"Sonnet 71† written by William Shakespeare, and â€Å"Annabel Lee† written by Edgar Allen Poe are two poems written with a common theme but also had distinct differences. A similarity shared in these poems is both poets putting their lovers first and show nothing but love for them. Shakespeare focuses on how he does not want his loved ones to mourn his death. Instead he wants them to remember he loved them, but as his body decays their love should as well. Poe writes about his lover, who was more than a crush as a child, it turned into a lifetime of love. He tells the readers about his lover dying and how he will not be able to completely live again. These poems both shared the theme of death and how painful this experience can be for†¦show more content†¦Both â€Å"Sonnet 71† and â€Å"Annabel Lee’s† stanzas contain a rhyme scheme. In the mechanics, they are different from each other. In Shakespeare’s poem, every other line rhymes, followed by the couplet which does not. Each verse in â€Å"Sonnet 71† is ten syllables and is written in iambic pentameter. It consists of three quatrains and a couplet. As for Poe’s â€Å"Annabel Lee,† it is also written in iambic pentameter. This poem also uses repetition. â€Å"In this kingdom by the sea,† (8) is seen variously throughout the poem. In the beginning of Shakespeare’s â€Å"Sonnet 71,† he says, â€Å"No longer mourn for me when I am dead† (1). He is writing to his loved ones telling them to not mourn his death when he passes. He wants them to forget about him, so they do not have to go through the pain that death brings upon people. Shakespeare says, â€Å"Give warning to the world that I am fled† (3), he wants the readers to announce to everyone that he is no longer here and that they should not spend their time grieving over this loss. Instead, he wants his loved ones to remember the li fe they had together in a positive way, he does not want anyone upset over his passing. Shakespeare believes that if people forget about him, it will be easier to go on with their lives. Love can leave people with a scar so deep even through the experience of death. The overall theme of â€Å"Sonnet 71† is when a loved one’s time comes, you should not mourn their death instead,

`` Utopia `` By John De Mol - 1719 Words

Ever since humans have existed on this earth the idea of a perfect world has been experimented with. Some examples are Brook Farm in Massachusetts, Fruitland also in Massachusetts, and one of the biggest â€Å"perfect world† is Jonestown in Guyana. All these â€Å"perfect societies† was attempted, but never succeeded. A positive perfect world, where every single member living in it joyfully and without worries is a Utopia. Dutch media tycoon John de Mol once said, â€Å" Utopia is a positive and constructive program that gives people the opportunity, if you can start all over again, start from scratch and create laws and make decisions, will you be able to build a society that is better than the one we have; will it be chaos or happiness†. I know for me my mind automatically thinks about the changes I would make in this world to make it perfect when I hear or see something I don t like. It just an automatic switch in my head. It happens to most people believe or not it happens. But who wouldn t want to make this world our own we all are a little bit selfish. Who wouldn t want to get rid of all the crimes, share all our riches with everyone, create a place where no one is judged, and produce an atmosphere where it s safe for our next generation to run around. Philosopher and author Thomas More would sure love to see all of these things happen. Thomas More wrote the first formal Utopia so he came up with this good or bad (however you want to view it) Utopia idea.Sir More imagined a

Damodaran on Valuation Security Analysis

Question: Discuss about the Damodaran on Valuation for Security Analysis. Answer: Introduction: Risk teams act like the defenders of the organization. Many risk and security teams will take the position that it is their job to protect the organization. That was why they were hired, and that is what they will do. This leads to multiple bad behaviors, such as telling the business units what they can and cannot do, banging a shoe on the table to demand budget in the name of protecting the organization, and fundamentally ignoring the needs of the business. Fundamentally adopting the role of the "protector" puts risk professionals in an adversarial position to the mission. In addition to being ineffective, this also reinforces that outdated dogma that this is just a technical problem, handled by technical people, buried in IT. In a risk-engaged culture, the dialogue is not about how to protect the business, but how to accomplish the business vision while engaging in appropriate risks (Lakshmi, 2016). It's a simple, but powerful dialogue change from "Here are all the risks with that idea" to "Here's how we can make that happen, given your budget and the probable risks we'll face." Mechanism of Financing Risk management is an increasing area of focus for most organizations, as risk profile complexity and interconnected relationships grow explosively. According to a 2016 survey of risk executives by the Risk and Insurance Management Society, 74% of respondents state that their ability to forecast critical risks will be more difficult in three years. Moreover, the leading obstacle to forecasting critical risks noted by these executives is the continued lack of cross-organization collaboration. To understand the full scope of risk, organizations require a comprehensive view across all business units and risk and compliance functions, as well as key business partners, suppliers and outsourced entities. As a result, new technology solutions are emerging to increase the collaborative nature of risk management, both within and external to the organization. Risk Management Model Over the past decade, risk management programs have matured to focus on more than just compliance and on the interconnected nature of operational risk across an enterprise. Gartner defines this approach to risk management as integrated risk management (IRM). IRM is a set of practices and processes supported by a risk-aware culture and enabling technologies that improve decision making and performance through an integrated view of how well an organization manages its unique set of risks. New leaders in digital risk also need the right metrics to make better business decisions by linking risk and performance. Risk metrics can also be used to direct audit and compliance resources to focus on the right areas rather than succumbing to the dreaded "check-the-box" syndrome. Gartner's research focus in 2017 will include views on how companies can link risk management and corporate performance management via metrics (Lakshmi, 2016). Using key risk indicators tied to key performance indicators , business leaders can deploy risk management resources to areas that will have the greatest impact on the future success of the business (Lau, 2016). Fire and engineering risk control Finally, to support your efforts to manage these new risks, you need the right systems. Gartner will explore the current trends for use of IRM solutions in areas such as legal, e-discovery and operational risk management. Gartner will also discuss new and future trends around the evolution of digital risk management technology. It also means accountability is measured in defensibility of decisions, and not a proxy for who to discipline when something goes wrong. Defensibility means that stakeholders would agree that the best decision was made with the information available at the time. Bad outcomes may trigger a review of defensibility, but bad outcomes do not equate to poor defensibility. A good risk-engaged culture supports a common understanding of defensibility (Damodaran, 2016). Risk-engaged cultures are sadly lacking in many organizations, and this undermines the very foundation of any risk process. If you don't have a good risk-engaged culture, then, regardless of process, decisions will not be defensible. Advantages of Risk Captive Culture Transparency is a very hard culture shift, but is absolutely necessary. It exposes the unwanted reality that you can't eliminate risk. When risk decisions are made, by definition, there will be residual risk, and many organizations suffer from reluctance to be transparent about known risks they have consciously chosen to not address. Challenges include everything from legal liability to looking bad in front of peers, management, the board, internal audit, regulators, customers, etc. However, given that there is no such thing as perfect protection, this transparency is only a reflection of reality. The benefit is that it creates better decision making and prioritization, which is good business (Damodaran, 2016). The failures of a poor risk-engaged culture are easy to spot by those who understand good risk engagement, but the impact is hard to explain to executives who have poor risk engagement. Following are some simple red flags for failing risk culture. Speculative Risk Cannot be insured It is common for executives who lack understanding of technology dependencies on business outcomes and are tired of reading headlines about hacking to declare that there is no acceptable level of risk. These are people who believe that, with the right investment and the right people, it is possible to prevent all possible security failures. There are board members who only invite the CIO to report to the board on cybersecurity so that the CIO can tell them, "Everything is going to be OK." It isn't. That isn't how technology risk works, but that gap in understanding and expectations makes it nearly impossible to engage these executives in an appropriate risk-based conversation. That is a failure of risk culture. On the other side of the spectrum, one Gartner client reported that executive management had created a sweeping and direct message to the entire organization: "Engage in more risk." There were good reasons for this, including a belief that the organization had become stagnant and predictable. Decision makers were reluctant to do most things for fear of something going wrong, and this had stifled innovation. Unfortunately this was done with no guidelines and, somewhat predictably, many managers immediately wanted to materially lower investment in cybersecurity and other technology controls where they saw no benefit. While it is possible that this an appropriate decision, the risk culture failure was that they were doing this with little or no knowledge of the attendant risks; they just wanted to jump (without a parachute). Methods of Individual Risk Rating An inconsiderate engagement of risk. Many organizations have created risk acceptance forms as a mechanism to engage executives. Gartner's experience indicates there appear to be only two types of people: those that will sign anything to get what they want, and those that won't sign anything no matter what it costs them. In both cases, the failure is not the amount of risk that is accepted, but rather the abdication of understanding the risk and the conscious decision making that makes a risk-based approach work. Engaging with risk is not about filling out a form, but in understanding all of the risks, including technology, time, cost and mission success, and determining the best way to achieve goals within an acceptable level of risk. Legal Liabilities Failures of accountability. In most organizations, "accountability" means "Who do we fire when something goes wrong?" This attitude results in a situation where no one wants to engage in any type of risk acceptance because the consequences are clear. This kills the proper engagement of any type of risk. Accountability is a critical success factor in a risk-based approach. As your risk culture evolves, accountability should more appropriately be dependent on the defensibility of the decisions that were made. Risks are always present and failures from time to time are inevitable, but when something goes wrong, the organizations should look back at the decisions that were made. If they were informed decisions with good, defensible reasoning for choosing a course of action, then it was a good risk to take. Don't fire someone for accepting a risk; fire him or her for not understanding the risk accepted. Risk Liability Failure to explain the risk. A risk culture does not sit only with non-IT executives. Risk and security teams also fail when they can't explain risk in terms of business outcomes. Executives cannot be expected to understand risks if they are explained poorly and buried in technology jargon. As in our stuntman example, a film director or producer should not be expected to understand the mechanics of practical effects such that they can independently make the call on what is acceptable. But neither can the stuntman compromise the director's vision simply because all risks can't be avoided. Indeed, engagement is the process of dialogue and compromise about what is possible with the limits of technology, time, cost and risk, and that dialogue and compromise must be two-way and thoughtful. Liability Crisis Senior business and technology leaders need to develop a narrative about risk in their enterprise. This narrative isn't about setting the "rules of engagement," but about defining the "commander's intent." It should include principles and ideals such as: "The customer experience is how we win; we must not jeopardize that experience through action or inaction." The narrative provides a "moral compass" of how the organization views risk and how risk-engaged decision making should take place. Moreover, it provides a framework for dialogue and how various stakeholders discuss risks. While this may seem trite and simple, such principles have powerful and lingering cultural effects. Consider the following two statements: "Failure is not an option" versus "Fail fast, fail early, fail often." Consider how those two statements of commander's intent would be reflected in organizational risk culture and the ongoing dialogue about risk. Simply stating publicly how the organization views risk, from the top down, and creating a framework for stakeholders to discuss and engage with risk can have a powerful impact on risk culture. References: Lakshmi, T. M., Martin, A., Venkatesan, V. P. (2016). A Genetic Bankrupt Ratio Analysis Tool Using a Genetic Algorithm to Identify Influencing Financial Ratios.IEEE Transactions on Evolutionary Computation,20(1), 38-51. Damodaran, A. (2016).Damodaran on valuation: security analysis for investment and corporate finance(Vol. 324). John Wiley Sons. Lau, C. (2016). Financial Management. Khan, M. N., Khokhar, I. (2015). The Effect Of Selected Financial Ratios On Profitability: An Empirical Analysis Of Listed Firms Of Cement Sector In Saudi Arabia.Quarterly Journal of Econometrics Research,1(1), 1-12. Robinson, T. R., Henry, E., Pirie, W. L., Broihahn, M. A. (2015).International financial statement analysis. John Wiley Sons. Hoberg, G., Maksimovic, V. (2015). Redefining financial constraints: a text-based analysis.Review of Financial Studies,28(5), 1312-1352.

Women Struggling From Their Fate

It is amazing to know how people perceive the world differently. People from various walks of life have different interpretation of daily experiences. This is so clear when discussing the issues that arise in stories by great authors. In this essay, we take a look at the perception towards women struggling to gain control over their fates as written by Kate Chopin, Merge Piercy and Gilman in their stories the Story of an Hour, Barbie Doll and Yellow Wallpaper respectively.Advertising We will write a custom essay sample on Women Struggling From Their Fate specifically for you for only $16.05 $11/page Learn More In the Story of an Hour, Kate Chopin presents an often unheard view about marriage. Chopin has tackled the issue of marriage and selfhood concept by portraying Mrs. Louise Mallard, as a strong woman. This happened due to her reaction when she is informed about the death of her husband in train accident. The reader has a perception that Mrs. Louise would be greatly affected by the death of her husband when she learns it, but this is not the case. Instead Mrs. Louise Ironically feels a relieved when she receives the bad news. Her reaction probably shows that death does not necessarily cause grief to the close family members. One thing has to die for another to thrive as the death of Louise could have opened the door to a fresh new start of a life with so much freedom. Kate Chopin seems to have a lot of things in common with her husband Louise Mallard who is also a major protagonist. They both lived during the period when women had very limited rights and privileged, prejudiced based on their gender. During this era women were required to be very submissive to their husbands. Their opinions were not regarded since women were meant to be seen, but not heard. During those days, marriage was considered a sacred institution making divorce a rare thing. In the event that as divorce was necessary, the man would automatically have the legal of controlling of all of the property and children that he had with his woman (Hicks 1). Chopin grew up in a male dominated environment. She writes many controversial stories on abusive relationship and unhappy marriage. There were a lot of things that she did that were considered contrary to the societal norms of that period. Mrs. Louise Mallard’s emotions changes from one state to another within an hour. She gets upset by the sad news of the death of a loved one but when she comes out of the room she seem to have already accepted the situation and adapting to the new situation. Though she is saddened by her husband’s death, she at once gets delighted by the reflection of her awaiting freedom. Her passion for life is so evident. She anticipates for her new life in the future and how she would live as a free woman enjoying absolute freedom. As she begins to savor the sweet sense of freedom, her husband shows up at their house still breathing. On seeing him, she i s shocked and dies because of the reality that strikes her. She is unable to bare the drastic change of emotion on learning that her husband was actually not dead. This will eventually deny her the freedom she has been longing for (Ostman 6).Advertising Looking for essay on gender studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More In the poem â€Å"Barbie Doll†, author Marge Piercy makes use of four paragraphs to scornfully describe the cultural and societal expectations of the girl child from her birth, the bringing up, life and death. A girl faces some serious social problems as she grows up in the community. These challenges include issues such as peer cruelty and societal pressure to conform to its normal and keep a certain kind of image of a woman which that society deems ‘ideal image of a woman’. A girl is shown to have a life that is full of challenges and less options to enjoy it. The society is depicting it to begin at birth, upbringing, the girl gets married and finally faces sad death. This literary piece depicts such life as boring and very short. The poem is presented in a tone of depression and sadness, depicting the culturally unacceptable image of our society. When this girl is born, she is â€Å"presented with dolls that did pee-pee/and miniature GE stoves and irons/and wee lipsticks the color of cherry candy† (Piercy 4). This exposes her to unwittingly ideals and expectations of society. The girl was given toys that were designed to teach her to adapt the life of a wife which was basically that of looking. This type of influence inadvertently pulls the girl into a different world or her subconscious without her noticing. When she hits puberty the sponge rings, sending a cascade of awareness over her. One of her classmates proclaimed to her that â€Å"you have a great big nose and fat legs† (Piercy 6). These nine simple words are not the foolish opinion of an imma ture classmate, but devastating news. Her attempts to conform to the ideals that the society teaches are no longer subconscious rather deliberate. She felt bad that she did not fit in these ideals. She kept going to and fro to her friends apologizing for her â€Å"fat nose on thick legs† which was all anyone could see. To her, no one saw that â€Å"she was healthy, tested intelligent, possessed strong arms and back, abundant sexual drive and manual dexterity† (Piercy 9), which are all good qualities, but her package wasn’t perfect. The societal pressures follow certain way of life or perception of a beautiful and attractive girl became and ultimately notion of a good woman faded away. She therefore cut her nose off and her legs too to offer them as her body and soul to the baseless societal pressures (Piercy L 12-15). She could have literally cut her nose and legs off but she sought to have them replaced by new technology of plastic surgery. This drained her phy sically and emotionally in attempts to get what society wanted her to get.Advertising We will write a custom essay sample on Women Struggling From Their Fate specifically for you for only $16.05 $11/page Learn More The fairy-tale about â€Å"Barbie Doll† depicts the society as being able to cause very destructive consequences because of the enormous pressure it puts on women requiring them to behave in certain ways of life like the looks and conduct in public. Gender roles weaken women’s self-confidence and cause havoc on their self-esteem. Piercy suggests that the creator of Barbie doll has participated actively in the male dominated society of the â€Å"patriarchal societal system† by promoting women stereotypes. As one of the leading toy selling in US, Barbie dolls have used the strategy of idealizing the female body, such that it have turned to be an iconic in the American culture. Parents purchase these dolls for their daughter s, who in turn try to attempt to imitate Barbie’s form, presentation and the values that it embodies. This symbolizes as a beautiful, though tasteless, blonde who does just anything she is told to (Beer 5). In the Yellow Wallpaper, it shows female person undergoing â€Å"treatment† for anxiety, a condition that signifies worry. It is ironical that the doctor happens to be her own husband. She is put in a room which was earlier on occupied by a mentally challenged patient. After a few weeks, the woman starts portraying symptoms of being paranoid and experienced hallucinations regularly. All the way through the story, the woman is seen to constantly refer to the yellow wallpaper (Mikolajczyk 67). The first issue that arises in the story is when interpreting the meaning(s) behind the wallpaper. The yellow color could possibly infer something concerning insanity which makes the woman to repeatedly refer yellow wallpaper patterns which are peeling off the walls. More to the point, the patterns could be suggestive of chaos erupting from orderliness. It is obvious looking at the number of times she mentions the wall pattern that it has a great impact on the mental condition of the woman. She could be delusional seeing woman move behind the wallpaper, as if she wants to break out from it. This could in fact imply that it is a ‘reflection’ of herself in the wallpaper or it she could just be hallucinating that someone behind the wall. At the end of the story, she assumes on the role of a â€Å"creeping† woman. She is seen to follow a blotch around the room and over the body of her husband who has fainted. In short, the woman has been trapped in the paper and tormented by Dr. John’s unsympathetic heart for her condition. With three kids to take care of, the mother is attempting to find humor and reflections amidst the chaos she is undergoing. When her husband was on overnight call, she could pack up the kids and head over to the h ospital for a visit. The kid could get some much needed father time and Dr. John always took a break from a very long shift.Advertising Looking for essay on gender studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More In conclusion, the three stories clearly present the world’s perception towards women who are in constant struggles to gain control over their fates. They show us what a women’s life would have been if they remained silent without any struggle. Although they are fictions, but there is a lot we can learn from them. Works Cited Beer, Janet. The Cambridge Companion to Kate Chopin. Cambridge, England: Cambridge UP, 2008. Print. Gilman, Charlotte P.†That Rare Jewel.† Women’s Journal 17 May 1890: 158. â€Å"The Yellow Wall-Paper† and Other Stories. Ed. Robert Shulman. Oxford: Oxford UP, 1995. 20-24 Hicks, Jennifer. An Analysis of the Story of an Hour. 1999. 20 April, 2011. http://www.eliteskills.com/c/6576 Mikolajczyk, Michael. Literary analysis of Marge Piercy’s Barbie Doll. 2009. Web. Ostman, Heather. Kate Chopin in the Twenty-First Century: New Critical Essays Newcastle upon Tyne, England: Cambridge Scholars, 2008. Print. This essay on Women Struggling From Their Fate was written and submitted by user Frances Morse to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.