Shakin baby syndrome Essay Example | Topics and Well Written Essays - 1250 words

Shakin baby syndrome - Essay Example Furthermore, the common perpetrators are normally male in 65% to 90% of reported cases. To this end, they are either the mother’s husband or boyfriend (Buttram, 9). Incidentally, whenever a child’s head is continuously shaken back and forth, the head rotates uncontrollably since the neck muscles have not been fully developed; hence there is minimal support for their heads (Buttram, 9). To this end, following the violent and erratic movement, the brain is pitched forwards and backwards within the infants’ skull. This leads to a rupturing of the nerves and blood vessels located all over the brain. The brain tissue is also torn. In addition, bleeding and bruising to the brain occurs when it strikes the inside of the skull (Comer,18). The injury also stands the chance of being aggravated in the case that the shaking episode concludes with impact such as knocking against a crib mattress or wall. This is due to the cumulative forces of acceleration and deceleration whi ch are significantly strong. Following an end to the shaking episode, the resulting swelling in the brain may lead to extreme pressure inside the skull. This consequently causes a compression of the blood vessels that eventually cause widespread injury to delicate structures in the baby’s brain. ... To this end, the severity of the signs and symptoms normally depend on the force and duration of the shaking, the recurrence of the shaking episodes as well as whether impact was involved. In some very violent cases, the victim may end up in shock, suffering from seizures or unconscious upon arriving at the emergency room (Comer, 18). As far as a child who is suffering from less severe shaken syndrome, the signs and symptoms are many. These may include, irritability, lethargy, poor swallowing of food or suckling, seizures, decreased appetite, unequal pupil size, alterations in consciousness, vomiting, inability to track movement or focus the eyes (Palusci, 24).There are physical indicators of a parent knowing if someone shook the baby. These include glassy eyes or rigidity in appearance. Neurological changes normally occur as the brain cells are destroyed and oxygen supply to the brain is depleted. In cases of severity, the baby may suffer from seizures, exhibit difficulty in breathi ng or heart failure. There are long-term and irreversible effects in the event of severe shaken baby syndrome. To this end, survivors of shaken baby syndrome normally exhibit seizure, total or partial blindness, impaired intellect, attention and memory problems, cerebral palsy, learning and speech impairments, developmental delays, as well as hearing loss (Comer,18). As far as diagnosis of Shaken Baby Syndrome is concerned, a majority of cases are reported as â€Å"silent injuries.† This means that most caregivers or parents rarely provide a medical history of any shaking injury or head trauma that affected the baby. Consequently, doctors at times are ignorant of looking for any physical or internal signs. The resulting situation is that babies can end up having multiple injuries that

Capitalism, Modernism and Postmodernism

Capitalism, Modernism and Postmodernism Eagelton’s essay, Capitalism, Modernism and Postmodernism, was first published in the New Left Review in 1983 in which his post Marxist analysis of literature is exposed. He accounts for capitalism influence on art and its role. The capitalist and late capitalist areas have seen two new forms of literature appear: modern and postmodern. The modern, Eagleton explains, â€Å"In bracketing off the real social world, establish[es] a critical, negating distance between itself and the ruling social order†[1], while postmodern works accepts the fact that it is a commodity and thus conflicts between its material reality and its aesthetic structure. Capitalism has turned art into a commodity, and after analysing this claim, the characteristics of modern and postmodern genres will be analysed, so as to understand literature’s role. Eagleton explains how â€Å"High modernity [†¦] was born at a stroke with mass commodity culture.†[2] Capitalism, as defined by Marx is the bourgeois doctrine by which they are in possession of the modes of production and manufacture goods, sold for a profit. According to most Marxist thinkers, including Eagleton, art became one of the goods that the bourgeoisie wants to monopolise, produce and sell. Art has become a commodity, dissolved into social life. Eagleton denounces the effects of late capitalism on art: â€Å"if the artefact is a commodity, the commodity can always be an artefact. Art and life indeed interbreed†[3]. Eagleton points out that that the â€Å"performative principle†, which he redefines as the deliverance of goods, also applies to the capitalist conception of art. The use of â€Å"best seller† as criteria of advertisement for literature proves that literature has become a mass commodity good. Art and literature have been influenced by some characteristics of late capitalism, such as virtual reality based on mass consumerism. Our society focuses on commodities sold to and ideologically integrated by the consumer: â€Å"The commodity is less an image in the sense of a â€Å"reflection† than an image of itself, its entire material being devoted to its own self-presentation†[4]. Art has become centred on its own image, role and place within society, because it has somehow lost its utopian role of mirroring the world, as if capitalism has perverted its function: â€Å"If the unreality of the artistic image mirrors the unreality of its society as a whole, then it is to say that it mirrors nothing real and so does not really mirror at all.†[5] Modernism and postmodernism are genres that emerged in the capitalist and late capitalist stages. They seem to have a common point: to focus on their role and concentrate on self identity. Eagleton uses de Man’s deconstructivist theory to define modernism: â€Å"Literature defines and pre-empts its own cultural institutionalisation by textually introjecting it, hugging the very chains which bind it, discovering its own negative form of transcendence in its power of literally naming, and thus partially distancing, its own failure to engage in the real.†[6] Modernism attempts at representing the real, but cannot do so and raises a paradox: it â€Å"resists commodification†[7] but is nonetheless part of it, thus part of the social and cultural superstructure of society, which it denies. Denying being part of the capitalist mass commodity is the very core of modern failure to represent the real. Postmodernism appears as a more cynical genre. Some of its features are the blurring of boundaries, pastiche and grotesque. It does not attempt to represent the world, since it is virtual, and would thus fail to describe it. Postmodernism seems to be very different from modernism on the ground that: â€Å"If the work of art really is a commodity, it might as well admit it†[8] and â€Å"become aesthetically what it is economically†[9]. Eagleton also suggests that postmodersism aims at parodying the commodity production, without adding any meaning in it; if meaning was added in the pastiche, making it parody, it would serve to alienate the self from reality, and according to postmodern thought, there is no reality it can be alienated from. All these features aim at empting the social content of art. Eagleton assessed the features of literature genres characteristic of capitalist stages, in order to draw a critical and theoretical approach of literature. He seems to focus on its ideological role, which is, more than its representational value, its only role left. Modernism deconstructs the â€Å"unified subject of bourgeois humanism, draws upon key negative aspects of the actual experience of such subject in late bourgeois society, which often enough does not at all correspond to the official ideological version.†[10] Indeed, literature acts as an ideology denouncing ideology. Capitalist ideology professes that mass consumption finally fulfils libidinal desires, when in fact, as modernism exposes, takes us away from our self and reality, from the â€Å"unified subject†Ã¢â‚¬â€a harmonious society—that late bourgeoisie claims to have reached. Postmodernism, despite not embracing the reality of society, draws upon ideological inconsistencies of the bourgeois di scourse, thus rendering itself ideological. It shows the incapacity of complying with the capitalist ideology: â€Å"the subject of late capitalism is neither simply the self-regulating synthetic agent posited by classical humanist ideology, nor merely a decentred network of desire, but a contrary amalgam of the two.†[11] The impossibility for the self to comply with all its obligations—familial, consumering, working—in the late capitalist society is denounced by postmodernism. It seems that Eagleton places literature at the centre of ideology, as a resistance to bourgeois ideology. De man explains that â€Å"the bases for historical knowledge are not empirical facts but written texts, even if these texts masquerade in the guise of wars and revolution†[12]; literature is at the heart of our knowledge, ideologically built, and seems to remain so, decades after the end of ideology was proclaimed. BIBLIOGRAPHY Modern Criticism and Theory, a Reader. Ed. D. Lodge. Eagleton, â€Å"Capitalism, Modernism and Postmodernism†. Longman: London and New York, 1988. 1 Footnotes [1]Modern Criticism and Theory, a Reader. Ed. D. Lodge. Eagleton, â€Å"Capitalsim, Modernism and Postmodernism†. Longman: London and New York, 1988. p 392. [2] Ibid. [3] Ibid. p386-387. [4] Ibid. p.387. [5] Ibid. [6] Ibid. p.391. [7] Ibid. p.392. [8] Ibid. [9] Ibid. p.393. [10] Ibid. p.395. [11] Ibid. p.396. [12] Ibid. p.390.

Modern Japanese Painting :: essays papers

Modern Japanese Painting Among my peers, art is often overlooked and is seldomly appreciated. Perhaps, with the subsequent information your interest will grow as mine did. During the end of the nineteenth century, also during the time of modern development in painting techniques, Japan entered the international world. Their culture made slight changes due to opposing virtues and renovating ideals pertaining to painting. Europe possessed many of the modernistic, innovative principles and inspired the Japanese tremendously. With the overwhelming influence of the European painting techniques, the Japanese style remained almost unaltered, yet accompanied with modernized standards. The European style migrated to Japan and imposed on the traditional and ancient methods. As a result, the patrons of the ancient style denied the effectual, European ways of artistic expression. Thus, the Japanese culture divided into two worlds: Traditional and Modern Western. The European form was not completely contradictory to the Japanese. However, the color hues, organization of motifs, and personal expression used showed great contrast. These elements were absent in Japanese paintings. The Japanese were considered archaic and anile according to the Europeans (Baker 199). Their artistic expression and reasons for the subject matter usage were constantly changing and refitting the most recent alterations in society (Gregg 757). They strive to find new ways of "representing the intrinsic beauty of nature as a higher synthesis of modern realism and characterism" (Microsoft). Symbolism and realism, "classical restraint and romantic passion" were elements attempting to apply itself to the primitive style and were used to reveal significant affinities (Microsoft). Japanese painting, concerning artistic expression, was the preferred art form and was used to deal with mental tensions and inner thoughts. They were taught the "various rules of objective realism such as linear and aerial perspective, and shading" ("Japan" 959). Their themes encompassed life, mother nature (like the Europeans, but passà ©), movement and character. The inevitable outcome was displayed by the traditional Japanese by objecting and attempting to overcome the conflict between the dual civilizations ("Japan" 958). The concurrent practices took place in a time of complex life situations, and agonies became too acute to be dealt with a traditional art form (Baker 201). In fact, the Western style actually allowed the Japanese to escape the restricted attributes such painting with definition and without perspective or visible space. It gave them more opportunities to show elaborate, uncapped emotion without the risk of condemnation by ancestral painters (Baker 193). In other words, the new method was their scapegoat or moat away from the mainland, as if it was an excuse to

How does “Taxi Driver” Essay

â€Å"Taxi driver† subvert the classical Hollywood genre due to its ending. In a classical Hollywood genre, the story is supposed to end with a resolution, but in this film we do not learn the true ending, because the one we do see is quite obscure and unexpected; Betsy in the back of Travis’ cab. There are many signs that this ending may be a figment of Travis’ imagination such as the way we are never shown Betsy actually sitting in the back of the cab, we only see her through Travis’ rear view mirror. This could suggest that the ending is more what Travis wanted to happen, not what actually happened. The film goes against classical Hollywood genre by its use of hybrid genre. Throughout the film we get scenes that make reference to film noir and thriller genres, but towards the end it mainly goes towards western, as Travis prepares for battle to the confrontation scene. This goes against the classical Hollywood genre as films usually only have one or two genres at the most, but this film even shows some comedic qualities at times. â€Å"Taxi driver† subverts the use of classical Hollywood narrative by its use of a circular narrative. We begin and end with Travis in his taxi, driving around looking for fares. This suggests to the audience that what he had to do has been done, and he is getting back to normal, but is he as unstable as ever? Throughout the film Travis has referred to the population of New York as â€Å"the scum of the earth†, but now he is behaving just like them, does this make him â€Å"the scum of the earth† also? â€Å"Taxi driver† should go along with the classical Hollywood narrative through the romance plot between Betsy and Travis at the end of the film, but the scene is awkward, and it reminds the audience of the reasons he began his plot to kill Palantine, and Sport and his gang. It also never shows the two of them together, only them looking at each other through the rear view mirror. This suggest to the audience that they can never be together, even now. Th film goes against the classical Hollywood narrative through Travis’ re-assimilation. Travis, who essentially can be classed as a villain through his actions of killing numerous people and plotting to kill even more, is represented to the population of New York as a â€Å"hero taxi driver† and how he battled the â€Å"mafia†. This makes the audience wonder just how good Travis’ actions were. The film is based on the life of Arthur Bremer, a man who was a taxi driver and plotted to assassinate George Wallace, but the plan fell through and he was arrested. Bremer’s thoughts, desires and plans are echoed throughout the film, especially through the use of Travis’ diary and the narrative he uses to read it to the audience. The film subvert classical Hollywood narrative through this, as quite often a disclaimer tells the audience that no events are related to any person living or dead, but this can clearly be related in a number of places to Bremer’s plans and actions.

College Is It Worth It Essay

Right now in our society university education is no longer an option or privilege, but rather a necessity. We are practically raised and conditioned to believe that one needs higher education in order to succeed in life. There is a saying that says â€Å"if you think education is expensive, try ignorance. † But as technology is constantly advancing and computers are running almost anything, is a college education really necessary? There are people who have never set foot in a college and are doing better than people who have their master’s degree. There are views from both sides that contain a valid argument. The main reason why people go to college is not because they want to but because they have to. Most 11th and 12th graders are pressured by their parents to go to college because it is â€Å"the right thing to do. â€Å"† In the essay that Caroline Bird wrote â€Å"College is a Waste of Time and Money†, she states that students go to college because † . . . Mother wanted them to go, or some other reason entirely irrelevant to the course of studies for which college is supposedly organized. † The student may have different ideas about what he or she wants to do in life, but because they think that their parents know what is best for them, they probably end up doing something they do not want to do, resulting in being miserable and resentful. Let’s face it, going to college is socially prestigious. Most people go to college only for the title of being called a college student. For some young people, it is a graceful way to get away from home and become independent without losing the financial support of their parents. They do not want to be looked down upon so they do what would look â€Å"best in the eyes of society†. It is practically beat into our heads that in order to be a respectable citizen of society, you should have some sort of university education. Being a college student is perhaps a more respectable role than being, for example, a clerk or a garbage man because of the negative connotations such jobs receive. Going to college and getting a degree does not necessarily guarantee that an individual is going to get a job right after graduation. It is hard out there for recent graduates to find a good job since there is so much competition due to the insanely increasing numbers of our population and a wildrace for the lions share in every field. Even if they do get a job, it is usually not in what they got their degree for. Many college students would feel that college is a waste of money because they do not learn what they want to. Instead they have to take classes that have close to nothing to do with their major but are only taking these classes in order to fulfill a general educational requirement. Upon graduation, some feel that they are at a disadvantage because more time could have been spent on learning more within their field of study and less on irrelevant materials. Now for the pros of having a professional college education. The major reason of going to college is, of course, to get a good job. College prepares us with academic knowledge in order to succeed in the future. According to Ernest Boyner higher education is essential for preparation for one’s future. He states that: In spatial terms, teaching and learning may begin in a classroom, but course work also spills over into the life of the campus and the community. Students engage in experimential learning and co-curricular activities that take abstract ideas and anchor them in real-life problems. As the competition to get a decent job is increasing, it is close to impossible to obtain a high paying job without at least a bachelor’s degree. Many jobs that only used to want their workers to have a high school diploma now require some college education due to their extremely complicated nature. Another way college is worth the money, however, is because it is one of the few institutions that often contains people of different ethnic and racial backgrounds. Such a situation allows one to develop their social and communicative skills because they are exposed to unfamiliar cultures. This is necessary for the fact that a person does not want to come across as ignorant towards a certain culture. This only, however, comes in handy when you are being educated abroad. College is like a stepping stone to becoming a responsible adult because for the first time most people are practically on their own (that would definitely include me). It is completely different from high school in that not only that school has to be dealt with, but you have to juggle your personal time and financial state as well. They go away to college and face circumstances that they would most likely come across when they finally do go on their own. Bills have to be paid, time has to be managed efficiently, and deadlines have to be met, just like in the â€Å"real world. † College is not only about getting a good job ‘but about acquiring knowledge and broadening one’s horizon. A lot of courses that are at school are not needed for a certain major but are just there for interested people who want to learn more about a certain subject. Bowen explains this by breaking it down into three aspects: †¦ the specific goals for the education function are derived. This function†¦ is intended to help students develop as persons in three respects: cognitive learning, by expanding their knowledge and intellectual powers; affective development, by enhancing their moral, religious, and emotional interests and sensibilities; and practical competence, by improving their performance in citizenship, work, family life, consumer choice, health, and other practical affairs. It is sometimes just as good to be an intelligent person and know about a lot of things instead of being someone who makes a lot of money. My admission into an arts college after a lifetime of struggle of being an a-grade science student, had led me to seriously consider the complexity of this topic and what i have learned is that college definitely has its pros and cons. But I think that college is what you make of it. It can be the best time of your life, but only if you want it to. You can take the pessimistic view about it and think that college is a waste of money, or it can be looked at as a challenging and exciting new frontier that basically will set the precedent for the rest of your life. No matter what i learn in this environment that has been setup on an organised platform to produce strong and self assured individuls that will help make this deteriorating world a better place to live in ,even if we do’nt do it conciously, what I know for sure is that the education I recieve in this college will always be of invaluable worth once i step out in the ruthless fish-eat-fish world.