Communicable Disease Medical Definition Assignment - 73

Communicable Disease Medical Definition - Assignment Example It spreads from person to person when a mosquito feeds on human blood (Stanhope & Lancaster, 2012). According to Stanhope and Lancaster, Malaria affects the liver and Erythrocytes, and it is characterized by high fever and other symptoms resembling those of flu. It mostly affects pregnant mothers and children under the age of five (Stanhope & Lancaster, 2012). It is one of the key contributors to infant mortality, especially in African countries, where it is responsible for over a million deaths annually. This disease was earlier considered as a tropical disease, but with the advent of global travel, the disease can affect anybody and anywhere as long as they have been to a Malaria prone region (Stanhope & Lancaster, 2012). Malaria infections in the United States occur to those people who have traveled to areas that are prone to the insect carrying the parasite. The government’s efforts in curbing malaria include medical screening at all points of entry, into the country, to e nsure that those who are infected get immediate treatment regimen to prevent further spread of the infection. It has embarked on public sensitization programs to deal with pest control and how to identify the first signs of Malaria. The use of mosquito nets, repellents, and protective clothing has also been encouraged in a number of counties where there are high mosquito populations like Louisiana and Florida. The challenges that are encountered in the prevention and treatment of Malaria are usually people related. The belief that Malaria is a tropical disease makes people and even some doctors misdiagnose the disease as a bad form of flu since most of its symptoms are flu-like. The government is also making efforts to develop a vaccine that can be given to people traveling out of the country. Â  

Overview Of Krump Dancing Drama Essay

Overview Of Krump Dancing Drama Essay Krumping is an urban art form, reflecting the African American expressive culture and the street culture. The regional location and its history of violence has propelled the style into the mainstream. Born in 1990s from the slumps of Los Angeles, it blends elements of spiritual and physical energy. Krumping is an emerging movement that is quite fresh on the dance scene, exploding with positive energy it comes from a torn world of poverty and oppression. As a spiritual art form it encompasses core elements of its history and religion through its powerful movements and sounds. Through its spiritually Krump transforms its African American dance form to a communal public art form while incorporating its street culture through its music as a creative outlet for the hardships of urban life. Each element in Krump excretes pure energy in a unique way that releases the pent up frustration of each performer, from its highly energetic movements, expressiveness and the physical toll on the perfo rmers body, the art form has yet to hit its peak. The history of Krump and its spiritual energy originates from the hard streets of South Central Los Angeles, California, but can also be traced back to its African tribal culture. Born amongst the 1965 Watts riots, a large-scale riot which lasted 6 days in protest to the American Civil Rights Act leaving the African American community a feeling of injustice and despair, and the 1992 Rodney King riots, were the acquittal of LAPD officers in the trial of the beating of Rodney King sparked a further 6 days crime spree, the dance created an escape for the youth. Being brought up in a community upheaved by of violence and oppression blighted by racism, left the youths pursuing a sense of belonging and nurturance from there distressed families of substance abuse and violence. Turning to gangs for a sense of compassion, the ongoing harassment and recruitment of gangs left a sense of hopelessness, were within a dance movement emerge, from the dissatisfaction of their daily struggles, classif ied as an urban hip-hop variation, Krump like Capoeira started as a way for trouble youths to express themselves, and escape their gang filled lives. Krump dancers would form structured and organised crews or families, a tight-knit group of individuals whose loyalties and commitment extends beyond dance. These dance circles of fellow Krumpers provide the support and stability many in their community dont receive from their own families at home. Thus through their oppressed urban culture a sub-culture of Krumping immerged, providing an alternative to the gang life style. Seen as an aggressive competitive dance due to its release of the performers personal anger, hiding beneath the rebellious exterior, lays a religious imagery of enslavement calling out for protest. There is a spirit in the midst of krump-ness. There is a spirit thereà ¢Ã¢â€š ¬Ã‚ ¦most people think, theyre just a bunch of rowdy, ghetto, heathen thugs. No, what we are is oppressed. (Julie Malnig, 2009) Krumping at its roots are connected by its history but also at its core there are traces of the African tribal culture, Dancers would perform in a circle, as a way for them to assert their wholeness. The circle is an arena of a warrior, the ring shout of slave times, in which slaves would move in a round circle while stomping and clapping. The circle of the dance is a permissive circle: it protects and permits. At certain times on certain days, men and women come together at a given place, and there, under the solemn eye of the tribe, fling themselves into a seemingly unorganized pantomime, which is in reality extremely systematic, in which by various meansshakes of the head, bending of the spinal column, throwing of the whole body backward -may be deciphered as in an open book the huge effort of a community to exorcise itself, to liberate itself, to explain itself. There are no limitsinside the circle. Frantz Fanon (1961) But also a spiritual ritual; combat, competition and artistry build a world within and the circle contains elements of a spiritual energy, a holy dance and religious trances. Even as their paths in lives may seem fray and unbound Dancers accomplishments in krumping gain them street credibility, earning respect and absorption from a life of violence. Furthermore embodied with competitiveness and spiritual aspect krumping provides sanctuary of the urban city, a state of mind with no boundaries, lines or limitations, just a sense of freedom. Rize follows the practitioners of krumping from its origins at childrens clown parties to the popular dance form that has reached mainstream audiences. LaChapelle never explores krumping beyond its inner-city setting, enforcing the krumping as an authentic art form in the city of Los Angeles in direct opposition of the materialistic, commercialism of mainstream. Beginning with Tommy the Clown, an American dancer and the inventor of clowning style, it quickly spread and evolved in to dance-battles serving as an alternative to gangs. Tommys performances developed loyal followers, growing throughout Los Angeles. Taking it upon himself he used this opportunity to give the youth a chance by being a model living positive at all times. As dancers got older the style continued to morph into even more outrageous styles. The abrasive nature of Krump makes it difficult to locate its sacred connotations; the spiritual energy brewing within its movements often convey sexuality, violence and suffe ring, but within the circle of Krumping this is the only way of making ourselves feel like we belong. (Julie Malnig, 2009) During these moments of belonging, the dancers become a contest of physical and spiritual energy, revealing their spirit and raw emotion that Krump demands. The energy and vigor of Krumping in a spiritual sense exorcises the demons and conjure spirits, but thought Krumping look wild and out of control to the unaware, it is actually self-governing and defies claims that youths are inherently violent and disruptive. The music in Krumping is danced to hardcore, beat-heavy hip-hop tracks, sometimes with no vocals. These amorphous circles and repetitive rhythmic loops entrances dancers to a spiritual state. During Rize a dancer falls under a trance which then she loses spiritual control and consciousness, collapsing into the arms of a fellow Krumper, when she is asked what has happened, she answers, I dont knowà ¢Ã¢â€š ¬Ã‚ ¦ I just let go. (Rize, 2005) The circle of spiritual energy is also used as organised healing and cathartic release, Krumpers channel their anger into a positive form , making Krumping more than a dance art form; its a coping mechanism that reveals this sub-culture to be something another than youths engaging in criminal behaviours and mentalities. Derived from Hip-Hop and Breaking, Krumping fires up people with its energetic enthusiasm of its powerful emotional expressiveness in certain Krump movements, it may represent elements joyful and painful emotions; in which can help the performer in alleviating anxiety and depression while also sharing emotions artistically. The movement exhibits an electric body shock which moulds and distortions in the body of the head, arms, face, legs and pelvis. Krump is intended as an outlet for anger or to release pent-up energy, the dance movements reflect this type of physical release, both males and females display combinations of movements similar to a blend of street fighting, moshing, spiritual possession and aerobic striptease. It is described as a volatile, warrior-like, spastic and quaking dance that involves the vigorous banding of the spine, the thrusting and popping of the chest. While the overall appearance of Krumping may look violent with battles between dancers a central compone nt, Krumpers hit each other to get energised to dance in the radical expressive and explosive ways the dance is known for. The Physical Energy is used as an outlet for frustration this passionate dance is adapted to each performers unique style, with the level of intensity differing by the emotions felt in that moment, giving the dance its own personality. When performing these actions I noticed the energy involve, initially it was about the visual actions of throwing, tossing, grabbing smashing, breaking and slashing but the more I performed these movements the more I noticed the actions that require a lot of energy, momentum and physical power to execute. In power moves, the dancers relies more on upper body strength and is usually on his or her hands during moves. An arm swing entails the arm to be tense up; as they tighten into a stiff plank, and the hand is crunched into a fist. The basic arm swing motion, the arm tended to rise and fall into the body, the movement is rhythmic with each swing. There is lift upwards and outwards where the swing is grasping for contact, each swing is flung with a strong and fierce force, while tearing at the arms socket. As the arm falls it loosens and bends, contracting into the body. The hands and arms in each one of these movements begin a chain reaction that spreads through the body, resulting i n being covered with a cloak of pure powerful energy. Wavelike movements in the torso, arms and hips are descendent from the African origin. Theres a sense of being, and a connection to your body but also a sense of power and strength. Each movement is skilfully controlled to the beat of the music. Form the Arm swing to the power moves the movements in Krump give you a sense of being untouchable while being empowering. Krumpers face off one-on-one and try to out-Krump one another, this fusion of sport, dancing and fighting With a semblance of physical combat and African tribal culture in their dance movements, Krumping allows dancers to pop their limbs, gyrate their torsos and stomp their feet to hip hop music (Rize, 2005) The pace and intensity of the music is so frantic that it suggests a kind of spiritual possession, dancers seemingly and often are instructed to lose control, this loss of control has been lyrically manifested allowing the dancers to slip out of their constraints and boxes and just let go. After losing control in the beats, they recognise that there are both limits and no limits within the circle. This expression of their true self runs on their remaining energy before passing out. The Krumping dance style makes explicit claims to the importance of its regional location and history of violence as a major propellant of the style. Spiritual Energy Religion Sound Physical Energy Movement Journal (in body experience) Expression Toll

ACG 2021, Introduction to Financial Accounting, Fall 2000, Exam 1 :: UFL Florida Business Accounting

VERSION A Page 1 ACG 2021C EXAM 1 FALL 2000 NAME _____________________________________ SS# ____________________________ Instructions: NOW: Bubble in your section number on your Scan Sheet. Fill in your name and social security number on this examination and your scan sheet. 1. Listen carefully for any comments your proctor may have related to the exam. Read these instructions carefully. Failure to do so may result in your losing points. 2. This exam consists of 50 multiple-choice questions. Select the BEST answer and mark the appropriate space on the scan sheet with a #2 pencil only. You MUST keep your scan sheet face down on the desk when you are not filling it in. 3. You may use ONLY a non-programmable calculator during the exam. Use of any other calculator will be considered a violation of the honor code. Your exam will be taken from you and you will receive a grade of 0. 4. At the end of 2 hours, you will be told to stop. Put your pencils down IMMEDIATELY. Failure to do so will result in your receiving a zero for the exam. 5. The exam consists of 13 pages, including this cover, and a blank page at the end. Make sure you have all pages and all questions. 6. Have your University of Florida Identification card ready to be checked when you turn in your exam. 7. Assume the accounting entities use a calendar year unless otherwise noted. 8. Assume a 360-day year. 9. When you are finished, turn in your scan sheet, as well as your exam. Answers will be posted on the web after the exams are handed back in class. 10. The University of Florida policy on academic honesty will be strictly enforced. When you are told to open your exam, turn to the first page and find your exam code. Immediately bubble this in on your scantron. VERSION A Page 2 1. As of December 31, Mesa Company has a balance of $5,000 in accounts receivable of which $500 is more than 30 days overdue. Mesa has a credit balance of $45 in the allowance for doubtful accounts. Mesa estimates its bad debts losses at 1% of current accounts and 10% of accounts over thirty days. What adjustment should Mesa make to the allowance for doubtful accounts? A) $95 (credit). B) $55 (credit). C) $50 (credit). D) None, the current balance is correct. E) None of the above is correct. 2. A business's balance sheet cannot be used to accurately predict what the business might be sold for because A) it identifies all the revenues and expenses of the business. B) assets are generally listed on the balance sheet at their historical cost, not their current value.

Ageism in the Workplace – Essay

FYS 1101-41 Intro to Social Justice and Diversity Ageism in the Workplace When it comes to age, the first thoughts that come to mind are the young, old, and in between. Through differentiating among the three, society has formed ageism. Ageism is a type of discrimination based on the stereotypes associated with age groups. Relating to judgments of lifestyles, personalities, and abilities based on age, ageism functions to strip individuals of their rights. It has been, and continues to be, a rising issue in the corporate world.Ageism can impact any individual, especially in the workplace, where individuals can be at a disadvantage for a variety of reasons. Considering the fact that this type of discrimination affects people of all ages, ageism is most easily discussed when divided into three groups: * Young age (16-24 years) * Middle age (25-49 years) * Older age (50- over State Pension Age) The ideas and beliefs of young adults are often discriminated against because societal norms h ave put forth the notion that their ideas are less important because they have less experience.Governments also manifest ageism by putting age requirements on job eligibility. For example, in Massachusetts, all teens under the age of 18 must complete a work permit application and obtain a work permit before starting a new job. The state has also put a limit on the number of hours permitted to work each week. With this restriction, society segregates old people from young people. Also, the idea that eighteen is the quintessential age to begin working is simply a fabricated standard based on the general behavior and maturity of 18 years olds.Even though it is not clearly visible, ageism is still present and is continuing to affect the working class. On the other hand, many jobs want to set a specific image, aiming to hire young and attractive employees to better appeal to customers. For example, the retail store, Abercrombie and Fitch specifically looks to hire young, attractive emplo yees who will represent the style found in the stores. Meanwhile younger age groups are sometimes paid less even though they are performing similar jobs to older age groups. Some employers take advantage of the fact that younger ge groups are inexperienced by paying them minimum wage and sometimes even less. As young adults are new to the workplace, they accept this type of treatment because of their need for money. In society today, younger aged people are becoming more and more independent and no longer want to rely on their parents for support. Sometimes the case is that parents do not want to support them. Because of this, they need all the money they can to survive. When applying for certain jobs, young adults can have all the necessary requirements that fit the job aside from the required age.Young adults may be as responsible and may value the desire for further advancement in their job as much as middle and older aged groups, yet they are automatically denied positions based on the simple number that is age. Young adults are just as, if not more, capable than their elders in that they are more energetic and physically strong, enabling them to work more hours and complete the task just as any of the other age groups. The bulk of the workforce falls under the middle-aged category.One’s professional peak is said to occur through their 30s and 40s. This being said, we can conclude that the middle age group is least affected by age discrimination. The stereotype is that they are more qualified for the job because they are more experienced, focused and ambitious towards their desired career while still being physically capable of benefiting the job. Within the age limits of this group, it can be said that gender also leads to ageism when women are perceived as becoming older workers at an earlier age than men.Society has created a norm that perceives the older age group as the weak and incompetent. In Older Employees: New Roles for Valued Resources, à ¢â‚¬Å"age stereotypes depict older people as frail and fragile, as having lost the vitality and energy necessary to make a full fledge commitment to their careers† (Rosen, B. , & Jerdee, T. , 1985). In the work field, managers assume that older employees are less motivated to improve their job skills compared to younger employees; therefore managers are less likely to hire them.On the contrary, many employers look to hire older people because they feel that older people are more experienced in the work place, which means that no additional training is necessary. Furthermore, employers rarely increase older people’s pay because they are less likely to switch careers. The younger groups have more opportunity to further their careers and hence, need motivation to stay loyal to their employer. Although there have been vast improvements in medicine and increases in life span, the elderly are considered to be frail and more apt to get injured or fall victim to illness.This id ea affects the working culture because this view towards older people has not changed, â€Å"This way of thinking-and acting- has been expressed in discriminatory practices such as (a) limiting or excluding older workers from substantive job responsibilities and activities, (b) removing older employees from the workforce through negative performance evaluations or through encouraging their retirement; (c) implementing insensitive, poorly conceived policies; (d) limiting older workers’ access to job-related education, career development opportunities, or employee benefits; and (e) refusing to hire or promote older workers† (Hedge J. Borman W. & Lammlein S, 2006). Generally, the idea is that â€Å"older people [are treated] less favorably than others, perhaps because of an idea that such people have outlived the useful part of their lives and that society should somehow allocate its resources to those that have something left to contribute. Older people may be segregate d and regarded as a burden or a drain on the resources of the community†, generating ageism to come into effect (Malcolm, 2007). Older workers face ageist attitudes and age discrimination. Ageism plays a harmful role in the workplace.Discrimination of age is illegal under both the Federal Age Discrimination in Employment Act, and the California Fair Employment and Housing Act. However, these laws are geared towards the elderly and offer no protection for young workers. The law of â€Å"The Age of Discrimination in Employment Act of 1967† protects individuals who are forty years of age or older from employment discrimination based on age. Not only is ageism evident in the workforce, but also it is also present in the government. There is no law whatsoever protecting young age groups. Some might say that these instances of unfairness occurring in the workplace seem acceptable.However, discriminating against someone based on how old and young they are is never justifiable. It is not ones age that determines their capability and qualifications but their competence. â€Å"Competence, not age, should determine whether a person should keep a job. To do otherwise, is to squander one of our nations most precious resources and to hasten the day of the end of those who are denied the experience that would keep them vitally and for a long time alive. †(Rosen, B. , & Jerdee, T. H. (1985). pg. 49) Age should not be a factor in the work force for many reasons.The young, the middle-aged, and the elderly all need their place in the job market. It is unfair to discriminate against those who are fully capable of completing the task efficiently entirely based on age. If employers continue to follow these trends, we will run into many problems. As the baby boom generation gets older, there will be an increase in the older working group. There is no way to prevent this and because baby boomers make up a large percentage of the population, it could create economi c issues if we don’t find ways to accommodate the needs of the elderly.Otherwise, we will have fewer workers and less wisdom to guide future generations. â€Å"The use of older workers can help organizations meet their growing and changing company objectives in a global economy while providing meaningful work rolls for middle-aged and older Americans. † (Hedge J. , Borman W. & Lammlein S, 2006). On the other side of the spectrum, young people are very valuable to the corporate world. We need the fresh ideas of young adults who are excited about starting new careers and motivated to advance their knowledge.It is also important that we encourage the independence of young people by trusting them to be responsible instead of doubting their abilities. Hedge, J. W. , Borman, W. C. , & Lammlein, S. E. (2006). The Aging workforce: realities, myths, and implications for organizations. Washington, DC: American Psychological Association. Rosen, B. , & Jerdee, T. H. (1985). Older employees: new roles for valued resources. USA: Dow Jones-Erwin. Sargeant, M. (2007). Age discrimination in employment. Retrieved from http://site. ebrary. com/lib/emmanuel/docDetail. action? docID=10209153

Article †Loricia Skin Care’s Home Spa Line

Enjoy the benefits of a private and luxurious spa treatment in which all resources exist solely for you and all attention is focused directly on your needs. This is the treatment you receive with Loricia Skin Care’s Home Spa Line, specially designed to cater to the African American woman’s skin. In fact, this product is designed to fit the varied skin types that exist, and choosing Loricia’s home spa products means choosing the service that is tailored to suit the needs of your particular skin type. We have a combination for every skin type. Choose from Mature Skin Care, Oily Combination Skin Care, Normal Combination Skin Care and Dry Skin Care products that are designed to improve all skin conditions and bring out the best in your skin. The Mature Skin Care formula will pamper your skin, cleansing it from all impurities and restoring it to its natural beauty. Your inner glow will shine through with the use of Ginseng Toner and Marine Moisturizer to bring out the health and beauty of your skin. The Combination Skin Care treatment uses gentle exfoliating cleansers, Ginseng Toners, and Sage & Citrus moisturizers to remove oil, blemishes and fortify your skin against harmful grease and grime. Normal Combination Skin Care uses a unique blend of Borage Leaf and other minerals to give your skin that extra healthy glow. It also uses Restorative Marine Moisturizer to restore your skin to the glorious splendor of youth. For Dry Skin Care, trust our revitalizing Chamomile Cleansing Lotion together with Ginseng Toner and Marine Moisturizer to remove dry, flaky skin and protect your face from wind and cold elements that dry it out. Be pampered, indulged and spoiled by our unique Home Spa products that treat you as special, as though you were the only woman in the world. Made especially for the African American skin, you will be enveloped in a warm, fresh and aromatic cocoon of lavish gratification that shows in the elegance and beauty of the skin you present to the world every day. Â   Â