Financial Planning And The Business Planning Process

Introduction Planning is a significant and necessary step for all businesses (Topfer, 2011), but its importance is magnified for entrepreneurs starting a new business. They must determine if they have a viable product/service that a business can be structured around, create a projection on how the business will potentially perform financially, required sales levels to turn a profit, etc. Without the proper planning and analysis, entrepreneurs are setting themselves, and their business, up for failure. There are many tools available to entrepreneurs to help determine if their proposed business will provide a needed product or service and if the business to offer and manage those products and services will be successful. One of these tools is that of a feasibility analysis. This paper will discuss exactly what this analysis is and the benefits it provides to the entrepreneur. Financial planning is another step successful entrepreneurs will utilize in the business planning process. A m ore in-depth process than that in the feasibility analysis, this process involves making calculating projections of the business venture’s financial performance. This paper will further identify why the financial planning process is imperative to an entrepreneur’s business planning. One component of financial planning for new businesses is determining the level of sales they will earn. It is important that organizations research and forecast these levels, as this revenue is what will help driveShow MoreRelatedManagerial Accounting1152 Words   |  5 PagesAccounting Accounting is a crucial part in running a business. There are various forms of accounting that can be used, it is very important to know which technique is best to use for what companies. Once you figure out a particular technique to use, it is important to keep an open mind if there are any changes that need to take place in the business. 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Alto Golf Course Free Essays

string(154) " terrain and holes ranging from 58 to 160 meters, the ability to hit precise shots and deliver accurate puts are the secrets to scoring well on any game\." Alvor, home to breathtaking white sand beaches, a blue sea clear beyond compare, and spectacular cliffs, is also home to the Alto Golf Course—the last golf course by Sir Henry Cotton, the legendary three-time winner of the British Open. Upon his passing, the Alto Golf Course project was continued by the golf journalist, Peter Dobereiner. For its backdrop, the course has the beautiful Monchique mountains. We will write a custom essay sample on Alto Golf Course or any similar topic only for you Order Now Adding to its beauty are two valleys, fairways, and greens that gently wind and undulate. In the first nine holes, the players are treated to a breathtaking view overlooking Lagos Bay. In the last 9 holes (which face inland) is the famed hole number 16, nicknamed the â€Å"Giant,† which is probably the longest hole in all of Europe. For all of its 604 metres, it is a Par 5 challenge. It is so challenging, that anyone who can do 5 strokes or under for this is given a certificate and his or her name is added to Alto Golf Course’s roll of honour. For a golf course designed by two major greats, packed with challenges and decorated by amazing scenery, this is a golf course one just cannot afford to miss. If making a pilgrimage to the golf capital Algarve, the Alto Golf Course should be among the top of one’s list. Course Facilities Bar and Restaurant, Driving Range, Golf Academy, Golf Clubhouse, Men’s and Ladies’ Locker Rooms, Practice Bunker, Pro Shop, Putting Green, Resident Professional Course Details Location: Alvor, Portimao, Algarve Course Type: Championship Course Category: Championship Architect/Designer: Henry Cotton Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 72 Yards: 6,699 Length: 6,215m Pestana Gramacho Golf Course Course Information and Presentation Almond groves, olive trees, fig trees, pine trees, and Carob trees all decorate the landscape of Pestana Gramacho Golf Course, a rolling 6,107 meters of golf challenges. Pestana Gramacho is an eighteen-hole wonder, with nine holes added in June 2002. Designed by Ronald Fream, it is situated in the midst of the golf capital of Algarve. Pestana Gramacho is a member of the Carvoeiro Club, which is a fishing village 60 kilometres from the Faro Airport. This means that if one aims to finish a game in the Gramacho, at least an hour and a half of travel allowance should be observed if one is to catch a flight elsewhere after a game. Pestana Gramacho Golf Course is a very challenging course and one would need to negotiate the dense vegetation during a game. A deft drive to the fairway’s right would be needed in hole number 2, which, at par 5, requires a ball dodge to the tall pine trees. Hole number 6 is much of a challenge too, because a drive to the tee over a body of water at par 3 is needed. A real challenge, the Pestana Gramacho Golf Course is a par 72 course off the back tees, reminiscent of the St. Andrews double greens. It has 18 large double greens, making it an unparalleled experience for even the veteran golfer. Course Facilities Bar and Restaurant, Basketball Court, Bunker Practice Area, Chipping Green, Driving Range, Football Field, Golf Academy, Golf Shop, Lawn Bowling Green, Pro Shop, Putting Green, Tennis Court Course Details Location: Quinta do Gramacho, Lagoa, Algarve Course Type: Resort Architect/Designer: Ronald Fream Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 9 Par: 36 Yards: 6,473 Length: 2,980m Vale do Milho Golf Course Course Information and Presentation The Vale do Milho Golf Course is perfect for those wanting a short game but don’t want to compromise on the challenges golfer might face: it is only 970 meters, but is packed with challenges that would test even golfing champions. Designed by David Thomas, this 9-hole course is located two kilometres from the coastal village of Carvoeiro. This golf course is great for practising one’s short irons. What it has is a good number of bunkers, and even water hazards, to keep a golfer challenged all throughout the golf course’s 970 metres. The Vale do Milho is not just a challenging course; it also features breathtaking spots such as waterfalls, and a wonderful view of the sea. With views and spots to relax and just breathe nature in, a golfer would be treated to a truly delightful time on the green in Vale do Milho. A trivia: David Thomas is also the designer of the Brabazon Course. It is located at The Belfry, just near Birmingham, England. The Brabazon Course had enjoyed the honour of playing host to the Ryder Cup, for three times at that, in 1985, 1989, and 1993. This is the world’s most prestigious golf tournament, a biennial convergence of American and European golfing teams. With designing credentials like David Thomas’s, and its own natural charm, the Vale do Milho is a golf course worth taking a trip to. Course Facilities Bunker Practice Area, Chipping Green, Driving Range, Golf Academy with Computer and Video Swing Analyser, Pro Shop, Putting Green, Snack Bar, Snooker Room Course Details Location: Praia do Carvoeiro, Lagoa, Algarve Course Type: Resort Architect/Designer: David Thomas Required Handicap: None Men’s Handicap: None Women’s Handicap: None Holes: 9 Par: 27 Yards: 1,012 Length: 926m Balaia Golf Course Course Information and Presentation Located within the confines of Balaia Golf Village (a resort and holiday establishment) between Albufeira and Vilamoura, the Balaia Golf Course caters to golfers of all ages and ranges of skill. Dubbed as the â€Å"Executive Course†, the Balaia Golf Course’s title indicates the high quality of its layout, with subtle changes that present great challenges for gofers of all handicaps. The Balaia Golf Course opened as a 9-hole course in 2001, its compact layout designed to challenge the golfer’s precision and shot length control—the course boosts the demands of a game and golfers are expected improve their iron shots and short games as a result. With subtle changes in the terrain and holes ranging from 58 to 160 meters, the ability to hit precise shots and deliver accurate puts are the secrets to scoring well on any game. You read "Alto Golf Course" in category "Papers" The course is lovely to behold with its wooden bridges, lakes, manicured greenery, and elegant clubhouse serving as a backdrop. Located within a resort village, the Balaia Golf Course arguably has one of the most extensive amenities among the courses in the Algarve. A weekly 9-hole friendly tournament, the Stableford Tournament, is also open to all golfers every Wednesday. Course Facilities Bar and Restaurant, Beach Resort, Beauty Parlour, Bunkers, Chipping Green, Driving Range, Gift Shop, Golf Academy, Hairdresser, Health Club, Hotel, Indoor and Outdoor Swimming Pools, Medical Clinic, Men’s and Ladies’ Locker Rooms, Pitching Green, Pro Shop, Putting Green, Resident Professionals, Souvenir Shop and Tobacconist, Supermarket, Tennis Courts Course Details Location: Balaia Golf Village, Albufeira, Algarve Course Type: Resort Architect/Designer: South Golf Required Handicap: Handicap Certificate Men’s Handicap: 28 Women’s Handicap: 36 Holes: 9 Par: 27 Yards: 1,076 Length: 984m Pine Cliffs Golf Course Course Information and Presentation The spectacular cliffs of Algarve, a breathtaking view of the Atlantic Ocean, a 9-hole golf course with the 9th hole affectionately called the â€Å"Devil’s Parlour†Ã¢â‚¬â€all these are elements of the Pine Cliffs Golf Course, which is just a stone’s throw away from the Sheraton Algarve Hotel. The Pine Cliffs was built in a pine woodland edging the cliffs of Algarve. It was opened in 1990, and was designed by Martin Hawtree, from Hawtree Son of England (also the designers of the Cerregueira course). The â€Å"Devil’s Parlour† is a hole located over a cliff with a 200-foot drop. Its Par 3 ninth is the signature hole, as it is 140 metres over the deep chasm. Par 4 is no less challenging, because the golfer’s drive must go through a narrow gap between pine trees. But what makes Pine Cliffs a golf course worth going on a â€Å"pilgrimage† for is the challenge it poses to its players: nine holes, 2274 metres in length, and the famed 9th hole—the one over the ravine. Add to that the tempting beaches of Algarve and the fact that the Sheraton Algarve Hotel is a 5-star hotel. With all these amenities and features, a golfer would not want to miss playing this amazing Algarve golf course. Another â€Å"attraction† to the Pine Cliffs golf course is that its president is the British Formula One motor racing star Nigel Mansell. Course Facilities Bar and Restaurant, Chipping Green, Driving Range, Golf Academy, Golf Clubhouse, Golf Shop, Hotel, Men’s and Ladies’ Locker Rooms, Private Beach, Pro Shop, Putting Green, Swimming Pool, Tennis Court Course Details Location: Pinhal do Concelho, Albufeira, Algarve Course Type: Links Course Category: Links Architect/Designer: Martin Hawtree Required Handicap: None Men’s Handicap: None Women’s Handicap: None Holes: 18 Par: 33 Yards: 6,690 Length: 2,274m Vilamoura Old Course Course Information and Presentation Vilamoura Old Course is a Frank Pennink masterpiece. One of the most popular on the Algarve, it is set on property that features a luxuriously green landscape, with tree-lined fairways that make it a challenge for golfers. Situated in the outskirts of Vilamoura, it is nestled close to Algarve’s breathtaking beaches. The Old Course (Vilamoura l) was inaugurated in 1969, and then renovated in 1996. The Vilamoura Golf Courses, which feature three separate layouts, are part of the places-to-be in terms of where to golf in Europe. It had played host to the 1979 Portuguese Open, in which Brian Barnes won. The fairways had been renovated in 1997. Pine trees run through the verdant and lush fairways, and these add challenge to the game. The course starts with easy Par 4 holes. This would be a breeze for those who keep their golf balls on the fairway, as the green of the Par 4 holes can be reached with a deft drive. The highlights of the golf course include the highly challenging Par 3 holes, which would stretch a player’s skill, for the player has to have great control over the ball, and his irons selected carefully. The trees make the game more challenging and the greens are small, making little room for error on the player’s part. The behind-the-scenes are to be credited for the excellence of the Vilamoura Golf Courses: the excellent irrigation system keeps the green healthy, while the excellent staff is attentive to the golfers’ needs. It is no surprise, then, that the Vilamoura Golf Course is one of the most favoured golfing destinations among all the other golf courses in Europe. Course Facilities Bar and Restaurant, Driving Range, Golf Clubhouse, Golf Shop, Men’s and Ladies’ Locker Rooms, Pro Shop, Putting Green Course Details Location: Vilamoura, Quarteira, Algarve Course Type: Championship Course Category: Championship Architect/Designer: Frank Pennink Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 73 Yards: 6,970 Length: 6,254m Vilamoura Victoria Golf Course Course Information and Presentation Designed by renowned architect, Arnold Palmer, the Victoria Golf Course is considered one of Europe’s best, and is comparable to the creme de la creme of golf courses such as Oitavos. It one the latest golf courses to have opened in the Vilamoura area, it is currently one of the longest 18-hole courses in the whole of Portugal, with holes featuring a minimum of 5 tees for golfers of all handicaps. The Victoria Golf Course’s terrain is virtually flat, with a series of man-made mounds specially designed to mimic the shapes and outlines of inland hills. This feature gives a feeling of harmonious motion. Bodies of water have been etched on the landscape to serve as an attractive backdrop to the course. Existing wetlands and native vegetation were also carefully preserved. The design of the Victoria Golf Course is one of the most sophisticated in Europe. Not one green among the 18 greens of the course is alike, as its design team created them to have totally different shapes, sizes, and consequently, difficulties. Local knowledge of the course layout and landscape is therefore an advantage. The 2005 World Golf Championships took place in the Victoria Golf Course—a testament to its excellent quality. Course Facilities Bar and Restaurant, Buggy Bar, Driving Range, Golf Clubhouse, Golf Shop, Men’s and Ladies’ Locker Rooms, Pro Shop, Putting Green, Valet Service Course Details Location: Vilamoura, Algarve Course Type: Championship Course Category: Championship Architect/Designer: Arnold Palmer Required Handicap: Handicap Certificate Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 72 Yards: 7,215 Length: 6,560m Vilamoura Pinhal Golf Course Course Information and Presentation A Frank Pennink masterpiece, the Vilamoura Pinhal Golf Course, also known as Vilamoura 2, is a beautiful course set on a rolling, meandering, countryside. It is lined with umbrella pine, and is more open than the Old Course. The greens are much smaller, however, and would require your shots to be 100 percent accurate. The Pinhal Golf Course is located on the outskirts of Vilamoura. It had to be redesigned by Trent Jones in 1985, due to urban development. He incorporated both British and American layout concepts in the remodelling of the golf course, thus, the golfer needs to employ different styles of playing to negotiate the layout of the course. The most challenging hole has to be hole 17. For a Par 5 championship tee, it has all of 502 meters, and is a pretty complicated shot, even to veteran golfers. But nonetheless, playing the Pinhal remains an extraordinary experience. One very attractive feature of the Pinhal Golf Course is the fact that it was built in the midst of breathtaking pine woodland. It also has a spectacular view of the sea, which makes playing on this course an absolutely delightful experience. A trivia: The Pinhal Golf Course was chosen for the use of the 1988 Portuguese Ladies’ Open, a part of the professional European circuit for women. Course Facilities Bar and Restaurant, Chipping Green, Coffee Shop, Driving Range, Golf Clubhouse, Golf Shop, Men’s and Ladies’ Locker Rooms, Pro Shop, Putting Green Course Details Location: Vilamoura, Quarteira, Algarve Course Type: Championship Course Category: Championship Architect/Designer: Frank Pennick Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 72 Yards: 6,400 Length: 6,300m Vilamoura Laguna Golf Course Course Information and Presentation The Vilamoura Laguna Golf Course (also known as Vilamoura 3), designed by Joseph Lee and William Roquemore, is located on the periphery of Vilamoura, near the breathtaking coastline of the Algarve. The Laguna Golf Course opened its doors in 1990. It sports three nine-hole courses, with ten lakes scattered all throughout the grounds. For the greenery, the designers chose Bermuda grass. Being close to the sea, the Laguna Golf Course has wet, marshy grounds, which pose a challenge to even the most serious of players. Water is a constant contention, and bunkers have been strategically placed to provide challenge to the players. Precision in the placement of both the tee and the fairway shots are needed, and the greens have to be approached accurately. The course is a Par 72 game in all the 18-hole courses. Water hazards have been scattered all throughout the course, not to mention that the grounds are marshy and near the sea. Care is to be taken with choosing the clubs to use, because of the challenges that dot the course. While the course is challenge-filled, it is not that long a course, relatively—a golfer can thus play without straining himself too much. Pleasure—sports-wise and aesthetics-wise—await the golfer out for a relaxing time on the green. Every second you spent in the course is a sheer pleasure. Course Facilities Bar and Restaurant, Buggy Bar, Bunker Practice Area, Chipping Green, Driving Range, Golf Shop, Pro Shop, Putting Green Course Details Location: Vilamoura, Quarteira, Algarve Course Type: Championship Course Category: Championship Architect/Designer: Joseph Lee Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 72 Yards: 6,746 Length: 6,133m Vila Sol Golf Course Course Information and Presentation The Vila Sol is in between Vilamoura and the Quinta do Lago. Opened in 1991, it is already one of the main places to go to in terms of golfing in Portugal. The Vila Sol Golf Course, a sprawling course designed by Donald Steel, is home to 27 holes categorized as Prime (holes 1-9), Challenge (10-18), and Prestige (19-27). It operates as three 9-hole loops, and requires accurate shots in its pristinely kept green. The Vila Sol is wrapped around a massive pine woodland, where fig, oak and almond trees abound. The architectural style used here is that of the British school—this poses a bit of a challenge to the golfer’s strategic skills, especially with the trees, lakes and bunkers dotting through the entire golf course. The most difficult holes on the entire course are always the first four holes. If a golfer wants a low overall score, he better work hard on those four early in the game. The Vila Sol features sceneries of diverse woodlands and a challenging game to boot. Its charm partly lies in its great variety of trees. What makes it the ultimate in golfing experience however, is the fact that it is home to excellent and well-kept facilities. In the years 1992 and 1993, it was selected for the Portuguese Open, which sealed its international acclaim. Course Facilities Bar and Restaurant, Beach Club, Chipping Green, Driving Range, Golf Academy, Golf Clubhouse, Golf Shop, Men’s and Ladies’ Locker Rooms, Pro Shop, Putting Greens, Sauna, Tennis Court, Tennis Court, Turkish Bath Course Details Location: Vilamoura, Quarteira, Algarve Course Type: Championship Course Category: Championship Architect/Designer: Donald Steele Required Handicap: Handicap Certificate Men’s Handicap: 27 Women’s Handicap: 35 Holes: 18 Par: 72 Yards: 6,762 Length: 6,242m Vale do Lobo Ocean Golf Course Course Information and Presentation Vale do Lobo Ocean Golf Course, situated east of Vilamoura, is one of the most famous courses in Europe, with its 16th hole (which features a tee over two ravines) being arguably the most photographed hole in the world. The hole plays to a green located over a deep ravine in the cliffs. As one of the oldest golf courses in the province, it has placed the Algarve on the map as one of the best golfing destinations in the world. It opened in 1966 and served as a venue for the Portugal Ladies Open (part of the WPG European Tour) in 1987, as well as the Portuguese Open in 2003. Much of the Vale do Lobo Ocean Golf Course is situated near the Atlantic sea, which serves as a breathtaking backdrop for golf games. Winding through thick pine forests before getting to the Ocean holes, the winds passing through the Vale do Lobo Ocean Golf Course is challenge to even the most experienced golfer. With narrow fairways, precision and accuracy are important for a getting a good score. Olive, pine, orange, and eucalyptus trees abound, creating excellent and challenging training conditions. Course Facilities Bar and Restaurant, Beach, Chipping Green, Driving Range, Golf Academy, Golf Clubhouse, Golf Shop, Men’s and Ladies’ Locker Rooms, Practice Balls, Practice Green, Practice Net, Pro Shop, Putting Green, Swimming Pool, Tennis Court Course Details Location: Vale do Lobo, Almancil, Algarve Course Type: Championship Course Category: Championship Architect/Designer: Sir Henry Cotton Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 72 Yards: 5,799 Length: 5,495m Pinheiros Altos Golf Course Course Information and Presentation The Pinheiros Altos Golf Course is located eighteen kilometres east of Vilamoura in Quinta do Lago. Designed by American architect Ronald Fream and opened in June of 1992, this over 6-kilometer long golf course is the site of professional golfer pilgrimage before tournament seasons begin. The point of seduction is the spacious practice ground that includes three putting greens, bunker areas, and chip shots, along with several other greens. There are also comprehensive golfing programmes for golfers of all skill levels. Included in these programmes are video analyses of golfers’ swings. The Pinheiros Altos is so constructed that the first nine holes are built on sandy, hilly ground lined with umbrella pine trees, while the back nine are on level ground peppered with lakes that translate into water hazards, and even sticky sand traps that challenge even the most skilled of players. What makes the Pinheiros Altos Golf Course extraordinary is not just the fact that it is an avenue for golfers to practice; what is more alluring about it is that it is just beside the Natural Park of Ria Formosa, home to a diverse array of bird species, and intriguing flora. Beyond the exotic charm of the nature park beside it and its use as a practice ground, the excellent upkeep of the Pinheiros Altos is what makes it a golfing destination worth going to, especially for the most devoted of golfers. Course Facilities Bar and Restaurant, Buggies, Bunker Practice Area, Caddy, Chipping Green, Club Fitting Centre, Driving Range, Golf Academy, Golf Clubhouse, Golf Shop, Pro Shop, Putting Green, Trolleys Course Details Location: Quinta do Lago, Almancil, Algarve Course Type: Championship Course Category: Championship Architect/Designer: Ronald Fream Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 72 Yards: 6,615 Length: 6,049m Quinta do Lago North Golf Course (formerly Ria Formosa) Course Information and Presentation Located in heart of town, the Quinta do Lago North Course is considered to have the best finishing holes in the Algarve. The course provides an excellent test of ability for players of all handicap levels. Its terrain—with sandy soil, dense umbrella pine forests, and various vegetations—offers very different challenges. Three architects designed it: William Mitchell designed holes 1-5 and 15-18, while Joseph Lee and Rocky Roquemore designed holes 6-14. Accuracy and the right selection of golf club is an important aspect of winning a game. The course features four par 5 holes that require hard and solid drives, as well as great accuracy, to play well and get good scores. The Par 4 holes are mostly doglegs, with the exception of the 10th and 13th holes. The ability to negotiate winds plays a big part when playing in the par 3 holes. The lakes on the 13th and 18th holes pose as daunting obstacles and have claimed many balls. The bunkering is top-notch, both on the fairways and the greens, and gives the course an edge over many other courses of similar quality and design. Course Facilities Bars, Boutique, Chipping Green, Driving Range, Golf Academy, Golf Clubhouse, Golf Shop, Men’s and Ladies’ Locker Rooms, Pro Shop, Putting Green, Restaurants, Tennis Court, Trolleys Course Details Location: Quinta do Lago, Almancil, Algarve Course Type: Championship Course Category: Championship Architect/Designer: William Mitchell Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 72 Yards: 7,074 Length: 6,205m Sao Lourenco (San Lorenzo) Golf Course Course Information and Presentation The Sao Lourenco is a very celebrated golf course, rated the second best golf course in Europe by the Golf World magazine. It was designed by Joseph Lee and William Roquemore, and is exclusive to Dona Filipa and Penina guests. Situated beside the Atlantic Ocean, the Sao Lourenco boasts a diverse terrain of pine trees, and even lakes and beaches. What adds more charm to this golf course is the fact that it is beside the Ria Formosa Park in Quinta do Lago. The Ria Formosa is home to exotic flora and fauna, thus, golfers who want to unwind can enjoy nature at its most enticing just a stone’s throw away. The entire course is a challenging Par 72, at 6,238 meters in length. The 5th hole allows the golfer to catch a glimpse of the Ria Formosa, while the 6th and 7th holes flirt with the wetlands. It also has the legendary 8th hole, which requires three absolutely perfect shots to get to the green. Even the best players of Portugal had trouble negotiating this 8th hole. Course Facilities Bag Drop, Bar and Restaurant, Boutique, Buggies, Bunker Practice Area, Chipping Green, Club Hire, Driving Range, Golf Academy, Golf Clubhouse, Golf Shop, Men’s and Ladies’ Locker Rooms, Practice Balls, Pro Shop, Putting Green Course Details Location: Vale do Lobo, Almancil, Algarve Course Type: Championship Course Category: Links Architect/Designer: Joseph Lee Required Handicap: Certificate preferred Men’s Handicap: 28 Women’s Handicap: 36 Holes: 18 Par: 72 Yards: 6,860 Length: 6,238m How to cite Alto Golf Course, Papers

Diabetes And Types Essay Example For Students

Diabetes And Types Essay DiabetesDiabetes is little or no ability to move glucose out of the blood into the red blood cells. Nearly 16 million people have diabetes in the United States, which narrows it down to about 1 out of every seventeen people. About 2,150 new cases are diagnosed each day. Many of us do not clearly know what diabetes is and the different categories that it is classified in. The first type of diabetes that will be discussed is type 1 diabetes and steps that can be taken to diagnose diabetes. The second type of diabetes that will be talked about will be type 2 diabetes and how it effects patients. The third type of diabetes is gestational diabetes and how exercise can help control diabetes. This paper discusses type 1 diabetes, type 2 diabetes, and gestational diabetes, their causes, diagnosis, treatments, and how they effect the patient. The first type of diabetes that will be talked about will be type 1 diabetes or insulin-dependent diabetes mellitus. People with type 1 diabetes don’t produce insulin and need regular shots of it to keep their blood glucose levels normal (What is Diabetes, Type 1). Almost half of the people with this type of diabetes are aged 20 and younger (Bernstein 167). That is why type 1 diabetes was once called juvenile onset diabetes, but the name has been dropped because it also strikes young adults. Type 1 diabetes accounts for only about 5 to 10 percent of the disease. The vast majority has type 2 diabetes. Risk factors for type 1 diabetes are a family history of the disease, the white race and being at an age less than 20. Half the people diagnosed with type 1 diabetes are under the age of 20. One of the causes of type 1 diabetes are genetics. Scientist suspect that heredity plays a major role in type 1 diabetes and researchers have found several genes that appear to increase the ri sk of type 1 . Another cause is viruses. Type 1 diabetes often strikes shortly after a viral infection. The viruses that cause this are mumps, German measles, and a close relative of the virus that causes polio. Another cause is chemicals and drugs. Studies show that ingestion of pyrinimil, a poison used to kill rats, can trigger type 1 diabetes. So can the prescription drug pentamidine, used to treat pneumonia. The last cause is cows milk. Cows milk contains a protein similar to a protein found on beta cells. Exposure to cows milk during infancy may increase the risk of type 1 diabetes (Diabetes Research Institute). There are many different procedures that can be taken for the diagnosis of diabetes. A series of light flashes, each at a different wavelength is used to excite various proteins in the eye, each according to a particular length and the proteins emit fluorescent light. The pattern of light emissions reflects the distribution of carious proteins, which changes according to various psychological conditions (Scientific American Medical 22). This new method is based on synchronous fluorescent spectrometry, which combines a detector with a light source to measure the intensity of light emitted by proteins in the eye from each wavelength shown into the eye. A computer then compares the patient’s peaks and valleys of such measurements with corresponding spectra form normal and diabetic eyes. Any one of the following three tests shows the diagnosis values for diabetes: a measurement of fasting plasma glucose, a blood test done after not eating for 8 hours, showing more than 125 mg/dl, and a oral glucose tolerance test after the person drinks a sugar solution containing 75 grams in glucose in which the blood sugar levels is more than 199 mg/dl at 2 hours (Matinas 28). Two abnormal test results, using any of the three tests done on two different days, are needed to make the diagnosis for diabetes. A special test is needed for the diagnosis of gestational diabetes (Stenger 2). A screening test consisting of 50 g oral glucose followed by a plasma glucose determination 1 hour later. A value of greater than 140 mg, 1 hour after the 50 g load indicates the need for larger tests. Even Elephants Are Afraid Of Mice - A Creative Essay A screening test consisting of 50 g oral glucose followed by a plasma glucose determination 1 hour later. A value of greater than 140 mg, 1 hour after the 50 g load indicates the need for larger tests. The second type of diabetes that .

Pornography Essays (5271 words) - Anti-pornography Feminism

Pornography Suppose one accepts MacKinnon and Dworkin's suggested statutory definition of pornography. How does one who generally accepts MacKinnon and Dworkin's views on the pervasively harmful effect of pornography, and who accepts a need for legal redress of the harms perpetrated by pornography, deal with pornographic material? The ordinance proposed by MacKinnon and Dworkin would deal with such material by enacting legislation which gives people adversely affected by the works, which clearly fit their definition of pornography, a cause of action against the producers, vendors, exhibitors or distributors for "trafficking", or for an assault "directly caused by the specific work. I do not think liberals, or others for that matter, should have much problem with the clause dealing with assault, since a causal connection to specific works is demanded by it. However, s. 3.2(iii) which deals with trafficking would be very problematic for liberals and legal conservatives because it creates a cause of action for a person contrary to the traditional conception of a rights holder's cause of action. This subsection reads: Any woman has a claim hereunder as a woman acting against the subordination of women. Any man, child or transsexual who alleges injury by pornography in the way women are injured by it also has a claim. [emphasis added] My goal in this paper is to suggest that a slight modification to this subsection of the ordinance would make it very difficult for liberals and legal conservatives to object to it. This modification would restrict the cause of action to the same persons as the other sections of the ordinance, namely, the particular victim of the specified injury. I shall argue that such a modification would largely cohere with the conception of harm already at work in Ontario law, would afford only a minor reduction in the potential efficacy of such legislation in curbing the harm of pornography, and would offer to empower the feminist camp which is behind such an ordinance with a mechanism for social and political change if a sufficiently organized feminist "vanguard" took hold of the opportunity to empower women. Adrian Howe argues that the concept of social injury which may be suggested by the ordinance recognizes the differential harm felt by women from pornography. Howe suggests this social notion of harm may be a necessary feature of any successful law reform which is to address the huge social problem of male domination and female oppression. The liberal notion of an individuated human right fails to capture, for MacKinnon and Howe, "the specificity of the harm to women." Thus, an ordinance which did not create a cause of action "for women as women" would fail to address the root of the social problem of which pornography is a manifestation. This conception of social harm, and thus subsection 3.2(iii), may offend liberals or legal conservatives in two ways. First, the notion of non-individuated harm is antithetical to the liberal conception of a rights holder claiming a cause of action. Fundamental to a liberal conception of harm is the notion of the individual who is autonomous, separate and fundamentally worthy of respect. Rawls and Kant exemplify this view in their analyses when they posit the undifferentiated self, free of any particular qualities save that of being an agent worthy of a fundamental, inviolable respect. This notion of the individual worthy of equal concern and respect in the eyes of the state permeates liberal conceptions of rights. It is also a fundamental, if not exclusive, tenet of the common law of torts: In tort litigation, the courts must decide whether to shift the loss suffered by one person, the plaintiff, to the shoulders of another person [emphasis added]. Clearly, on its face this conception of harm precludes the notion of a harm suffered collectively which cannot be delineated individually. While class actions are possible, and claims may be made on behalf of groups such as company shareholders, this is only by virtue of the fact that a legally recognized individual has suffered an identifiable particular harm. Thus, the conventional liberal notion of harm is radically distinct from that outlined by Howe and MacKinnon. Since on the liberal conception rights holders are autonomous, individual selves who are essentially distinct, harm to one is distinct from harm to

The Odyssey Quotes Explained

The Odyssey Quotes Explained The Odyssey, an epic poem by Homer, tells the tale of war hero Odysseus and his long journey home to Ithaca after the Trojan War. Odysseus is known for his wit, craft, and cunning, traits he uses to escape danger and eventually return to Ithaca. The quotes that follow contain some of the most important examples of Odysseus cunning, as well as the importance of other key characters and the significance of poetry and storytelling throughout the text. â€Å"Sing to me of the man, Muse, the man of twists and turnsdriven time and again off course, once he had plunderedthe hallowed heights of Troy.Many cities of men he saw and learned their minds,many pains he suffered, heartsick on the open sea,fighting to save his life and bring his comrades home.But he could not save them from disaster, hard as he strove  - the recklessness of their own ways destroyed them all,the blind fools, they devoured the cattle of the Sunand the Sungod wiped from sight the day of their return.Launch out on his story, Muse, daughter of Zeus,start from where you will  - sing for our time too.†(1.1-12) These opening lines provide a brief synopsis of the plot of the poem. The passage begins with an invocation of the muse and a request for the story of the man of twists and turns. As readers, we learn that we are about to hear the tale of Odysseus- â€Å"the man of twists and turns- who went on a long, difficult journey and attempted (but failed) to bring his comrades home.   The unidentified narrator then requests, â€Å"Launch out on his story, Muse, daughter of Zeus, / start from where you will.† Indeed, The Odyssey starts not at the beginning of Odysseus journey but in the middle of the action: 20 years after his initial departure from Ithaca. By jumping forward and backward in time, Homer provides important details at crucial moments without interrupting the narrative flow. â€Å"Odysseus, master of many exploits, praised the singer:I respect you, Demodocus, more than any man alive - surely the Muse has taught you, Zeus’s daughter,or god Apollo himself. How true to life,all too true . . . you sing the Achaeans’ fate,all they did and suffered, all they soldiered through,as if you were there yourself or heard from one who was.But come now, shift your ground. Sing of the wooden horse.Epeus built with Athena’s help, the cunning trap thatgood Odysseus brought one day to the heights of Troy,filled with fighting men who laid the city waste.Sing that for me - true to life as it deserves - and I will tell the world at once how freelythe Muse gave you the gods’ own gift of song.†(8.544-558) In these lines, Odysseus asks the blind bard Demodocus to regale him with his own story- the story of the Trojan War. Odysseus praises Demodocus for his skill as a storyteller, which surely the Muse has taught [him], and his ability to express powerful, true to life emotions and experiences. Later on in this scene, Odysseus himself weeps as he listens to the tale Demodocus tells. This scene offers insight into the performance of epic poems during Homers era. Poetry was considered a divine gift, bestowed upon storytellers by the muses and capable of inspiring powerful emotions. At the same time, poetic activity was also considered a type of rote work, as storytellers had vast repertories of tales that listeners could request. These lines convey the power and importance of storytelling in the world of The Odyssey, which is itself one of the most famous epic poems in world literature. â€Å"So, you ask me the name I’m known by, Cyclops?I will tell you. But you must give me a guest-giftas you’ve promised. Nobody  - that’s my name. Nobody  - so my mother and father call me, all my friends.But he boomed back at me from his ruthless heart,‘Nobody? I’ll eat Nobody last of all his friends  - I’ll eat the others first! That’s my gift to you!†(9.408-14) In this scene, Odysseus uses his wit to escape death by telling the cyclops Polyphemus that his name is â€Å"nobody. After Polyphemus falls asleep, Odysseus and his comrades stab and blind him. Polyphemus cries for help, shouting that Nobodys killing me now by fraud and not by force, but the other Cyclopes misunderstand the statement, believing that Polyphemus is not being killed at all. This scene is representative of Odysseus characteristic trickery. Unlike other classical heroes who overpower their antagonists through brute force, Odysseus uses wordplay and clever schemes to escape danger. The scene is also significant because it provokes the wrath of Polyphemus father Poseidon, who serves as Odysseus primary antagonist for the remainder of his journey. â€Å"Any man - any god who met you - would have to besome champion lying cheat to get past youfor all-round craft and guile! You terrible man,foxy, ingenious, never tired of twists and tricks - so, not even here, on native soil, would you give upthose wily tales that warm the cockles of your heart!Come, enough of this now. We’re both old handsat the arts of intrigue. Here among mortal menyou’re far the best at tactics, spinning yarns,and I am famous among the gods for wisdom,cunning wiles, too.Ah, but you never recognized me, did you?Pallas Athena, daughter of Zeus - who alwaysstands beside you, shields you in every exploit:thanks to me the Phaeacians all embraced you warmly.And now I am here once more, to weave a scheme with youand to hide the treasure-trove Phaeacia’s nobleslavished on you then - I willed it, planned it sowhen you set out for home - and to tell you allthe trials you must suffer in your palace...†(13.329-48) Athena speaks these lines, revealing her identity, after Odysseus has finally returned to the shores of Ithaca. Athena defines herself as Odysseus helper, ally, and protector; as the goddess presiding over intelligent warfare and the crafts, she is eager to â€Å"weave a scheme† in order to get rid of the suitors threatening Odysseus domain over Ithaca. During the reunion, Athena is full of admiration, categorizing both herself and the cunning Odysseus as â€Å"old hands at the arts of intrigue. â€Å"Give the boy the name I tell you now. Just as Ihave come from afar, creating pain for many - men and women across the good green earth - so let his name be Odysseus...the Son of Pain, a name he’ll earn in full.†(19.460-464) These lines, spoken by Odysseus grandfather Autolycus, offer insight into the origins of Odysseus name. We learn that Autolycus named Odysseus when the hero was an infant. The passage includes another example of word play: the name â€Å"Odysseus† is associated with the Greek verb odussomai- to feel anger toward, to rage or hate. True to his own name, Odysseus both causes and experiences pain throughout his travels. Strange man,wary Penelope said. â€Å"I’m not so proud, so scornful,nor am I overwhelmed by your quick change...You look - how well I know - the way he looked,setting sail from Ithaca years agoaboard the long-oared ship.Come, Eurycleia,move the sturdy bedstead out of our bridal chamber - that room the master built with his own hands,Take it out now, sturdy bed that it is,and spread it deep with fleece,blankets and lustrous throws to keep him warm.(23.192-202) At this point in the poem, Penelope has already tricked the suitors by weaving and unweaving Laertes’ funeral shroud, as well as by making them compete in a rigged game of bow and arrows that only Odysseus could win. Now, in these lines, Penelope tests her very own husband. Odysseus has returned to Ithaca, but Penelope does not yet believe that its really him. As a test, she slyly asks the housekeeper Eurycleia to move their marital bed from her chambers. This is an impossible task, as the bed is built out of an olive tree and cannot be moved, and Odysseus immediate reaction confirms to Penelope that he is indeed her husband. This final trial proves not only that Odysseus has returned at last, but also that Penelopes cunning equals that of her husband.

Biography of Diane Nash, Civil Rights Leader

Biography of Diane Nash, Civil Rights Leader Diane Judith Nash (born May 15, 1938) was a key figure in the US Civil Rights Movement. She fought to secure voting rights for African Americans as well as to desegregate lunch counters and interstate travel during the freedom rides.   Fast Facts: Diane Nash Known For: Civil rights activist who cofounded the Student Nonviolent Coordinating Committee (SNCC)Born: May 15, 1938 in Chicago, IllinoisParents: Leon and Dorothy Bolton NashEducation: Hyde Park High School, Howard University, Fisk UniversityKey Accomplishments: Freedom rides coordinator,  voting rights organizer, fair housing and nonviolence advocate, and winner of the Southern Christian Leadership Conferences’ Rosa Parks AwardSpouse: James BevelChildren: Sherrilynn Bevel and Douglass BevelFamous Quote: â€Å"We presented Southern white racists with a new set of options. Kill us or desegregate.† Early Years Diane Nash was born in Chicago to Leon and Dorothy Bolton Nash during a time when Jim Crow, or racial segregation, was legal in the U.S. In the South and in other parts of the country, blacks and whites lived in different neighborhoods, attended different schools, and sat in different sections of buses, trains, and movie theaters. But Nash was taught not to view herself as less than. Her grandmother, Carrie Bolton, particularly gave her a sense of self-worth. As Nash’s son, Douglass Bevel, recalled in 2017: â€Å"My great-grandmother was a woman of great patience and generosity. She loved my mother and told her no one was better than her and made her understand she was a valuable person. There’s no substitute for unconditional love, and my mother is just really a strong testament to what people who have it are capable of.† Bolton often took care of her when she was a small child because both of Nash’s parents worked. Her father served in World War II and her mother worked as a keypunch operator during wartime.   When the war ended, her parents divorced, but her mother remarried to John Baker, a waiter for the Pullman railroad company. He belonged to the Brotherhood of Sleeping Car Porters, the most influential union for African-Americans. The union gave workers higher pay and more benefits than employees without such representation.   Her stepfather’s job afforded Nash an excellent education. She attended Catholic and public  schools, graduating from Hyde Park High School on Chicago’s south side. She then headed to Howard University in Washington, D.C., and, from there, to Fisk University in Nashville, Tennessee, in 1959. In Nashville, Diane Nash saw Jim Crow up close.   â€Å"I started feeling very confined and really resented it,† Nash said. â€Å"Every time I obeyed a segregation rule, I felt like I was somehow agreeing I was too inferior to go through the front door or to use the facility that the ordinary public would use.†Ã‚   The system of racial segregation inspired her to become an activist, and she oversaw nonviolent protests on the Fisk campus. Her family had to adjust to her activism, but they ultimately supported her efforts. A Movement Built on Nonviolence As a Fisk student, Nash embraced the philosophy of nonviolence, associated with Mahatma Gandhi and the Rev. Martin Luther King Jr. She took classes on the subject run by James Lawson, who’d gone to India to study Gandhi’s methods. Her nonviolence training helped her lead Nashville’s lunch counter sit-ins over a three-month period in 1960. The students involved went to â€Å"whites only† lunch counters and waited to be served. Rather than walking away when they were denied service, these activists would ask to speak with managers and were often arrested while doing so.  Ã‚   Four students, including Diane Nash, had a sit-in victory when the Post House Restaurant served them on March 17, 1960. The sit-ins took place in nearly 70 US cities, and roughly 200 students who took part in the protests traveled to Raleigh, N.C., for an organizing meeting in April 1960. Rather than function as an offshoot of Martin Luther King’s group, the Southern Christian Leadership Conference, the young activists formed the Student Nonviolent Coordinating Committee. As a SNCC co-founder, Nash left school to oversee the organization’s campaigns. Sit-ins continued through the following year, and on February 6, 1961, Nash and three other SNCC leaders went to jail after supporting the â€Å"Rock Hill Nine† or â€Å"Friendship Nine,† nine students incarcerated after a lunch counter sit-in in Rock Hill, South Carolina. The students would not pay bail after their arrests because they believed paying fines supported the immoral practice of segregation. The unofficial motto of student activists was â€Å"jail, not bail.† While whites-only lunch counters were a big focus of SNCC, the group also wanted to end segregation on interstate travel. Black and white civil rights activists had protested Jim Crow on interstate buses by traveling together; they were known as the freedom riders. But after a white mob in Birmingham, Ala., firebombed a freedom bus and beat the activists on board, organizers called off future rides. Nash insisted they continue. â€Å"The students have decided that we can’t let violence overcome,† she told civil rights leader the Rev. Fred Shuttlesworth. â€Å"We are coming into Birmingham to continue the freedom ride.†Ã‚   A group of students returned to Birmingham to do just that. Nash began to arrange freedom rides from Birmingham to Jackson, Mississippi, and organize activists to take part in them. Later that year, Nash protested a grocery store that would not employ African Americans. As she and others stood on the picket line, a group of white boys started throwing eggs and punching some of the protesters. The police arrested both the white attackers and the black demonstrators, including Nash. As she had in the past, Nash refused to pay bail, so she remained behind bars as the others went free.   Marriage and Activism The year 1961 stood out for Nash not only because of her role in various movement causes but also because she got married. Her husband, James Bevel, was a civil rights activist, too.   Marriage didn’t slow down her activism. In fact, while she was pregnant in 1962, Nash had to contend with the possibility of serving out a two-year prison sentence for giving civil rights training to local youth. In the end, Nash served just 10 days in jail, sparing her from the possibility of giving birth to her first child, Sherrilynn, while incarcerated. But Nash was prepared to do so in hopes that her activism could make the world a better place for her child and other children. Nash and Bevel went on to have son Douglass.   Diane Nash’s activism attracted the attention of President John F. Kennedy, who selected her to serve on a committee to develop a national civil rights platform, which later became the Civil Rights Act of 1964. The next year, Nash and Bevel planned marches from Selma to Montgomery to support voting rights for African Americans in Alabama. When the peaceful protesters tried to cross the Edmund Pettus Bridge to head to Montgomery, police severely beat them.   Stunned by images of law enforcement agents brutalizing the marchers, Congress passed the 1965 Voting Rights Act. Nash and Bevel’s efforts to secure voting rights for black Alabamians resulted in the Southern Christian Leadership Conference awarding them the Rosa Parks Award. The couple would divorce in 1968.   Legacy and Later Years After the Civil Rights Movement, Nash returned to her hometown of Chicago, where she still lives today. She worked in real estate and has participated in activism related to fair housing and pacifism alike.   With the exception of Rosa Parks, male civil rights leaders have typically received most of the credit for the freedom struggles of the 1950s and ’60s. In the decades since, however, more attention has been paid to women leaders like Ella Baker, Fannie Lou Hamer, and Diane Nash.   In 2003, Nash won the Distinguished American Award from the John F. Kennedy Library and Foundation. The following year, she received the LBJ Award for Leadership in Civil Rights from the Lyndon Baines Johnson Library and Museum. And in 2008, she won the Freedom Award from the National Civil Rights Museum. Both Fisk University and the University of Notre Dame have awarded her honorary degrees. Nash’s contributions to civil rights have also been captured in film. She appears in the documentaries â€Å"Eyes on the Prize† and the â€Å"Freedom Riders,† and in the 2014 civil rights biopic â€Å"Selma†, in which she’s portrayed by actress Tessa Thompson. She is also the focus of historian David Halberstams book â€Å"Diane Nash: The Fire of the Civil Rights Movement.†

Malnutrition Universal Screening tool (MUST) assessment tool Essay

Malnutrition Universal Screening tool (MUST) assessment tool - Essay Example The screening tool should be simple, quick to use, valid, reliable and acceptable to both patient and the nurse. It should be convenient for use in all types of settings and for all types of patients. MUST was developed in Britain with these aims (Gibney et al, 2005). It was developed by the Malnutrition Advisory group, a multidisciplinary group of British Association for parenteral and Enteral Nutrition (BAPEN, 2008), in 2000. It is recommended by British dietetic Association, The Royal College of Nursing, The registered nursing homes Association and The Royal college of Physician (England). It is an evidence based tool designed to detect malnutrition and obesity but not vitamin and mineral deficiency. MUST is developed for use in all adults including elderly, sick or healthy , hospital wards, outpatient clinics, general practice , community settings and public health (Thomas et al, 2007; Morrison et al 2007). A number of studies were conducted in these settings. Agreement was >95% in all studies prior to recommending the tool in practice, according to BAPEN (2008) MUST meets all the key requirements of a good tool. The tool is developed by experts in the field and validated by subsequent research. It is easy, quick and reliable besides recommended by recognized professional bodies. The tool has incorporated three elements viz. BMI, unintentional weight loss and acute disease effect to minimise error occurring from single element measurement. The present article is intends to discuss reliability and validity of the tool in light of controversial views about the BMI and other factors as indicator of nutritional status. MUST is a five-step screening tool to identify adults who are malnourished, at risk of malnutrition (undernutrition), or obese. MUST is designed to detect protein-energy malnutrition. Three parameters are used: current weight status

Barnabas Medical Centre Essay Example | Topics and Well Written Essays - 1750 words - 14

Barnabas Medical Centre - Essay Example 2. The power boundary between Dr. Tony, the Associate Chief Medical Officer, and the departmental managers could jeopardize this process, especially if Dr. Tony opted not to cede power to them to come up with a solution to the problem facing BMC. Â  There could also be a conflict between the departmental managers as they sought to establish how each department influences the other. This was overcome through Dr. Tony’s effective relationship and communications management. Â  3. In this case, leaders encompass all that offered support and facilitation in the process. Dr. Tony exhibited emotional intelligence as a leader, self-motivating and motivating other members of staff towards the realization of the intended goal and showing social awareness. He shared authority and collaborate knowledge. Departmental managers exhibited their active leadership by engaging in the problem-solving process at BMC. Â  4. The factors that made the collaborative effort successful included Dr. Tony’s effective collaborative leadership and his effective management of communications and relationships. His knowledge of BMC’s ED situation and knowledge and skills on healthcare operations also made the collaborative effort successful. Â  1. The leader-followers boundary posed a challenge as the followers (medical staff) could resist the change by their leader, Dr. Till, in adopting the proposed changes. There was also a challenge between the organization and the government, such that, whereas the hospital management seeks to provide the best services to Willow Springs residents, the government cuts the needed financial aid. Â  2. Dr. Till is a leader in this case, having ceded his power to the medical staff to allow them to come with effective solutions for Willow Springs residents. He served as a servant leader by supporting and facilitating the workload with the medical staff.

Pay Equity- Statistics, Legislations and Why Women Worn in Low - Paid Jobs Essay Example for Free

Pay Equity- Statistics, Legislations and Why Women Worn in Low Paid Jobs Essay Men and Women should not be called the opposite sexes, instead referred to as complimentary sexes. The sexes should be treated equally in every aspect, one of which is in the pay they receive. The sexes should receive equal wages for equal work. It should be more about ‘from each according to his ability, to each according to his need’. Statistics show that men are paid more than women for the same work. One may think if women are really paid less, why would anyone hire a man? Put another way, would not a company full of men will soon be put out of job by a company which hired only women. The truth is that the pay gap can be attributed to large scale discrimination against women. Men who earn more most often do so because of their gender. To get higher pay, men are more likely to enter higher-paying fields, perform riskier tasks and take positions with less stability which explains the fact that only 26% of all miners are women. To tackle this problem of unequal pay, various movements have risen in the recent times ensuring pay equity. In Canada, the purpose of the Pay Equity Act is to achieve equality in the workplace so that no person shall be denied employment opportunities. Though massive strides have been undertaken in the past for pay equity, the true scenario of pay equity has not been achieved as there is wage disparity in various jobs undertaken by women including unequal pay in the field of sports, and why women tend to work at low paid jobs. There is pay inequity almost in any profession undertaken by women. Men earn significantly more than women despite the existence of the Pay Equity Act. During the time when Baby Boomers were joining the workforce, women earned 59 cents to the dollar till the 1980s where the wage gap was narrowed by just 15 cents to just 74 cents to the dollar. Back then, the pay equity legislations never confirmed women equal pay as the men; they just gave the women the hope that women could raise their voice against unjust treatment by their employers. The Pay Equity Act of 1963 supported women who were employed in the public sector and thereby, offering no security to the ones employed in the private sector. In 2002, the median wages of women who worked full-time year-round were 76. 2 percent of men’s (Werschkul 13). In other words, women earned about 76 cents for every dollar earned by men. To reduce the wage disparities, pay equity legislation prohibits wage discrimination where employees are responsible for equal work. The goal of the legislation is to achieve the ideal balance between financial comfort, professional fulfillment and personal happiness for each women employee. Certain factors are a hindrance in the achievement of this dream. One reason why women earn less because women in the workforce are less likely to work a full-time schedule and are more likely to leave the labor force for longer periods of time than men. These differing work patterns lead to an even larger earnings gap between men and women suggesting that working women are penalized for their dual roles as wage earners and those who disproportionately care for home and family. Recent figures convey a better story. Working women today are paid an average of 80 cents for every dollar that men are paid, even when accounting for factors such as occupation, industry, race, marital status and job tenure. There are more than 80 fields in which women earn more than men, but some are too small to be statistically significant. Of which, there are only 40 fields in which women earn less than 5% more than their male counterparts. These positions include counter attendants in cafeterias, food preparation workers, waitresses and service station attendants to name a few. It has been argued that women earn less because they are not as qualified as their male counterparts. However women in the same positions as the men still earn less. For instance, women lawyers earn just 87% of their male counterparts (Farrell 8). In the medical field, physicians and surgeons earn just 59% of pay compared to male physicians and surgeons. Women and men employed in these fields are equally qualified as they would not be a certified physician without same qualifications. Despite similar qualifications, women still earn less. Pay inequity runs rampant in the sport world too. Professional sport continues to provide unequal pay to women. Paying men more for the same sport gives women in the sport less incentive to push themselves. As a result, it also discourages future female participation in the sport. Women athletes in the sport receive minuscule recognition and fewer rewards compared to their male counterparts. For example, for finishing in third place in the 2003 Women’s World Cup, each U. S. women’s national soccer team member was awarded $25,000. They would have received $58,000 if they had won the Cup. For reaching the quarterfinal of the World Cup in 2002, the U.  S. men’s national soccer team members received $200,000 each. To speak about Tennis, Wimbledon offered greater prize money to the male athletes till 2007. These discrepancies occur because of certain misconceptions. One misconception is that woman’s competitions are not as exciting compared to ‘masculine’ events for instance men perform riskier tricks, hit a tennis ball harder. Women should be compared to other women, not to men. There is a bias that women are not physically strong as the men but women perform to the best of their physical abilities. They would perform the same with a fluctuating pay. Athletes are driven by the passion for the sport, not for the money it offers. Another misapprehension is that women should not receive the same prize money as they are unable to bring the sponsorships and viewership compared to men. Women’s events are not publicized or advertised as much as compared to men’s events. Therefore it will be unfair to say they are unable to draw attention from the public. If the womens events are not included in the telecast, it is misleading to argue that mens events receive higher ratings. Another delusion is that men’s competitions go on for a longer time, include more games and thus men should receive more income. This assumption is flawed as length of the competition should not matter. Star athletes are the ones who draw the crowd. Women have the same capability like the men to draw crowds. The issue of pay inequity goes beyond the issue of money. This issue extends beyond the playing field. When girls grow up seeing celebrated women athletes receiving less than their male counterparts, they are forced to believe it is okay for them to compromise. This acceptable value is not an accepted one. Majority of women tend to be employed in low-paid jobs. In large corporate companies, there is a bias that women are better in the human resource field than in any other field. It is a stereotypical image of women being more cooperative, collaborative and intuitive than men. The CEOs of any company come from the manufacturing, marketing and operations department, not from the human resource department. The talented women are working in the human resources.

Shakespeare’s Lady Macbeth: Pure Evil? Essay -- Shakespeares Lady Mac

  Ã‚   Next to Macbeth himself, Lady Macbeth is the penultimate person in Shakespeare's play, Macbeth. And though she does not survive to the end, her influence on Macbeth lasts throughout the play. She is the most influential person in Macbeth's downfall, next to the witches. However, her relationship with him goes far deeper then that of the witches. It is my belief that the witches act only as a trigger to start the events in the play, and that Lady Macbeth herself was the driving force behind Macbeth's actions. It is she who he contacts when he meets the witches, and immediately trusts her with the prophecy he is given. The relationship between Macbeth and his wife is paramount to the understanding of a major theme of this play. At first it would appear to be an equal partnership. However, I believe Lady Macbeth was the dominant of the two character; she could have persuaded Macbeth to do anything if she so wished. And though she does not openly exercise her power over him in public, in private she often uses humiliation and emotional bribery to manipulate Macbeth to execute her will. The first scene in which we see Lady Macbeth is Act 1 Scene 5, in the first half of which she is reading the letter sent by Macbeth about his meeting with the witches, and about half way through Macbeth, himself enters, having caught up with the messenger who delivered the letter. Immediately we see the nature of her relationship with Macbeth, and have a strong sense of her character. The first thing that you notice of course, is that Lady Macbeth is reading a letter that must have been written mere hours after the events contained happened. It is a letter from Macbeth, containing potentially treasonous information about his meeting with the... ...Barbara Mowat and Paul  Ã‚   Warstine. New York: Washington Press, 1992.   Works Consulted Bradley A. C. Shakespearean Tragedy 1912 pp. 468-9 Curry, Walter. Shakespeare s Philosophical Patterns. London: Mass Peter  Ã‚   Smith, 1968. Epstein, Norrie. The Friendly Shakepeare, New York, Viking Publishing, 1993. Harbage, Alfred, Macbeth, Middlesex England, Penguin Publishing, 1956. Magill, Masterplots- Volume 6, New Jersey, Salem Press, 1949. Paul, Henry N. The Royal Play of Macbeth 1950 pp. 213-17 Schlegel, August Wilhelm.   Criticism on Shakespeare s Tragedies . A Course of Lectures on Dramatic Art and Literature. London: AMS Press, Inc., 1965.  Ã‚     Ã‚   Steevens, George. Shakespeare, The Critical Heritage. Vol. 6. London:  Ã‚   Routledge & Kegan Paul, 1981.  Ã‚   Wills, Gary. Lady Macbeth and Evil. Oxford: Oxford University Press, 1998.  Ã‚  Ã‚  

Does Violence in Cartoons Desensitize Young Children?

Does Violence in Cartoons Desensitize Young Children? A Critical View Donald Duck, Elmer Fud, Wiley Coyote, Tom/Jerry, Fred Flintstone, and Batman; are all loveable cartoon characters that exist in the cartoons children watch every day. Another thing these characters have in common is their general everyday violent behaviors. These behaviors send a subliminal message to children suppressing their moral restraint on basic assault toward each other. Violence in youth has been a rising topic, and continues to grow with more studies and research each year.Although people may blame many things, I believe the violence depicted as humor or the â€Å"super hero effect† in cartoons has a direct relation to the desensitization of violence in the American youth. Research has exposed that young children will imitate aggressive acts they see on television, and recreate those acts when playing with their friends. † Before age 4, children are unable to distinguish between fact and fant asy and may view violence as an ordinary occurrence. (Berensin) Through critical analysis I plan to examine the effects of violence in cartoons as well as the comedic perception and the super hero effect in order to determine if they relate partly or completely too violent behaviors of young children. Every argument has more than one perception, so I will also be examining some research suggesting that cartoon violence in fact does not affect developing children. Watch an old Looney Toon, if you have a choice, watch an episode of Elmer Fud chasing Bugs Bunny.To any viewer you see the humor in it; a bunny is jumping all over dodging this slow hunter, his terrible aim, and his shotgun that never needs to be reloaded. But the reality is this hunter is ferociously chasing this bunny literally just trying to kill it. Use the same reality comparison with the Roadrunner cartoons, the coyote is a predator chasing after his dinner and using every possible resource to complete it; yea he neve r catches his prey, but you can try and imagine the violent episode that would entail if he did.How about all the explosions and incredible distances the coyote deals with and never seems to die, that doesn’t send the right image. I’m not saying they should show death but not showing it can give children the idea that these acts won’t affect them and that they would also be able to walk away. Violence in cartoons has been around for a lot longer then we think, in fact there is more violence depicted in a cartoon, than in live action dramas or comedies (Potter and Warren 1998). In a sense, children see more violence during a Saturday morning than a Friday night.Although this is a pretty strong convincing argument there is always another perspective. For example, the violence in cartoons yes is more frequent, but it isn’t as strong as it is on prime time TV. Bam Bam hitting someone on the head with his mallet compared to a short rape scene in Law and order, pretty big difference. Many cartoons show characters dying but the way it is perceived it’s considered funny. Prime time television shows murder depicted in a pretty real state with no joke or laughing afterwards. In 2007, Kremar and Hight found that preschoolers who watched an action cartoon or super-hero image, as opposed to young children who watched neutral video clips or animated characters, were more likely to create aggressive story endings†(An Opposing View). These conclusions brought about the idea that aggression may be related to aggressive behavior. How does the outcome television violence usually end in destructive behavior? That brings us to another form of cartoon violence, the super hero effect. By super hero I mean super hero cartoons; Batman, Superman, Spiderman, transformers etc.All these cartoons depict violence without the comedic effect but instead with a real life scenario. â€Å"Heroes are violent, and, as such, are rewarded for their behavior. They become role models for youth. It is â€Å"cool† to carry an automatic weapon and use it to knock off the â€Å"bad guys. † The typical scenario of using violence for a righteous cause may translate in daily life into a justification for using violence to retaliate against perceived victimizers† (Berensin) Everyone sees Batman beating up the Joker and instead of being worried or concerned, they’re cheering.They’re hoping that the hero will win the fight. Batman is showing how he solves his conflicts with violence rather than reason and debate. The good guys against the villains, and just because it’s usually the good buy beating up the bad guy, it’s still a form of violence that can be subconsciously affecting them. Kids could be going to school and argue who stepped into line first; next thing you know they’re pushing and shoving over it, then throwing punches, imitating their favorite super heroes.In an extreme example; a ten year old boy from Everett, Washington died in 2008 imitating a stunt him and their friends saw on a popular cartoon, Naruto. Naruto has this ability to dig himself into sand and breathe through a straw. The children thinking they could execute this like Naruto came to an unexpected and very sad conclusion. Those children lost a close friend that could have possibly been avoided had they been educated on the diversity of animation and reality.This brings us to another problem with super heroes on television, which is the characters, no matter how much damage or violence they receive, continue to remain unharmed and alive. When in reality if any human being actually received any pain like they are, they obviously would not be alive. Superman surviving a hailstorm of bullets is the best example that comes to mind. Yvette Middleton and Sandra Vanterpool wrote an essay; TV Cartoons: Do Children Think They Are Real? , regarding whether children can differentiate between what is real and what is fantasy in cartoons, as well as how they respond to them.On page five of their essay they go on to say; â€Å"When our young children watch cartoons with these types of violence, they start to visualize themselves as their favorite cartoon character and decide that if they are that character, they won’t be harmed if they get shot of run over by the bad guy† It’s when the child imitates these characters that they could be seriously hurt or hurt someone else. A parent’s duty comes into play when they sit down with the child and explain what happens scene by scene. Something a child sees on television isn’t necessarily bad seeing it once or twice.After those first two a parent could explain what scenes send a bad message. Instead the child watches time and time again, each time desensitizing their moral defense, eventually leading to frequent violent behavior. For example; every time a child sees a violent act they first see it as bad. As time progresses and they see more and more, the child begins to simply absorb the message as if it were an everyday occurrence. They may come to see violence as a fact of life and, over time, lose their ability to understand the difference between right and wrong. It’s at that point that it becomes a problem.Eugene V Beresin, the Director of Child and Adolescent Psychiatry at Massachusetts General Hospital, wrote an article for the American Academy of Child & Adolescent Psychiatry. â€Å"Today 99% of homes have televisions. In fact, more families have televisions than telephones. Over half of all children have a television set in their bedrooms†¦children watch approximately 28 hours of television a week, more time than they spend in school. † That’s four hours an average day, that’s a sixth of their lives. That’s plenty of time for the children to withhold the messages they get from violent cartoons.Children can recognize and recall these even ts because they laugh afterwards and think of it as a tolerable way to respond to someone’s actions. Televised violence and the inhabitance of televisions in American households have increased steadily over the years. Beresin continues on to say â€Å"The typical American child will view more than 200,000 acts of violence, including more than 16,000 murders before age 18. Television programs display 812 violent acts per hour; children's programming, particularly cartoons, displays up to 20 violent acts hourly. Now hopefully a young child is only watching cartoons and not a police or crime show. But four hours a day with twenty violent acts hourly, that’s eighty violent acts scene daily. That can put a toll on a developing child’s moral psych. With every argument there are two sides. As I mentioned previously there are other perceptions and different cultural views on cartoon violence. I came across an article by Fran Blumberg, Kristen Bierwirth, and Allison Sch wartz, titled; Does Cartoon Violence Beget Aggressive Behavior in Real Life?An Opposing View. The ladies explain; â€Å"Despite increased realism in animation over time, most preschoolers still recognize cartoon programs as â€Å"make-believe†, and can differentiate cartoon characters engaged in life-like activities from those engaged in pretend activities. † Basically what they’re getting at is that children have the ability to realize that cartoons are not real, know that the violence is only animated, and understand that it is wrong. To prove anything is wrong people always rely on the science of it.V Mathews was one of the authors who composed the article, Media violence liked to concentration, published in the Journal of Computer Assisted Tomography. Mathews confirms â€Å"Neurological evidence of a link between exposure to violence on television and brain functioning. Speci? cally, non-aggressive children who had been exposed to high levels of media viole nce showed less activity in the frontal cortex, that area of the brain linked to attention and self-control. † Non-aggressive children who already had a grip on what was morally right and wrong I would assume were the ones used. So they weren’t children who were brand new to violence.Also there is a slight hole in the study. It was measured directly after the children watched the violent cartoons, and not over a long period of time, which is what we’re dealing with. A study taken by Yvette Middleton and Sandra Vanterpool surveyed twenty-three third graders from the Fordham section of the Bronx. â€Å"We asked them fourteen questions based on the amount of time they spent watching cartoons, the types of cartoons they watch and their opinions on whether cartoons are real or not. † (Middleton and Vanterpool) 87% of the students surveyed said they watch cartoons before school, after school, and while doing their homework.If that wasn’t enough, 86% of th e students watch cartoons before bed. With twenty-five to thirty violent acts an hour (Middleton and Vanterpool) that is a lot of negative information that child is absorbing. The ladies continue their results; â€Å"78% of the students said they watch cartoons with a sibling or fiend. 17% of the students said that they watch cartoons by themselves, but only 4% said that they watch cartoons with a parent† (Middleton and Vanterpool) Only four percent of third graders watch cartoons with their parents.Now that is just not high enough. With cartoon violence becoming a rising problem parents need to stop using the television as a babysitter and know what their children are watching. On the subject of the students’ favorite cartoon, Rugrats was chosen as the top favorite, a quite non-violent Nickelodeon Cartoon. Second was Pokemon, a cartoon involving people using different animals/pets and pitting them against each other to settle their differences, definitely violent.The third was Dragon Ball Z, an extremely violent anime involving numerous characters always fighting each other for control, also chosen as the most popular action cartoon as well as the top favorite if they were limited to one cartoon a day (Middleton and Vanterpool). When asked about Dragon Ball Z the results told us:â€Å"43% said that they enjoy watching the characters fight, 26% said that they like to see characters shoot other characters and 30% also enjoyed seeing characters being blown up, bloodied, or stabbed † (Middleton and Vanterpool).That is discouraging; this is a television show that children should not be watching. If these are the thoughts that go through their mind while watching, think about what they think of when they aren’t watching. When Middleton and Vantepool surveyed the children about the reality of the violence, â€Å"56% said that they were real and 43% felt they were not real. † That is not a good statistic, over half of the class thou ght that the characters were real. These are fictional people who literally destroy each other and third grade children think they are real. 86% agreed they come back to life to start the action all over again, whereas 13% felt a character remains dead and is never seen again. † That is a large amount of children who are uneducated on the subject of death. But from another perspective, they are just children and more than likely can’t comprehend death, and they are just going off what they see in the show. Some interesting information came up when the children were asked what they think happens to real people die. â€Å"47% said the person goes to heaven, 47% said the person goes to hell, and 4% said the person goes under the ground and comes back as a flower. (Middleton and Vantepool) So you can see how these are still children and aren’t mature enough to understand what is really happening in a cartoon. This again just brings up the parenting aspect. In the 20 04 Conference on Interaction and Design and Children, an article was published about preschoolers moral judgments and their distinctions between realistic and cartoon-fantasy transgressions. M. Peters and F. C. Blumberg explained in good detail about a study they conducted using three and four year old children.They examined how the children reacted to pictures of both factual human and animated moral transgressions including; hitting, pushing, stealing, and failing to share. (Peters and Blumberg) â€Å"The children [then] were asked to indicate the extent to which the transgressions merited punishment and if so, how severe. They also were asked to justify this assessment. We found that preschoolers negatively evaluated all moral transgressions, both realistic and cartoon (Peters and Blumberg). † Again the problem arises with the short amount of exposure time.Although since they were three and four years old I would assume that they had been watching cartoons for an already l ong time. Peters and Blumberg continue to review their findings â€Å"When perceiving the magnitude of the transgression, children viewed physical harm as more egregious than that of psychological harm. Speci? cally, hitting was seen as more harmful to others and as deserving of greater punishment than failing to share. † This meant that children do retain some information pertaining to their morals while they’re progressing as children. They were able to realize what was more ethical and correct.What was really interesting was how the preschoolers judged cartoon infringement as more harmful than the realistic human transgressions. â€Å"Because cartoons are characterized by exaggerated facial expressions and body actions, these characteristics may have in? uenced the children’s perceptions of the cartoon transgressions as ‘‘bad. ’’ (Peters and Blumberg)† With that information we can think about how much those characteristics act ually come into play in the maturing stages of a child’s life. The message could be more of a learning experience for them instead of pro violence advice.Children could be using these cartoons as an example for instances in the future. It’s absolutely possible that children would use these when faced with a real life issues and fix the situation without using violence. Writing this paper has been an eye opener for me. At the beginning I was on the side against cartoon violence, agreeing that it does make children more violent in nature. But after all the research I did I am now on the fence with the situation. It can desensitize the children but also help them to learn what is right and what is wrong.Ultimately the parent comes into the play the most. I wouldn’t agree that sitting you child in front of the television is a bad idea, but what programs the children watch should be monitored. Also, using the television as a baby sitter is not a recommended idea. Chi ldren love cartoons, I know I still do, and there is no reason they have to stop watching them, but Mom and Dad should make sure what is happening in these cartoons is put into context for the child. So the child can differentiate and decide for themselves the difference between cartoon animation and reality.Beresin, Eugene V, M. D. â€Å"The Impact of Media Violence on Children and Adolescents: Opportunities for Clinical Interventions. † American Academy of Child ; Adolescent Psychiatry. Web. 11 May 2010. http://www. aacap. org/cs/root/developmentor Blumberg, Fran, Kristen Bierwirth, and Allison Schwartz. â€Å"Does Cartoon Violence Beget Aggressive Behavior in Real Life? An Opposing View. †Ã‚  Early Childhood Education Journal  Oct. 2008: 101+. Education Research Complete. Web. 1 Apr. 2012. Mathews, V. P. , Kronenberger, W. G. , Wang, Y. , Lurito, J. T. , Lowe, M. J. , ; Dunn, D.W. (2005). Media violence linked to concentration, self-control. Journal of Computer As sisted Tomography, 29, 287–292. Middleton, Yvette; Vanterpool, Sandra â€Å"TV Cartoons: Do Children Think They Are Real? † Reports-Research. Web Published 1999 http://www. eric. ed. gov. ezproxy. lib. uwm. edu/PDFS/ED437207. pdf Peters, K. M. , ; Blumberg, F. C. (2004). Preschoolers’ moral judgments: Distinctions between realistic and cartoon-fantasy transgressions. Proceedings of the 2004 Conference on Interaction Design and Children: Building a Community (pp. 131–132). New York: ACM

Inigo Jones and the Classical Language of Architecture

Inigo Jones and the Classical Language of Architecture Classical architecture elements can be traced from early Greek and Roman styles. Classici refer to the highest rank of Roman social structure. Classical norms are based on a formal hierarchal system of clarity, symmetry, deceptive simplicity, harmonious proportion and completeness. (Curl, 12) There is a difference seen between the inside and the outside of a building. Classical architecture develops every part individually as these parts become a larger whole. Orders, or columns, play an important role in the development of classical architecture.The parts of the order include a pedestal, but not always, a column and some type of horizontal element above the column. Within the structure of orders a composition pattern and proportional system develop. Although Greek and Italian architecture used the name Doric, Ionic and Corinthian orders there were distinct differences between the appearances of the columns. In classical architec ture a Doric order is slender, usually with a base and a smooth shaft. One can see an elegant molded base on Ionic orders. Ionic orders also have fluted shafts and some type of cornice ornamentation.The Corinthian order is the most elaborate and may have engaged columns that are partially attached to a wall. Many of the classical orders are straight lines meeting at right angles with an equal distance between orders creating a piece with equal parts. There is symmetry from left to right and right to left that is not seen when looking top to bottom and bottom to top. (Tzonis 9) Inigo Jones is regarded as the first significant English classical architect. Jones combined his personality and understanding of classical architecture in his designs.His admiration of Italian architects and architecture is evident as many of his designs look more like Italian villas than traditional English buildings. Jones pursued his building projects to further his own political and personal interests. (A nderson 41) One of Inigo Jones’ first projects was building a stable, brewhouse and doghouse for King James at his royal hunting site. The Queen’s House, Queen’s Chapel and the Banqueting House are some of Inigo Jones works that are still standing. Other Jones designs include Covent Garden and Wilton House.The Queen’s House, once named the House of Delight, was built in Greenwich. The house looks like two Italian palaces facing one another connected by a narrow passage lined with equally spaced orders on each side. The orders appear to be Doric because of the simple base and smooth shaft. The exterior sides of the building show the classical norm of being symmetrical left to right and right to left. Following classical lines there is no up and down symmetry having one arched window on the second story. The wall facing south also has a center second floor balcony with orders.Materials used on the outside vary from floor to floor. Brick and stone work were used for the first floor while the second story walls are plastered and limewashed. Inside the main halls are shaped like a cube with flat ceilings. Surrounding rooms are symmetrical with cornice work showing an Italian influence with very ornate chimney sculptures. Orazio Gentileschi’s canvases originally filled the ceilings of the house. The Duchess of Marlborough had them taken down and brought to Marlborough House. (Lees-Milne 70) The Banqueting House is regarded by many as Jones’ masterpiece.Jones was commissioned to re-build the structure after a fire destroyed the original building. Jones based his design on Venetian palaces so Banqueting House would stand apart. The outside gives the appearance of a multi-story building. Two cherubs support a large shield in the pediment which was intended to contain a coat of arms. (Anderson 157) Ionic and engaged Corinthian orders are used. The orders on the exterior side walls combine flat and rounded columns with a pair of coupled pilasters at the end of each facade. Exterior street facade show the classical element of symmetry matching left to right and right to left.One can view the differences from top to bottom and bottom to top. Lower window tops alternate rounded and pointed where upper windows are all flat topped. Each window and order section is a separate design but is also part of the complete building. The interior of the Banqueting House is not multi-storied but a single double cube room. The space has Ionic orders under and Corinthian orders over a cantilevered gallery. (Summerson 53) The flat ceiling is covered with Ruben panels. The Banqueting House is still in use today for concerts, government function and private parties.Inigo Jones was picked to design a new Chapel at St. James Palace. The Queen’s Chapel is a double cube hall with a coffered ceiling that has an adjoining Queen’s Closet. There is a triple window rising behind the altar. The center rounded window rises h igher than the two flanking windows and is topped with carved angels and falling garlands. The Queen’s Closet is a gallery separated from the chapel by Corinthian pilasters and festoons. The Closet chimney piece and over mantel portrays classical Italian interior decoration. Harris and Higgott 184) The front exterior of the building is done with Portland-stone masonry. Side to side symmetry is present but there are no orders in the design. Wilton House is another Inigo Jones design. The main front dimension ratio is almost identical to his design for the Prince’s Lodging but on a larger scale. Wilton’s south front has side to side symmetry. The grand portico is in keeping with the classical association of royalty. Ionic orders are in front of the portico’s central Serlian windows which are surrounded with carved figures. There are corner towers and balustrades.The main interior room is a double-cube. Very ornate moldings, carvings and ceilings are present . Wilton House is one case where symmetry is not followed. The fireplace is not central on the main wall but gives the illusion that symmetry is maintained. (Lees-Milne 102) There are matching king’s and queen’s apartments for royalty use. Wilton House seemed out of place surrounded by smaller houses. This building provided Jones a bridge between his smaller and grander royal works. (Worsley 82) The Covent Garden project by Inigo included a new church, houses and gates leading to the square.Simple and classical Tuscan design variations were used in the arcade surrounding the houses. The entrance to the square is a false doorway and the church is entered through an enclosed yard. Classical architecture was used to update homes. Jones’ drawings show the use of banded columns and smooth columns against a rusticated wall. (Anderson 206) Jones designed a Tuscan portico on the east end of St. Paul’s church comprised of two central columns flanked by piers attac hed to a sidewall with arched openings. The Tuscan order throughout Covent Garden brought bout simplicity for urban life. As an architect Inigo Jones gave England a classical, innovative style using his love of Italy and Italian design. His use of orders was based on the specific function of the building, the context in which it was to be built and his own interpretation. (Anderson 208) Jones wanted his identity as an architect to be defined by The Banqueting House and St. Paul’s Cathedral. (Anderson 25)Works Cited Anderson, Christy. Inigo Jones and the Classical Tradition. New York, Cambridge University Press, 2007. Curl, James. Classical Architecture. New York, Van Nostrand Reinhold,1992. Harris, John and Higgott, Gordon. Inigo Jones Complete Architectural Drawings. London, A. Zwemmer Ltd, 1989. Lees-Milne, James. The Age of Inigo Jones. London, B. T. Batsford Ltd. , 1953. Summerson, John. Inigo Jones. Middlesex, Penguin Books Ltd. , 1966. Tzonis, Alexander and Lefaivre, Li ane. Classical Architecture the Poetics of Order. Cambridge, MIT Press, 19986. Worsley, Giles. Inigo Jones and the European Classicist Tradtion. New Have, Yale University Press, 2007.