Native American Artwork And Literature

Native American Artwork And Literature The combination and significance of literature and artwork are an extreme importance in the Native American culture. These two topics are rarely discussed in the Native American civilization. The modern day culture of the Native Americans is hardly ever passing down the traditions of their ancestors and even from their mothers and fathers. Many other topics such as lifestyles, spirituality, and wars are important also, but are not practiced in the household. Native Americans seldom teach their children about the artwork and the literature that goes with the tales based upon literature and artwork. The majority of the myths and artwork are told from the elders in the family or in the community. The most used subject back when the Native Americans were free was oral literature, and it is still used today. ÂÆ'‚‚ ÂÆ'‚‚ ÂÆ'‚‚ ÂÆ'‚‚ ÂÆ'‚‚ ÂÆ'‚‚ ÂÆ'‚‚ ÂÆ'‚‚ Traditional Native American literature was expressed only oral ly, so it could be difficult for a person outside of a particular Indian culture to gain access to a tribe's literature.Some of the ancient oral literature of Native American cultures has been put into print after enjoying a long life among people. Petroglyphs, stories or events related through pictures carved into rock, have been found throughout North America. These drawn, carved, or written pieces are only a sample of the different forms of oral literature that have been passed down from generation to generation. In the Native American culture, elders told stories, myths, and legends. Ceremonies and songs were performed among the people orally. Oral literature served religious, entertainment, and educational purposes, often at the same time. The young people of the tribe were educated in this way. They learned the religion, moral values, history, artistic values, humor, and music of their tribe. Even now many Native American storytellers and poets record their stories and experie nces to still...

100 Mostly Small But Expressive Interjections

100 Mostly Small But Expressive Interjections 100 Mostly Small But Expressive Interjections 100 Mostly Small But Expressive Interjections By Mark Nichol They often seem disreputable, like sullen idlers loitering in a public thoroughfare, but they actually do a lot of hard work and are usually persnickety about the tasks to which they are put. They are interjections one class of them, anyway: those lacking etymological origins but packed with meaning. But how do you know how to distinguish similar ones or spell them, for that matter? Here’s an incomplete inventory of interjections (not including variations of actual words such as yeah for yes or onomatopoeic echoes of externally produced sounds like boom): Ack communicates disgust or dismissal. Ah can denote positive emotions like relief or delight (generally, pronounced with a long a). Aha signals triumph or surprise, or perhaps derision. Ahem is employed to gain attention. Argh, often drawn out with additional h’s, is all about frustration. Aw can be dismissive or indicative of disappointment, or, when drawn out, expressive of sympathy or adoration. Aye denotes agreement. Bah is dismissive. Blah communicates boredom or disappointment. Blech (or bleah or bleh) implies nausea. Boo is an exclamation to provoke fright. Boo-hoo is imitative of crying and is derisive. Boo-ya (with several spelling variants) is a cry of triumph. Bwah-hah-hah (variously spelled, including mwah-hah-hah) facetiously mimics the stereotypical archvillain’s triumphant laugh. D’oh is the spelling for the muttering accompanying Homer Simpson’s trademark head-slapping self-abuse. Duh derides someone who seems dense. Eek indicates an unpleasant surprise. Eh, with a question mark, is a request for repetition or confirmation of what was just said; without, it is dismissive. Er (sometimes erm) plays for time. Ew denotes disgust, intensified by the addition of one or more e’s and/or w’s. Feh (and its cousin meh) is an indication of feeling underwhelmed or disappointed. Gak is an expression of disgust or distaste. Ha expresses joy or surprise, or perhaps triumph. Ha-ha (with possible redoubling) communicates laughter or derision. Hamana-hamana, variously spelled, and duplicated as needed, implies speechless embarrassment. Hardy-har-har, or har-har repeated as needed, communicates mock amusement. Hee-hee is a mischievous laugh, while its variants heh and heh-heh (and so on) can have a more derisive connotation. Hey can express surprise or exultation, or can be used to request repetition or call for attention. Hist signals the desire for silence. Hm, extended as needed, suggests curiosity, confusion, consternation, or skepticism. Hmph (also hrmph or humph) indicates displeasure or indignation. Ho-ho is expressive of mirth, or (along with its variant oh-ho) can indicate triumph of discovery. Ho-hum signals indifference or boredom. Hubba-hubba is the vocal equivalent of a leer. Huh (or hunh) is a sign of disbelief, confusion, or surprise, or, with a question mark, is a request for repetition. Hup, from the sound-off a military cadence chant, signals beginning an exerting task. Hurrah (also hoorah, hooray, and hurray, and even huzzah) is an exclamation of triumph or happiness. Ick signals disgust. Lah-de-dah denotes nonchalance or dismissal, or derision about pretension. Mm-hmm, variously spelled, is an affirmative or corroborating response. Mmm, extended as needed, conveys palatable or palpable pleasure. Mwah is suggestive of a kiss, often implying unctuous or exaggerated affection. Neener-neener, often uttered in a series of three repetitions, is a taunt. Now (often repeated â€Å"Now, now†) is uttered as an admonition. Oh is among the most versatile of interjections. Use it to indicate comprehension or acknowledgment (or, with a question mark, a request for verification), to preface direct address (â€Å"Oh, sir!†), as a sign of approximation or example (â€Å"Oh, about three days†), or to express emotion or serves as a response to a pain or pleasure. (Ooh is a variant useful for the last two purposes.) Oh-oh (or alternatives in which oh is followed by various words) is a warning response to something that will have negative repercussions. Olà ©, with an accent mark over the e, is borrowed from Spanish and is a vocal flourish to celebrate a deft or adroit maneuver. Ooh, with o’s repeated as needed, conveys interest or admiration, or, alternatively, disdain. Ooh-la-la is a response to an attempt to impress or gently mocks pretension or finery. Oops (and the jocular diminutive variation oopsie or oopsy and the variant whoops) calls attention to an error or fault. Ouch (or ow, extended as needed) signals pain or is a response to a harsh word or action. Oy, part of Yiddish expressions such as oy gevalt (equivalent to â€Å"Uh-oh†), is a lament of frustration, concern, or self-pity. Pff, extended as needed, expresses disappointment, disdain, or annoyance. Pfft, or phfft, communicates abrupt ending or departure or is a sardonic dismissal akin to pff. Phew, or pew, communicates disgust, fatigue, or relief. (Phooey, also spelled pfui, is a signal for disgust, too, and can denote dismissal as well. PU and P.U. are also variants.) Poof is imitative of a sudden disappearance, as if by magic. Pooh is a contemptuous exclamation. Pshaw denotes disbelief, disapproval, or irritation or, alternatively, communicates facetious self-consciousness. Psst calls for quiet. Rah, perhaps repeated, signals triumph. Shh (extended as necessary) is an imperative for silence. Sis boom bah is an outdated encouraging cry, most likely to be used mockingly now. Tchah communicates annoyance. Tsk-tsk and its even snootier variant tut-tut are condemnations or scoldings; the related sound tch is the teeth-and-tongue click of disapproval. Ugh is an exclamation of disgust. Uh is an expression of skepticism or a delaying tactic. Uh-huh indicates affirmation or agreement. Uh-oh signals concern or dismay. Uh-uh is the sound of negation or refusal. Um is a placeholder for a pause but also denotes skepticism. Va-va-voom is an old-fashioned exclamation denoting admiration of physical attractiveness. Whee is an exclamation of excitement or delight. Whew is a variant of phew but can also express amazement. Whoa is a call to halt or an exclamation of surprise or relief. Whoop-de-doo and its many variants convey mocking reaction to something meant to impress. Woo and woo-hoo (and variations like yahoo, yee-haw, and yippee) indicate excitement. (Woot, also spelled w00t among an online in-crowd, is a probably ephemeral variant.) Wow expresses surprise. Yay is a congratulatory exclamation. (Not to be confused with yeah, a variant of yes.) Yikes is an expression of fear or concern, often used facetiously. Yo-ho-ho is the traditional pirates’ refrain. Yoo-hoo attracts attention. Yow, or yowza, is an exclamation of surprise or conveys being impressed. Yuck (also spelled yech or yecch) signals disgust. (Not to be confused with yuk, a laugh.) Yum, or yummy, is a response to the taste of something delicious and, by extension, the sight of an attractive person. Zoinks is an expression of surprise or amazement popularized by the cartoon character Shaggy, of Scooby Doo fame. Zowie, often in combination following wowie, a variant of wow, expresses admiration or astonishment. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Vocabulary category, check our popular posts, or choose a related post below:Definitely use "the" or "a"15 Great Word GamesWhat the heck are "learnings"?

What does the 3rd space mean to you as a health professional Assignment

What does the 3rd space mean to you as a health professional - Assignment Example et al., 2010). In the context of this assignment, the third space was the forum where the aboriginals and the non-aboriginals gathered to talk and interact with one another away from their homes and places of work. There is a general agreement that social capital or what others would call cultural capital is not the only way to deal with the social exclusion menace. Aboriginals in Australia struggled for many years to be able to get the second and third space. It was actually hell to get the third space (Fenwick, 1998). They were at the periphery of service delivery in Australia for many years. They had health issues to deal with, and it was hard because they didn’t have the third space (Fenwick, 2001). A health professional finds the third space very important because it provides a forum in which they got to know about the health of the aboriginals, unlike the past where they would have health problems and nobody would care about it. The aboriginal health was in the past the hardest thing to understand because they lived in seclusion and felt unneeded because of their identity. It would be easier for health professionals to find ways to help the aboriginals with their health problems if informal settings are created in which the aboriginals and the non-aboriginals can sit together and talk, and just interact on a number of things touching on their lives (Eckermann et al. 2010).. There were certain social determinants of an aboriginal’s health and all of them touched on the social exclusion they suffered in the hands of the non-aboriginals, supposedly because they are viewed as an inferior race to the non-aboriginals. This made it hard to understand the health issues of the aboriginals. Third space creates an environment in which these two groups of people can interact. Through such interaction, it is no doubt that the health professionals will find it easy to understand the health of the aboriginals, and

Critically discuss the process of planning Health schools program Assignment

Critically discuss the process of planning Health schools program which is examining ways of addressing the growing problem of c - Assignment Example In the United States, childhood obesity is now the most widespread chronic disorder in children. In 2003, the health Survey of England has also reported that the obesity among 2-10 years old was recorded as 27.7% and 13.7% respectively. Genetic characteristics may increase the tendency of the child to have excess body weight but it is applicable only in few of the cases (Farooqi, 2005). According to the 1999-2000 National Health and Nutrition Examination Survey from last three decades, the genetic characteristics of the humans have not changed. However, in the same period the prevalence of obesity has tripled among children. The other factor that causes the imbalance is behaviour. It can be caused by the excess intake of energy in the form of junk food and sugar-sweetened drinks. In addition to this, if the children are not participating in physical activities during schools, this may play a major part in consuming high calories. Other than this, children spend more time in front of television, computers, and cellular telephones (Zametktn, Zoon, Klein, and Munson, 2004). It requires little activity and may lower the children’s metabolic rate. Moreover, they tend to make unhealthy food choices because of excessive exposure of food advertisement. Schools alone cannot solve the obesity epidemic, but it is unlikely to achieve it without strong school-based programs and policies. This is because around 90 % of children are enrolled in the schools and if they develop the habit of good appetite from the beginning, only then they would be able to continue it for the rest of their life. Schools are the basic primary institutions for every field possible; hence, we can say that they can play a vital role in controlling the obesity epidemic (National Association of State Boards of Education, 2004). Initial statement of the issue In the past 30 years, the percentage of obesity has more than doubled in the children and its ratio has tripled among adolescents. Among c hildren between 6 -11 years, the frequency of obesity in 1980 was 6.5% (National Center for Health Statistics, 1999) whereas, in 1998 it has reached to 19.6%. Among adolescents, 12-19 years of age, obesity has increased from 5.0% to 18.1% in the respective years (National Centre for Chronic Disease Prevention and Health Promotion, Division of Adolescent and School Health, 2010). In the pre-school children among the age group of 2-5 years, the obesity rate has increased from 5% –10.4% between the years of 1976-1980. In years from 2007- 2008, for 6 -11 years old children the rate has increased from 6.5% -19.6% (Division of Nutrition, Physical Activity and Obesity, National Centre for Chronic Disease Prevention and Health Promotion, 2010). It is expected that the ratio of obesity in children will continue to increase if certain concrete steps are not taken against it. Therefore, on the government as well as private level, certain steps must be taken in order to move towards heal thy society. Quantify the issue In recent years, obesity has turned out to be a serious health concern for children. There are several factors involved in this process. It is seen that obesity can influence the academic development of the children. In a study, it was found that at the kindergartner’s level, overweight children were found to score significantly less in maths and in reading as compare to their non-overweight class fellows

Iran Informative Speech Outline Essay Example for Free

Iran Informative Speech Outline Essay I.Iran is the center of the world of international news right now with its oil sanctions, threats from Israel, threats of shutting down the Straight of Hormuz but above all else, its expanses in nuclear power. a.Iran’s nuclear program and nuclear weapons have grown exponentially since 2003 threatening Middle-Eastern countries and America. Iran has had a nuclear program since the 1950’s when the U.S. helped launch it as part of the Atoms For Peace program. But since then, the program has grown with out regulation from the I. A.E.A. b.The fact that Iran’s unstable government has nuclear capabilities threatens not only neighboring countries like Israel but also the entire world and this situation needs to be handled as quickly as possible. c.In my speech, I will inform you on Iran’s nuclear program, why it is of the upmost importance, and what we as a nation should do in response. II.Because of Iran’s aggressive nuclear behaviors recently the U.N. has taken notice and has retaliated. a.Harsh economic sanctions were placed on the Iranian people recently. 1.The sanctions are an attempt by the US and European powers to hurt Iran’s economy so that they have no choice but to halt all nuclear developments. 2.Although the economic sanctions have hit hard and have â€Å"settled [the economy] into a slow, downward glide, hemorrhaging jobs and hard currency but appearing to be in no immediate danger of collapse, western diplomats and analysts say,† (Joby Warrick, 19 March, 2013), the sanctions haven’t triggered any protests or any slowing of nuclear development despite Iranian people’s suffering. b.Not only has the Iranian economy suffered but it is also on the verge of war with Israel. 1.They have been in what’s called a shadow war for 5 years where they exchanged terroristic type attacks. 2.Israel has blamed Iran for car and suicide bombings that targeted Israeli diplomats and killed Israeli tourists. Iran’s president has accused Israel and the U.S. of colluding to kill nuclear scientists. c.It’s clear that these issues will quickly escalate and have a negative outcome. III.If action isn’t taken soon, the U.S. will suffer. a.Iran and Israel’s war is inevitable. 1.â€Å"War with Iran seems to be turning away from a mere possibility and more towards inevitability†¦[and] Secretary of Defense Leon Panetta recently stated that he believes Israel will attack Iran,† (Joseph Sarkisian, March, 2012). 2.And because the U.S. has given Israel billions and has helped expand their military, if Israel attacks Iran in the near future, America has no choice but to attack as well. b.In response to the sanctions, the Iranian government has threatened to shut down the Strait of Hormuz. 1.The Strait of Hormuz is extremely important geographically because it is considered one of the world’s foremost chokepoints. In 2011, nearly 17 million barrels of oil, or almost 20% of the world’s traded oil flowed on ships through the Strait of Hormuz daily. 2.If the Strait of Hormuz closes, our oil supply from the Middle East will be cut off and the overall price of gas will increase to over $8 and will force the U.S. to spend billions of dollars on new drilling sites in North America. c.These looming threats of war and oil restrictions need to be dealt with.

An Open Minded Woman Rooted in Indian Tradition :: Interview Essays

An Open Minded Woman Rooted in Indian Tradition "I don't mind if my parents try to find a boy for me. Arranged marriages are still a common thing in my family. I don't know what my parents will say if I have a boyfriend here and he is from another country. I am sure that they will not adamantly reject it, but they maybe disappointed." What a surprise for me that in the year 2000, there are some people who still undergo arranged marriages. I am thinking that it must be awkward for me to do it, but it is not for Preeti. Preeti Kela, a freshman student at State College, was born and raised in the crowded city of Calcutta. Her long, black, and wavy hair, her caramel skin color, her black eyes, and her facial features make it obvious to others that she is Indian. Her family came from Rajashtan, one of the states in India. It is true that for her family, arranged marriages are not something new. Her older sister went through one last summer. Moreover, Preeti does not mind this tradition as long as her parents give her enough time to get to know the man and feel comfortable with him, and she can decide on her own whether or not to marry him. Although she seems quiet and shy, Preeti is not a close-minded woman and she always expresses her opinion. She is open to new ideas and different cultures. She went to a British Catholic school from the very beginning of her education. She had to learn everything using English. It shows that Preeti opens to new things since her childhood. If she agrees with the tradition of arranged marriage, it does not necessarily mean she just does whatever it says. She told me that once she argued with her mom about the way they pray. Her mom, who is a conservative Hindu, required her to pray in front the idols, read the mantra, and does meditation in the big temple or her family shrine. Preeti likes to pray in her room by herself. For her, it is not necessary to pray in a specific place and read the mantra every time she prays, and it does not need to be in front of the idols.

Dramatic Impetus in a View from the Bridge

Dramatic impetus is defined as an impelling movement or force within a play. In A View from the Bridge it is dependant on conflicts between opposing sets of values in areas such as relationships, gender, age and the community. The main character we are opposed to is Eddie as his set of values towards the end of the play contradict values of society, his family and even his own. He represents the older generation and the male stereotype of the 1950’s and also demonstrates justice being put to serve by the driving human emotions. His love is unevenly spread across the family causing conflict and destruction to his marriage, his family and even his life. There are five different relationships in the play, which are all affected by one conflicting emotion, causing the most important dramatic impetus. All the characters share a love as a family, at the start, as they all would take a risk for one another in any circumstance. The Italian brothers, Rodolpho and Marco, share a brotherly love so strong that they would lay down their own lives for the other brother. Rodolpho and Catherine develop a young romantic love, one set off at the very first sight and carries on throughout the play. Beatrice and Eddie are of course married but we are told mid way through Act 1 that their love has lost its passion. Beatrice questions Eddie when she asks â€Å"When am I going to be a wife again, Eddie? † in which he replies with â€Å"I ain’t been feeling good. They bother me since they came. † This conversation is unnatural for a married couple as the act of sex is supposed to be a common activity in the marriage life and especially desirable for men. All these relationships create a tension, set off by the one relationship based upon Eddie’s emotions and pride. Eddies love for Catherine – although not admitted by him but clearly shown to the other characters and the audience – enforces the dramatic impetus. Catherine and Eddie’s love at the start is clearly affectionate like a father and his daughter however in this case; Eddie is Catherine’s uncle. Catherine says, â€Å"I’ll get you a beer, all right? to Eddie at the start of the play, which evidently shows her affection to him as a father figure. However, this love develops into an incestuous love on Eddie’s behalf which conflicts with every relationship and the value of love. This love opposes Eddie’s love for his wife, Catherine’s love for Rodolpho and the love between Rodolpho and Marco. When it comes to love in the play, dramatic impetus is dependant on the deep passion that creates jealousy and causes pain bot h to the person who loves, the person who is loved and those around them. The way in which the law takes part in a crime can never satisfy the victim’s idea of justice as our decisions are based upon the emotions that we feel and therefore it is not true justice; it is not objective. However, where should our value be put when it comes to the betrayal of family and the betrayal of the law? Where can justice satisfy either values? At the start of the play, Eddie is seen as an honourable man for taking in two relatives as illegal immigrants and providing them with a roof over their heads and work on the pier, he even warns Beatrice and Catherine to not say a word, for the mere protection of the family. His warning is carried in a story about Vinny Bolzano whose family had hidden an uncle in the house. Vinny had â€Å"snitched† to the Immigration and suffered the consequences. â€Å"BEATRICE: Oh, it was terrible. He had five brothers and the old father. And they grabbed him in the kitchen and pulled him down the stairs – three flights his head was bouncin’ like a coconut. And they spit on him in the street, is own father and his brothers. The whole neighbourhood was cryin’. † The irony in this, is that Eddie becomes the betrayer, the â€Å"snitch†, in the second act when he walks into a telephone booth and rings up the Immigration Buereau. His action goes against his own values of trust, family and honour because they have been dictated by his feelings for Catherine and against Rodolpho. The little trust that Marco had for Eddie is now gone and there is nothing more the two would want more than justice and revenge progressing into an outbreak of conflict as they fail to look for a higher principle of justice separate from their own feelings found in the law. Although Eddie values the honour in his name, Marco values the trust bonds of family, which provides the dramatic impetus of Eddie’s tragic death. Values of sexuality and gender in the play are very conflicting even when the accusations are false. Men tend to value power, strength and honour in their name and not receiving the praise for these attributes can be very demeaning and conflicting to ones self. For example, Eddie is a very honourable man at the start of the play but his honour gradually decreases due to his own emotions and when that honour in his name is taken away by Marco there is an external conflict between the two in the last scene. Both Eddie and Marco are masculine characters and their similar values are conflicting in both a competitive way and in a form of loyalty, especially in the last act where Marco defends his family’s honour. Women also have values that conflict with their own. Catherine and Beatrice have a minor conflict in that they both fight for Eddie’s attention; for male affirmation as the daughter and as the wife. They both value Eddie’s opinion at the start and so they work to satisfy his needs but when another male comes onto the scene, this changes causing the conflict between males for the woman’s attention. This is clear in the play when Rodolpho steps onto the scene and captures Catherine’s attention, dragging it slowly away from Eddie. Due to his pride and jealousy, Eddie makes accusations that Rodolpho is homosexual which was not valued in 1950’s society. Eddie tries to give evidence that Rodolpho just â€Å"ain’t right† and explains to Alfieri, â€Å"I know a tenor, Mr Alfieri. This ain’t no tenor. I mean if you came in the house and you didn’t know who was singin’, you wouldn’t be lookin’ for him you be lookin’ for her. These accusations not only create dramatic impetus but also provide a shock value when in act 2, Eddie â€Å"pins [Rodolpho’s] arms, laughing, and suddenly kisses him. † This reveals to the audience Eddie’s true thoughts and feelings in a very dramatic way. It is obvious that Eddie does not value homosexuality as he represents the masculine but his accusations to this opposin g value creates a conflict and furthermore provides dramatic impetus. Amongst different age groups come different sets of values and attitudes towards traditional manners. Rodolpho and Catherine represent the youth and when Rodolpho and Catherine decide to marry without Eddie’s permission, this is scene as disrespectful. It is generally polite and traditional in past generations to ask the parents for a daughters hand in marriage so when this tradition is broken then conflict breaks out. Eddie also does not value materialism like Rodolpho does as the consumerist generation which takes part in the conflict between Eddie and Rodolpho. It is said that wisdom comes with age and so do wrinkles, which is why the idea of beauty in older women is valued. Beatrice represents the older generation in the play and it is clear that she feels jealous of Catherine’s young beauty. â€Å"BEATRICE: You think I’m jealous of you, honey? CATHERINE: No! It’s the first I thought of it. BEATRICE: Well you should of thought of it before†¦Ã¢â‚¬  Although these values between youth and adult are not major factors of conflict, they contribute to the dramatic impetus and create a momentum towards the final outburst of built up tension between the characters. Arthur Miller creates dramatic impetus in A View from the Bridge through conflicting character values. The different types of love shared are all conflicted with the one emotion that brings about a roll of events and an outburst of tension. Justice is values only by the state of ones emotions and therefore can differ depending on the situation but will always intend to provide revenge on the criminal or victim. Gender and sexuality creates conflict through accusations as the 1950’s did not value homosexuality. The values between different generations provide dramatic impetus in the play.