Obtaining services within community Essay Example | Topics and Well Written Essays - 1250 words

Obtaining services within community - Essay Example ing the notable move from the medical based models for care to the social models, which incorporate an interdisciplinary approach to identification, support and delivery of support services and recourses within the community (Sheppard & Unsworth, 2011). However, despite these milestones in the care services and resources in the community, considerable barriers to the entire integration and establishment of maximum independence for the developmental disability care. Nonetheless, within the community setting, several structures, resources and services are evident for supporting the development of the disability cases. The Washington state facilitates a vast composition of resources to assist the parents and families of children and youth among other individuals with developmental disabilities (Sheppard & Unsworth, 2011). The course entails focusing on the successful support for the individuals with developmental disabilities to achieve independence in their lives. The vast composition of developmental disability cases in the community demands a comprehensive establishment of support services and resources that enable the care within the community. There are vast services and resources for support across the Washington State, allowing for the families and individuals to make a choice of the intermediary support best fitting for the needs. For instance, there is the Division of Disability and Aging Services, whose partnership with the developmental disabilities support systems is significant component (Moore, Washington, Ningning, Johnson, Davis, Eugene-Cross & Quinn, 2015). The Division facilitate s funding which is a key resource for developing the systems and, training, quality assurance and technical assistance entailed in the disability care programs. Additionally, the Division is also key in its conceptual support through providing guardianship services to the individuals with developmental disabilities and who the court determines that they need the guardianship

The Man I Killed Essay Example for Free

The Man I Killed Essay â€Å"The Man I Killed† the author Tim O Brien is the character in the story but the story does not use first person. This is because the story is not revolved around him but revolved on the man he has just killed in the Vietnam war. The character in this story focuses on the dead mans physicality and the story he has fabricated for him. The character in this story seems to be in shock because he does not speak or stop looking at the dead soldier, â€Å"Kiowa shook his head. There was some silence before he said, â€Å"Stop staring Talk to me† (p. 797-798) In the story â€Å"The Lives of the Dead†, the narrator is Tim O Brien who tells the story of his first love who happens to be his first death. This story is in first person and he describes how he keeps those he has known alive by telling stories about them, â€Å"When I write about her now, three decades later, its tempting to dismiss it as a crush, an infatuation of childhood, but I know for a fact that what we felt for each other was as deep and rich as love can ever get. † Tim also describes his experiences in the war, â€Å"I remember the smell of burnt straw; I remember broken fences and torn-up trees and heaps of stone and brick and pottery. † (p. 799) The repetition of dialogue in â€Å"The Man I Killed† gives the readers a sense of truth in the story and imagery of what the dead man looked like for the character. As the character repeats over and over again what the man looked like and what his life was like before the war, it gives the readers a sense of the psychological affects the war had on men. Using these techniques of imager and dialogue repetition in this story allowed me to get a deeper feeling of what shock and guilt felt like for these men. Although the reader may not have intended for me to feel these emotions this is what I felt during the reading. It allowed me to understand how the character consoled himself and also punished himself. For me if I imagined the youngs mans life before the war and I took that away, I would consider this as a form of punishment. Imagery is very detailed in both stories because one of them describes the man he has just killed, â€Å"His jaw was in his throat, his upper lip and teeth were gone, his one eye was shut, his other eye was a star-shaped hole † (p. 795) and the soldiers fabricated life story, â€Å"He had been born, maybe, in 1946 in the village of My Khe near the central coastline of Quan Ngai Province, where his parents farmed † (p. 795) In the other story he describes his first live, her death  at age 9, and his experiences in the war especially with death, â€Å"The place was deserted-no people, no animals- and the only confirmed kill was an old man who lay face up-near a pigpen at the center of the village. † (p. 799) The imagery of the people he has lost and his experiences with them allow the readers to get a feeling of how many people the narrator has lost or has seen died. We are allowed to get a feeling about death and the certain ways those around him coped with it and how he did too. In the story â€Å"The Man I Killed† the character copes with his first kill in war by providing him with a story. He gives the young man a story which in turn gives him symbolically life. His life becomes to have meaning and he is no longer thought as a dead man but a person who had dreams, a wife, and longing to be far away from war, â€Å"He had no stomach for violence. He loved mathematics And as he waited, in his final year at the university, he fell in love with a classmate, a girl of seventeen The use of Linda in the war story, â€Å"The Lives of the Dead† is to show his readers how he coped with his fisrt death who happened to be his first love. Linda, a girl at the age of 9 died from a brain tumor which devastates Tim O Brien who than begins to dream about her at night which provides him comfort knowing that in his dreams she still lived. This is how Brien coped with the deaths he experienced in war, â€Å"But ths too is true: stories can save us. Theyre all dead. But in a story, which is kind of dreaming, the dead sometimes smile and sit uo and return to the world. † (p. 799) The author story tells, metafiction, to keep those that have lost their lives from truly dying. Through the form of story he keeps them living and although these are stories of fiction, to the author it is preserving their lives. In the story â€Å"The Man I killed† he preserves the fallen soldier by inventing a fictitious life for him. For Linda and his fellow comrades he gives them stories too. â€Å"But in a story I can steal her soul. I can revive, at least briefly, that which is absolute and unchanging. Its not the surface that matters, its the identity that lives inside. † Just as he imagines them and dreams of them, his stories become their new lives where they continue to live on. He knows if he continues to create these stories, they will never die and through this we can see the power of storytelling. â€Å"and sometimes I can even see Timmy skating with Linda under the yellow floodlights. Im young and happy. Ill never die. †

The Sidhe, the Tuatha de Danaan, and the Fairies in Yeatss Early Works

The fin de siecle, or late 1800's, was an era not unlike our own: now we see many seeking "New Age" enlightenment; likewise, Yeats and many of his contemporaries looked for meaning in various areas of the supernatural. Ripe as the late 1800's were for spawning occult study, those were also times of political turmoil for the Irish, and Yeats became involved with Irish nationalism as well. His desire to express this nationalism was given voice through a Celtic literature that he hoped would inform and inspire his countrymen. Falling in love with a beautiful firebrand Irish patriot (who also had a taste for the occult) only served to further ignite the Celtic flames of imagination in Yeats. References to supernatural Celtic beings and the Irish spirit world abound in Yeats's early poetry. To make these passages seem less arcane, a look at the Tuatha de Danaan, the Sidhe, and the fairies is helpful. The Tuatha de Danaan literally means "people of the goddess Danu," Danu being a Celtic land or mother goddess, perhaps derived from the Sanskrit river goddess, Danu. Other associated names for her were the Welsh "Don," Irish "Anu" or "Ana," "Mor-Rioghain," and "Brighid." The Tuatha de Dannan were considered supernatural, angelic-like beings who came to Ireland and encountered two groups that they successfully overcame. Epic battles were waged to defeat both the Firbolgs and the Fomorians. The Firbolgs, early Irish settlers, were a short, dark race of men who derived their name from carrying clay in bags, or boilg, hence the name "fir bolg" meaning "bag men." Believed to be of early Greek origin, the mortal Firbolgs were overthrown by the god-like Tuatha de Danaan. The other army that lost in combat with the Danaan fighte... ...Richard. Yeats: The Man and the Masks. New York: Norton, 1979. Gregory, Lady. Gods and Fighting Men. New York: Oxford UP, 1970. Jeffares, A. Norman. A Commentary on the Collected Poems of W.B. Yeats. Stanford, CA: Stanford UP, 1968. Jeffares, A. Norman. W.B. Yeats: Man and Poet. New York: Barnes, 1966. Malins, Edward. A Preface to Yeats. New York: Scribner's, 1974. O hOgain, Daithi. Myth, Legend and Romance: An Encyclopedia of the Irish Folk Tradition. New York: Prentice, 1991. O' Suilleabhain, Sean. Irish Folk Customs and Belief. Dublin: Folklore, 1967. Skelton, Robin, and Ann Saddlemyer, eds. The World of W.B. Yeats, revised ed. Seattle, WA: U of Washington P, 1967. Yeats, W.B. The Collected Poems of W.B. Yeats, 2nd revised ed. Ed. Richard J. Finneran. New York: Scribner, 1996. Yeats, W.B. Mythologies. New York: Collier, 1959. The Sidhe, the Tuatha de Danaan, and the Fairies in Yeats's Early Works The fin de siecle, or late 1800's, was an era not unlike our own: now we see many seeking "New Age" enlightenment; likewise, Yeats and many of his contemporaries looked for meaning in various areas of the supernatural. Ripe as the late 1800's were for spawning occult study, those were also times of political turmoil for the Irish, and Yeats became involved with Irish nationalism as well. His desire to express this nationalism was given voice through a Celtic literature that he hoped would inform and inspire his countrymen. Falling in love with a beautiful firebrand Irish patriot (who also had a taste for the occult) only served to further ignite the Celtic flames of imagination in Yeats. References to supernatural Celtic beings and the Irish spirit world abound in Yeats's early poetry. To make these passages seem less arcane, a look at the Tuatha de Danaan, the Sidhe, and the fairies is helpful. The Tuatha de Danaan literally means "people of the goddess Danu," Danu being a Celtic land or mother goddess, perhaps derived from the Sanskrit river goddess, Danu. Other associated names for her were the Welsh "Don," Irish "Anu" or "Ana," "Mor-Rioghain," and "Brighid." The Tuatha de Dannan were considered supernatural, angelic-like beings who came to Ireland and encountered two groups that they successfully overcame. Epic battles were waged to defeat both the Firbolgs and the Fomorians. The Firbolgs, early Irish settlers, were a short, dark race of men who derived their name from carrying clay in bags, or boilg, hence the name "fir bolg" meaning "bag men." Believed to be of early Greek origin, the mortal Firbolgs were overthrown by the god-like Tuatha de Danaan. The other army that lost in combat with the Danaan fighte... ...Richard. Yeats: The Man and the Masks. New York: Norton, 1979. Gregory, Lady. Gods and Fighting Men. New York: Oxford UP, 1970. Jeffares, A. Norman. A Commentary on the Collected Poems of W.B. Yeats. Stanford, CA: Stanford UP, 1968. Jeffares, A. Norman. W.B. Yeats: Man and Poet. New York: Barnes, 1966. Malins, Edward. A Preface to Yeats. New York: Scribner's, 1974. O hOgain, Daithi. Myth, Legend and Romance: An Encyclopedia of the Irish Folk Tradition. New York: Prentice, 1991. O' Suilleabhain, Sean. Irish Folk Customs and Belief. Dublin: Folklore, 1967. Skelton, Robin, and Ann Saddlemyer, eds. The World of W.B. Yeats, revised ed. Seattle, WA: U of Washington P, 1967. Yeats, W.B. The Collected Poems of W.B. Yeats, 2nd revised ed. Ed. Richard J. Finneran. New York: Scribner, 1996. Yeats, W.B. Mythologies. New York: Collier, 1959.

Henry David Thoreau Final

Henry David Thoreau uses contradictory tone in both â€Å"The e Moon† and â€Å"Indeed Indeed I Cannot Tell† to convey that love will always overshadow hate Furthermore, Henry David Thoreau use of contrast in tone portrays that d ring a time of secrecy, scandals, and mischievous actions, love will always neglect the dreads LU moments in life. â€Å"The Moon† is a dramatic poem about a man that expresses his amorous feelings towards a woman. The man has many problems in his life and the woman does not bring g any luck, but her light gives him hope.Hope that even though he is going through many memo nuts of secrecy, scandals, and mischievous moments that everything will eventually get better . Henry David Thoreau does this by personifying the moon as a lady and showing that his 10 eve for her helps him see all his bulky abundant problems seem small and limited. His love for the moon, lady, helps him realize that life is valuable and that there's no reason to abhor the life he I ivies.Moreover, Henry David Thoreau talks about how the moon, lady, â€Å"does not wane, but m y fortune,' which her rays do not bless,/ my wayward path declined soon,/ but she shines not the less† (Thoreau 71 0) in order to show the contrast between his frightful life and the power an d beauty of the moon. Henry David Thoreau uses tone shift in every other line in order to con trash himself with the moon, he uses a disconsolate tone when talking about his life in order to show that he is weak.Afterwards, he shifts to a omnipotent tone to describe the powerfulness s of the moon, lady, and that compared to him she will never become weak. He talks about how s he does not ‘Wane†; therefore, she does not fade, but he then he talks about that his fortune does fade making him seem powerless. He also talks about how she does not bring luck to his fortune e and that he took the wrong path that will soon be declining and bringing adversity to his life. La sta y, he talks about how none of that matters because the moon does not shine any less; t wherefore, she gives him hope that one day everything will turn out okay.The contrast is shown aft r every other line because he goes from describing his calamitous life to describing the influent al light of the moon to show how strong her light and beauty is. The moon is a reminder that t beauty still exist even in the darkest moments of ones life and his love towards the moon, lady , helps him see beyond his problems and the life he abhors. Likewise, Henry David Thoreau use of tone shift conveys that no matter h owe much hate and disgust you feel towards a person, there's always going to be a spark Of love u ender all that loath. Indeed, Indeed, I Cannot Tell† is a dramatic poem about a man and a choice between lover or hate. The man starts of hating a certain person and doesn't want to believe the at he truly loves them. He thinks that loving the person is some kind of sin and that he is not al lowed to love. Time starts to pass by and no matter how much he tries to hate the person 10 eve strikes him every time. He finally realizes that he can not truly hate the person no matter how much he tires. He figures out that love can not be hidden and that love will always find a away b ace to him no matter how much he tries to push it away.Hate can not always be a disguise f or love because love will always be able to break through the cracks of hate and when it does I can not be controlled. In addition to, Henry David Thoreau tone shift helps the reader s e the confusion Henry has about whether to love or hate the person. The tone shift is mostly n deiced in lines seven through twelve when Henry starts to talk about how he, â€Å"O, I hate thee with a hate/ That would fain, annihilate;/ Yet sometimes against my will,/ My dear friend, love the still. If it were a treason to our love,/ And a sin to God above,† (Thoreau 712). Henry uses a tone of abhorrence when talk ing about how much he hates the person, but then shifts to a tone o f affection to show owe much he wants to love the person. At first Henry starts talking about how he hates the person with so much hate that it will soon destroy him. He then shifts to talk Eng about how sometimes against his will he still loves them. Lastly, he shifts back to talking a bout how loving the person is a betrayal and a sin to the God above.By using tone shift the re adder can tell that Henry does truly want to love the person, but he is afraid to because he believe sees its a sin to love a person so much. Therefore, he tries to use hate as a disguise in order to make e himself believe that he doesn't not love the person. He soon sees the reality that he can't hate the e person and that his love towards the person is too strong to be hidden; therefore, he agrees that he does love the person. He knows that it's not right to love the person, but with hate comes 10 eve and eventually love starts to take ov er uncontrollably and there's nothing that can stop it.Furthermore, in both â€Å"The Moon† and â€Å"Indeed, Indeed, I Cannot Tell† Henry David Thoreau uses contradictory tone to portray that that love will always dominate hate, b UT at the same time he gives the poems their own unique styles. Thoreau poems both illustrate t e power of love, but in two different scenarios. Thoreau use of contradictory tone in â€Å"The Mo on† and â€Å"Indeed, Indeed, I Cannot Tell† illustrates not only how love can overshadow hate, but also how much of an impact love has in peoples lives.Moon† illustrates a man with a life full I of faults and his love for the moon, in this case a lady. Henry illustrates the impact of love BBC reading a scenario where the love Of a man towards a lady, moon, helps him loss sight Of all his t rubles in life. He makes the man go through many problems, but he doesn't let the man lose t he thought of love. In he end the love he has tow ards the moon,woman, helps the man realize that no matter what situation he is in his love will never alter.By only focusing on the good, in this case love, the man realizes that life is precious and that there's not a reason to abhor it no matter what challenges are being faced. While â€Å"The Moon† illustrated that love is powerful by using nature, â€Å"Indeed, Indeed, I Cannot Tell† illustrates the power of love by making It simple e and using a man that just simply believes he hates another person. â€Å"Indeed, Indeed, I Cannot Tell† is also a poem written by Henry David Thoreau that emphasizes the power of love. Indeed, Indeed, I Cannot Tell† helps the reader picture ho w love overshadows hate, but in a different scenario.In the poem there's a man that starts out hating a person with a passion, but the hate turned out to be a disguise for his love to wards the person. The man talks about how the person disgust him and how he doesn't know w hats eas ier to either love or hate them. Throughout the poem he keeps trying to convince himself that he hates the person and that there's no possible way that he could ever love them. As the poem starts to come to an end he admits that he really does love the person, but it wasn't his intent ion to love them.The poem shows that everyone has hidden love and that hate only occurs who en love is present because no one ever wants to believe that a person could love someone with so much passion; therefore, hate is a disguise for love. Henry David Thoreau used different see Marion in the poems in order to warn people that love is to be taken seriously, but he used contract actors tone in both of the poems to get the message out. By creating different scenarios, but using g the same tone Henry David Thoreau helps the reader gain some knowledge on how love imp acts different people in different ways.In conclusion, different people have different experiences, but love has the same amount of power. Some people are afraid of the thought of love because maybe they ha eve experienced love in a different way than others. Love can seem like a bad thing but if love is ex perceived in different ways it will leave different scars. Some scars might be bad and want to be forgotten, but they are there as a reminder of the mistakes that don't need to be repeated. Other scars are there as a reminder of how much of a difference love can cause and to show the b tackle that come with love.Henry David Thoreau flawlessly takes his experiences with love and hate and turns them into different scenarios to show the audience that love and hate can be experienced in different ways. In doing so, he is able to create the image that love will not alt err and that it will always stay same under every single circumstance. Henry David Thoreau, a p helicopter, chooses to take love and hate and show his audience that just because problems late r love doesn't. He helps his audience realize that hate is power ful, but hate really never is felt.

Vampire Academy Chapter 15

FIFTEEN MASON DELIVERED. He found me the next day before school. He was carrying a box of books. â€Å"I got them,† he said. â€Å"Hurry and take them before you get in trouble for talking to me.† He handed them over, and I grunted. They were heavy. â€Å"Christian gave you these?† â€Å"Yeah. Managed to talk to him without anyone noticing. He's got kind of an attitude, did you ever notice that?† â€Å"Yeah, I noticed.† I rewarded Mason with a smile that he ate up. â€Å"Thanks. This means a lot.† I hauled the loot up to my room, fully aware of how weird it was that someone who hated to study as much as I did was about to get buried in dusty crap from the fourteenth century. When I opened the first book, though, I saw that these must be reprints of reprints of reprints, probably because anything that old would have long since fallen apart. Sifting through the books, I discovered they fell into three categories: books written by people after St. Vladimir had died, books written by other people when he was still alive, and one diary of sorts written by him. What had Mason said about primary and secondary sources? Those last two groups were the ones I wanted. Whoever had reprinted these had reworded the books enough so that I didn't have to read Ye Olde English or anything. Or rather, Russian, I supposed. St. Vladimir had lived in the old country. Today I healed the mother of Sava who has long since suffered from sharp pains within her stomach. Her malady is now gone, but God has not allowed me to do such a thing lightly. I am weak and dizzy, and the madness is trying to leak into my head. I thank God every day for shadow-kissed Anna, for without her, I would surely not be able to endure. Anna again. And â€Å"shadow-kissed.† He talked about her a lot, among other things. Most of the time he wrote long sermons, just like what I'd hear in church. Super boring. But other times, the book read just like a diary, recapping what he did each day. And if it really wasn't just a load of crap, he healed all the time. Sick people. Injured people. Even plants. He brought dead crops back to life when people were starving. Sometimes he would make flowers bloom just for the hell of it. Reading on, I found out that it was a good thing old Vlad had Anna around, because he was pretty messed up. The more he used his powers, the more they started to get to him. He'd get irrationally angry and sad. He blamed it on demons and stupid stuff like that, but it was obvious he suffered from depression. Once, he admitted in his diary, he tried to kill himself. Anna stopped him. Later, browsing through the book written by the guy who knew Vladimir, I read: And many think it miraculous too, the power the blessed Vladimir shows over others. Moroi and dhampirs flock to him and listen to his words, happy just to be near him. Some say it is madness that touches him and not spirit, but most adore him and would do anything he asked. Such is the way God marks his favorites, and if such moments are followed by hallucinations and despair, it is a small sacrifice for the amount of good and leadership he can show among the people. It sounded a lot like what the priest had said, but I sensed more than just a â€Å"winning personality† People adored him, would do anything he asked. Yes, Vladimir had used compulsion on his followers, I was certain. A lot of Moroi had in those days, before it was banned, but they didn't use it on Moroi or dhampirs. They couldn't. Only Lissa could. I shut the book and leaned back against my bed. Vladimir healed plants and animals. He could use compulsion on a massive scale. And by all accounts, using those sorts of powers had made him crazy and depressed. Added into it all, making it that much weirder was that everyone kept describing his guardian as â€Å"shadow-kissed.† That expression had bugged me ever since I first heard it†¦ â€Å"You're shadow-kissed! You have to take care of her!† Ms. Karp had shouted those words at me, her hands clenching my shirt and jerking me toward her. It had happened on a night two years ago when I'd been inside the main part of the upper school to return a book. It was nearly past curfew, and the halls were empty. I'd heard a loud commotion, and then Ms. Karp had come tearing around the corner, looking frantic and wild-eyed. She shoved me into a wall, still gripping me. â€Å"Do you understand?† I knew enough self-defense that I could have probably pushed her away, but my shock kept me frozen. â€Å"No.† â€Å"They're coming for me. They'll come for her.† â€Å"Who?† â€Å"Lissa. You have to protect her. The more she uses it, the worse it'll get. Stop her, Rose. Stop her before they notice, before they notice and take her away too. Get her out of here.† â€Å"I†¦what do you mean? Get her out of†¦you mean the Academy?† â€Å"Yes! You have to leave. You're bound. It's up to you. Take her away from this place.† Her words were crazy. No one left the Academy. Yet as she held me there and stared into my eyes, I began to feel strange. A fuzzy feeling clouded my mind. What she said suddenly sounded very reasonable, like the most reasonable thing in the world. Yes. I needed to take Lissa away, take her – Feet pounded in the hallway, and a group of guardians rounded the corner. I didn't recognize them; they weren't from the school. They pried her off of me, restraining her wild thrashing. Someone asked me if I was okay, but I could only keep staring at Ms. Karp. â€Å"Don't let her use the power!† she screamed. â€Å"Save her. Save her from herself!† The guardians had later explained to me that she wasn't well and had been taken to a place where she could recover. She would be safe and cared for, they assured me. She would recover. Only she hadn't. Back in the present, I stared at the books and tried to put it all together. Lissa. Ms. Karp. St. Vladimir. What was I supposed to do? Someone rapped at my door, and I jerked out of my memories. No one had visited me, not even staff, since my suspension. When I opened the door, I saw Mason in the hall. â€Å"Twice in one day?† I asked. â€Å"And how'd you even get up here?† He flashed his easy smile. â€Å"Someone put a lit match in one of the bathroom's garbage cans. Damn shame. The staff's kind of busy. Come on, I'm springing you.† I shook my head. Setting fires was apparently a new sign of affection. Christian had done it and now Mason. â€Å"Sorry, no saving me tonight. If I get caught – â€Å" â€Å"Lissa's orders.† I shut up and let him smuggle me out of the building. He took me over to the Moroi dorm and miraculously got me in and up to her room unseen. I wondered if there was a distracting bathroom fire in this building too. Inside her room, I found a party in full swing. Lissa, Camille, Carly, Aaron, and a few other royals sat around laughing, listening to loud music, and passing around bottles of whiskey. No Mia, no Jesse. Natalie, I noticed a few moments later, sat apart from the group, clearly unsure how to act around all of them. Her awkwardness was totally obvious. Lissa stumbled to her feet, the fuzzy feelings in our bond indicating she'd been drinking for a while. â€Å"Rose!† She turned to Mason with a dazzling smile. â€Å"You delivered.† He swept her an over-the-top bow. â€Å"I'm at your command.† I hoped he'd done it for the thrill of it and not because of any compulsion. Lissa slung an arm around my waist and pulled me down with the others. â€Å"Join the festivities.† â€Å"What are we celebrating?† â€Å"I don't know. Your escape tonight?† A few of the others held up plastic cups, cheering and toasting me. Xander Badica poured two more cups, handing them to Mason and me. I took mine with a smile, all the while feeling uneasy about the night's turn of events. Not so long ago, I would have welcomed a party like this and would have downed my drink in thirty seconds. Too much bothered me this time, though. Like the fact that the royals were treating Lissa like a goddess. Like how none of them seemed to remember that I had been accused of being a blood whore. Like how Lissa was completely unhappy despite her smiles and laughter. â€Å"Where'd you get the whiskey?† I asked. â€Å"Mr. Nagy,† Aaron said. He sat very close to Lissa. Everyone knew Mr. Nagy drank all the time after school and kept a stash on campus. He continually used new hiding places – and students continually found them. Lissa leaned against Aaron's shoulder. â€Å"Aaron helped me break into his room and take them. He had them hidden in the bottom of the paint closet.† The others laughed, and Aaron gazed at her with complete and utter worship. Amusingly, I realized she hadn't had to use any compulsion on him. He was just that crazy for her. He always had been. â€Å"Why aren't you drinking?† Mason asked me a little while later, speaking quietly into my ear. I glanced down at my cup, half surprised to see it full. â€Å"I don't know. I guess I don't think guardians should drink around their charges.† â€Å"She's not your charge yet! You aren't on duty. You won't be for a long time. Since when did you get so responsible?† I didn't really think I was all that responsible. But I was thinking about what Dimitri had said about balancing fun and obligation. It just seemed wrong to let myself go wild when Lissa was in such a vulnerable state lately. Wiggling out of my tight spot between her and Mason, I walked over and sat beside Natalie. â€Å"Hey Nat, you're quiet tonight.† She held a cup as full as mine. â€Å"So are you.† I laughed softly. â€Å"I guess so.† She tilted her head, watching Mason and the royals like they were some sort of science experiment. They'd consumed a lot more whiskey since I'd arrived, and the silliness had shot up considerably. â€Å"Weird, huh? You used to be the center of attention. Now she is.† I blinked in surprise. I hadn't considered it like that. â€Å"I guess so.† â€Å"Hey, Rose,† said Xander, nearly spilling his drink as he walked over to me. â€Å"What was it like?† â€Å"What was what like?† â€Å"Letting someone feed off you?† The others fell quiet, a sort of anticipation settling over them. â€Å"She didn't do that,† said Lissa in a warning voice. â€Å"I told you.† â€Å"Yeah, yeah, I know nothing happened with Jesse and Ralf. But you guys did it, right? While you were gone?† â€Å"Let it go,† said Lissa. Compulsion worked best with direct eye contact, and his attention was focused on me, not her. â€Å"I mean, it's cool and everything. You guys did what you had to do, right? It's not like you're a feeder. I just want to know what it was like. Danielle Szelsky let me bite her once. She said it didn't feel like anything.† There was a collective â€Å"ew† from among the girls. Sex and blood with dhampirs was dirty; between Moroi, it was cannibalistic. â€Å"You are such a liar,† said Camille. â€Å"No, I'm serious. It was just a small bite. She didn't get high like the feeders. Did you?† He put his free arm around my shoulder. â€Å"Did you like it?† Lissa's face went still and pale. Alcohol muted the full force of her feelings, but I could read enough to know how she felt. Dark, scared thoughts trickled into me – underscored with anger. She usually had a good grip on her temper – unlike me – but I'd seen it flare up before. Once it had happened at a party very similar to this one, just a few weeks after Ms. Karp had been taken away. Greg Dashkov – a distant cousin of Natalie's – had held the party in his room. His parents apparently knew someone who knew someone, because he had one of the biggest rooms in the dorm. He'd been friends with Lissa's brother before the accident and had been more than happy to take Andre's little sister into his social fold. Greg had also been happy to take me in, and the two of us had been all over each other that night. For a sophomore like me, being with a royal Moroi senior was a huge rush. I drank a lot that night but still managed to keep an eye on Lissa. She always wore an edge of anxiety around this many people, but no one really noticed, because she could interact with them so well. My heavy buzz kept a lot of her feelings from me, but as long as she looked okay, I didn't worry. Mid-kiss, Greg suddenly broke away and looked at something over my shoulder. We both sat in the same chair, with me on his lap, and I craned my neck to see. â€Å"What is it?† He shook his head with a sort of amused exasperation. â€Å"Wade brought a feeder.† I followed his gaze to where Wade Voda stood with his arm around a frail girl about my age. She was human and pretty, with wavy blond hair and porcelain skin pale from so much blood loss. A few other guys had homed on her and stood with Wade, laughing and touching her face and hair. â€Å"She's already fed too much today,† I said, observing her coloring and complete look of confusion. Greg slid his hand behind my neck and turned me back to him. â€Å"They won't hurt her.† We kissed a while longer and then I felt a tap on my shoulder. â€Å"Rose.† I looked up into Lissa's face. Her anxious expression startled me because I couldn't feel the emotions behind it. Too much beer for me. I climbed off of Greg's lap. â€Å"Where are you going?† he asked. â€Å"Be right back.† I pulled Lissa aside, suddenly wishing I was sober. â€Å"What's wrong?† â€Å"Them.† She nodded toward the guys with the feeder girl. She still had a group around her, and when she shifted to look at one of them, I saw small red wounds scattered on her neck. They were doing a sort of group feeding, taking turns biting her and making gross suggestions. High and oblivious, she let them. â€Å"They can't do that,† Lissa told me. â€Å"She's a feeder. Nobody's going to stop them.† Lissa looked up at me with pleading eyes. Hurt, outrage, and anger filled them. â€Å"Will you?† I'd always been the aggressive one, looking after her ever since we were little. Seeing her there now, so upset and looking at me to fix things, was more than I could stand. Giving her a shaky nod, I stumbled over to the group. â€Å"You so desperate to get some that you've got to drug girls now, Wade?† I asked. He glanced up from where he'd been running his lips over the human girl's neck. â€Å"Why? Are you done with Greg and looking for more?† I put my hands on my hips and hoped I looked fierce. The truth was, I was actually starting to feel a little nauseous from all I'd drunk. â€Å"Aren't enough drugs in the world to get me near you,† I told him. A few of his friends laughed. â€Å"But maybe you can go make out with that lamp over there. It seems to be out of it enough to make even you happy. You don't need her anymore.† A few other people laughed. â€Å"This isn't any of your business,† he hissed. â€Å"She's just lunch.† Referring to feeders as meals was about the only thing worse than calling dhampirs blood whores. â€Å"This isn't a feeding room. Nobody wants to see this.† â€Å"Yeah,† agreed a senior girl. â€Å"It's gross.† A few of her friends agreed. Wade glared at all of us, me the hardest. â€Å"Fine. None of you have to see it. Come on.† He grabbed the feeder girl's arm and jerked her away. Clumsily, she stumbled along with him out of the room, making soft whimpering noises. â€Å"Best I could do,† I told Lissa. She stared at me, shocked. â€Å"He's just going to take her to his room. He'll do even worse things to her.† â€Å"Liss, I don't like it either, but it's not like I can go chase him down or anything.† I rubbed my forehead. â€Å"I could go punch him or something, but I feel like I'm going to throw up as it is.† Her face grew dark, and she bit her lip. â€Å"He can't do that.† â€Å"I'm sorry.† I returned to the chair with Greg, feeling a little bad about what had happened. I didn't want to see the feeder get taken advantage of anymore than Lissa did – it reminded me too much of what a lot of Moroi guys thought they cold do to dhampir girls. But I also couldn't win this battle, not tonight. Greg had shifted me around to get a better angle on my neck when I noticed Lissa was gone a few minutes later. Practically falling, I clambered off his lap and looked around. â€Å"Where's Lissa?† He reached for me. â€Å"Probably the bathroom.† I couldn't feel a thing through the bond. The alcohol had numbed it. Stepping out into the hallway, I breathed a sigh of relief at escaping the loud music and voices. It was quiet out here – except for a crashing sound a couple rooms down. The door was ajar, and I pushed my way inside. The feeder girl cowered in a corner, terrified. Lissa stood with arms crossed, her face angry and terrible. She was staring at Wade intently, and he stared back, enchanted. He also held a baseball bat, and it looked like he'd used it already, because the room was trashed: bookshelves, the stereo, the mirror†¦ â€Å"Break the window too,† Lissa told him smoothly. â€Å"Come on. It doesn't matter.† Hypnotized, he walked over to the large, tinted window. I stared, my mouth nearly hitting the floor, as he pulled back and slammed the bat into the glass. It shattered, sending shards everywhere and letting in the early morning light it normally kept blocked out. He winced as it shone in his eyes, but he didn't move away. â€Å"Lissa,† I exclaimed. â€Å"Stop it. Make him stop.† â€Å"He should have stopped earlier.† I barely recognized the look on her face. I'd never seen her so upset, and I'd certainly never seen her do anything like this. I knew what it was, of course. I knew right away. Compulsion. For all I knew, she was seconds away from having him turn the bat on himself. â€Å"Please, Lissa. Don't do it anymore. Please.† Through the fuzzy, alcoholic buzz, I felt a trickle of her emotions. They were strong enough to practically knock me over. Black. Angry. Merciless. Startling feelings to be coming from sweet and steady Lissa. I'd known her since kindergarten, but in that moment, I barely knew her. And I was afraid. â€Å"Please, Lissa,† I repeated. â€Å"He's not worth it. Let him go.† She didn't look at me. Her stormy eyes were focused entirely on Wade. Slowly carefully, he lifted up the bat, tilting it so that it lined up with his own skull. â€Å"Liss,† I begged. Oh God. I was going to have to tackle her or something to make her stop. â€Å"Don't do it.† â€Å"He should have stopped,† Lissa said evenly. The bat quit moving. It was now at exactly the right distance to gain momentum and strike. â€Å"He shouldn't have done that to her. People can't treat other people like that – even feeders.† â€Å"But you're scaring her,† I said softly. â€Å"Look at her.† Nothing happened at first, then Lissa let her gaze flick toward the feeder. The human girl still sat huddled in a corner, arms wrapped around herself protectively. Her blue eyes were enormous, and light reflected off her wet, tear-streaked face. She gave a choked, terrified sob. Lissa's face stayed impassive. Inside her, I could feel the battle she was waging for control. Some part of her didn't want to hurt Wade, despite the blinding anger that otherwise filled her. Her face crumpled, and she squeezed her eyes shut. Her right hand reached out to her left wrist and clenched it, nails digging deep into the flesh. She flinched at the pain, but through the bond, I felt the shock of the pain distract her from Wade. She let go of the compulsion, and he dropped the bat, suddenly looking confused. I let go of the breath I'd been holding. In the hallway, footsteps sounded. I'd left the door open, and the crash had attracted attention. A couple of dorm staff members burst into the room, freezing when they saw the destruction in front of them. â€Å"What happened?† The rest of us looked at each other. Wade looked completely lost. He stared at the room, at the bat, and then at Lissa and me. â€Å"I don't know†¦I can't†¦Ã¢â‚¬  He turned his full attention to me and suddenly grew angry. â€Å"What the – it was you! You wouldn't let the feeder thing go.† The dorm workers looked at me questioningly, and in a few seconds, I made up my mind. You have to protect her. The more she uses it, the worse it'll get. Stop her, Rose. Stop her before they notice, before they notice and take her away too. Get her out of here. I could see Ms. Karp's face in my mind, pleading frantically. I gave Wade a haughty look, knowing full well no one would question a confession I made or even suspect Lissa. â€Å"Yeah, well, if you'd let her go,† I told him, â€Å"I wouldn't have had to do this.† Save her. Save her from herself. After that night, I never drank again. I refused to let my guard down around Lissa. And two days later, while I was supposed to be suspended for â€Å"destruction of property,† I took Lissa and broke out of the Academy. Back in Lissa's room, with Xander's arm around me and her angry and upset eyes on us, I didn't know if she'd do anything drastic again. But the situation reminded me too much of that one from two years ago, and I knew I had to defuse it. â€Å"Just a little blood,† Xander was saying. â€Å"I won't take much. I just want to see what dhampir tastes like. Nobody here cares.† â€Å"Xander,† growled Lissa, â€Å"leave her alone.† I slipped out from under his arm and smiled, looking for a funny retort rather than one that might start a fight. â€Å"Come on,† I teased. â€Å"I had to hit the last guy who asked me that, and you're a hell of a lot prettier than Jesse. It'd be a waste.† â€Å"Pretty?† he asked. â€Å"I'm stunningly sexy but not pretty.† Carly laughed. â€Å"No, you're pretty. Todd told me you buy some kind of French hair gel.† Xander, distracted as so many drunk people easily are, turned around to defend his honor, forgetting me. The tension disappeared, and he took the teasing about his hair with a good attitude. Across the room, Lissa met my eyes with relief. She smiled and gave me a small nod of thanks before she returned her attention to Aaron.

Essay on Week 1 Assignment

Essay on Week 1 Assignment Essay on Week 1 Assignment EMG4412 August 29, 2014 Captain Honor’s behavior does not fully fit my schema of an effective leader. After researching more information about the incident, I believe that Captain Honors thought that he was providing comedy and laughter to an otherwise rigid environment. He showed a weakness in his leadership by acting in this manner. I believe that he used poor judgment by showing the video. I don’t believe that he realized the perception that he was portraying to his crew. I am sure that he was trying to use this video as a means to express his point about allowing gay people into the military, but going about it this way was a childish way to do it. He had great influence on the men on his ship. How did he know that one of the men on his crew wasn’t gay or that they had gay friends or family? What kind of perception of him would they then have? He was their leader and should be leading by example. Good leaders take into account the perceptions of all of their employees and how they perceive the world through their social perceptions. Captain Honors also displayed a stereotype of gay people. His statement was that ALL gay people acted in the way he portrayed them in the video. He also believed that no one would be offended by the foul language and sexual displays. I watched the video and although I found it humorous, I would have been totally embarrassed to watch it with people I work with, especially if they had been in it. According to news reports, he had a good rapport with his crew and they backed him 100 percent and acknowledged it online. This shows how influential he was to his crew. He should have thought about the repercussions that would follow from doing this and the perception of how his employees would look at him in the future as well as his commanders’ perceptions of him. Captain Honors made a bad choice and when the video surfaced, lost his job and then his credibility with the Navy. References: BUMILLER, E. (2011, January 4). The New York Times. Retrieved from Aircraft Carrier Captain Is Removed Over His Role in Coarse Videos: nytimes.com/2011/01/05/us/05military.html?_r=0 Kinicki, A., & Fugate, M. (2012). Organizational Behavior, Key Concepts, Skills and Best Practices. New York: McGraw-Hill. YouTube Video. (2011, January 4). Retrieved from Captain Owen P. Honors Jr. ( The Greatest Comedy Sketch Ever) : https://www.youtube.com/watch?v=CU8Yp2h_RVs EMG4412 Professor Curtis Curry August 30, 2014 According to the chapter opening case, qualities that are inherent to high-level executives such as Mark Zuckerberg are in line with the Big Five Personality Dimensions, including extraversion, agreeableness, conscientiousness, emotional stability, and openness to experience. In the second sentence of the case, Zuckerberg’s father described him as â€Å"strong-minded† and â€Å"persistent† (Kinicki & Fugate, 2012). Throughout my life, my parents labeled me as â€Å"strong-willed† and â€Å"stubborn†. I always had an â€Å"I can do that† attitude. I disliked the idea that someone would tell me I couldn’t do something. When comparing myself to the portrayal of Zuckerberg in the case story, I find many similarities such as being socially awkward or disinterested. It is not that I am either, I just have

The Tuskegee and Guatemala Syphilis Studies Were Racist

The Tuskegee and Guatemala Syphilis Studies Were Racist Some of the most unsettling examples of institutional  racism have involved medicine, such as when the U.S. government conducted syphilis research on marginalized groups (poor black men in the American south and vulnerable Guatemalan citizens) with disastrous results. Such experiments challenge the idea that racism simply involves isolated acts of prejudice. In fact, the racism that results in long-lasting oppression of people from minority backgrounds is typically perpetuated by institutions. The Tuskegee Syphilis Study In 1932, the United States Public Health Service partnered with educational establishment the Tuskegee Institute to study black men with syphilis in Macon County, Georgia. Most of the men were poor sharecroppers. By the time the study ended 40 years later, a total of 600 black men had enrolled in the experiment. It was called the Tuskegee Study of Untreated Syphilis in the Negro Male. Medical researchers swayed the men to participate in the study by enticing them with medical exams, rides to and from the clinics, meals on examination days, free treatment for minor ailments, and guarantees that provisions would be made after their deaths in terms of burial stipends paid to their survivors. There was just one problem: Even when penicillin became the main treatment for syphilis in 1947, researchers neglected to use the medication on the men in the Tuskegee study. In the end, dozens of study participants died and infected their spouses, sexual partners, and children with syphilis as well. The Assistant Secretary for Health and Scientific Affairs created a panel to review the study and in 1972, determined that it was ethically unjustified. The panel determined that researchers failed to provide participants with informed consent, namely that test subjects were to remain untreated for syphilis. In 1973, a class action suit was filed on behalf of the enrollees in the study that resulted in them winning a $9 million settlement. Moreover, the U.S. government agreed to give free medical services to the survivors of the study and their families. Guatemala Syphilis Experiment Until 2010, it remained widely unknown that the U.S. Public Health Service and the Pan American Sanitary Bureau partnered with the Guatemalan government to conduct medical research between 1946 and 1948. During this time, 1,300 Guatemalan prisoners, sex workers, soldiers, and mental health patients were intentionally infected with sexually transmitted diseases such as syphilis, gonorrhea, and chancroid. What’s more, just 700 of the Guatemalans exposed to STDs received treatment. A total of 83 individuals ultimately died from complications that may have been a direct result of the questionable research paid for by the U.S. government to test the effectiveness of penicillin as an STD treatment. Susan Reverby, a women’s studies professor at Wellesley College, uncovered the U.S. government’s unethical medical research in Guatemala while researching the Tuskegee Syphilis Study of the 1960s, in which researchers willfully failed to treat black men with the illness. It turns out that Dr. John Cutler played a key role in both the Guatemalan experiment and the Tuskegee experiment. The medical research conducted on members of the Guatemalan population stands out as especially egregious, given that the year before experiments there began, Cutler and other officials also conducted STD research on prisoners in Indiana. In that case, however, researchers informed the inmates what the study entailed. In the Guatemalan experiment, none of the test subjects gave their consent, a violation of their rights. In 2012, a U.S. court threw out a lawsuit Guatemalan citizens filed against the U.S. government over the unethical medical research. Wrapping Up Because of the history of medical racism, people  of color continue to distrust health care providers. This can result in non-white people delaying medical treatment or avoiding it altogether, creating an entirely new set of challenges for a group plagued with a legacy of racism. Sources About the USPHS Syphilis Study. Tuskegee University, 2019, Tuskegee, AL. Monastersky, Richard. Court dismisses suit over unethical US experiments. Springer Nature Limited, June 15, 2012.