Henry Ford Research Paper Example | Topics and Well Written Essays - 1250 words

Henry Ford - Research Paper Example His deeds towards his workers made him a humanitarian in the eyes of many as he worked towards alleviating the poor from poverty through better pay and working conditions. His consistency and innovative mind ensured the success of his company over the years even after his death in 1947. Henry ford and ford motor company are two names that forever changed the history of human mobility. Ford changed not only the motor vehicle industry but also industrialization in general. Ford was born in 1863 in Greenfield Michigan (Curcio, 2013). His parents were of Irish and Belgian descent. His engineering expertise emerged early in life where by 15 years he was able to repair watches. However, his ingenuity was often cut short by the constant farm duties. Ford, at 16 years, went to Detroit for greener pastures. He undertook a series of jobs both during the day and in the evening. He particularly loved repairing watches and this made him famous and scooped him the much needed supplemental income. Ford left Detroit three years later to work as a steam engine operator. Henry Ford rose from a humble background and followed his interest in machines to become an engineer and later founded Ford Motor Company which he steered to glory through critical and witty decision making and stra tegy formulation and implementation. His enthusiasm and interest in knowing more about such engines saw him acquire a job at Westinghouse to service their engines. He still worked in the farm although this was far away from his passion. By now he had married Clara Bryant and they settled on an expansive piece of land offered by Ford’s father. They were to stay there so far as they used the land for farming activities. Ford seized the opportunity and cut the many trees on the land for commercial purposes. Unfortunately, there were no more trees left and since he disliked farming, he went back to the city. This dislike of farming led him

The effects of lead contamination on fetal brain development Essay

The effects of lead contamination on fetal brain development - Essay Example Continuous exposure will fix lead to the bone in areas where the most growth is occurring. The half life of lead in the blood is 35 days, it remains in soft tissue for 40 days and is then stored in the bones for 20 or 30 years (Cullen et al, pg 9). The lead levels may not reflect an accurate count of the total lead in the system as lead is released when calcium declines and soldiers with shrapnel wounds may have resurfacing lead return to the bloodstream. Lead exposure can happen in some unusual ways such as having consumed homemade liquor or moonshine or from chewing on an imported toy. 90% of ingested lead is eliminated unabsorbed (Cullen et al pg 10). Children are also more susceptible to lead poisoning as they have less bone density than adults and thus the lead remains stored in soft tissues producing toxic effects (Cullen et al, pg 10). Osteoporosis can also lead to elevated blood levels as the decreased calcium releases the lead back to blood and soft tissue. "The effects of lead poisoning on the brain are manifold and include delayed or reversed development, learning disabilities, seizures, coma and even death (Marcus, pg 2). Adults with lead poisoning suffer from depression, aggression, low sperm counts and underweight babies. The problem is world wide and crosses all economic backgrounds with greater percentages in poor areas. The numbers of lead poisoning cases in children has declined over the decades since lead paint was banned and plumbing codes have been updated, however, it remains a concern for low income families living in older buildings in need of renovation. The pregnant women could absorb lead through the water supply and if... Lead contamination is not a phenomenon of the past and lead poisoning in newborns and young children still prevails. Old buildings are filled with outdated plumbing and leaded paint, parents work in lead related occupations and cultural traditions often use lead tainted home remedies.Through education and case management the Maternal Child nurse can use his/her role to prevent and provide early detection and treatment in lead poisoning. Lead poisoning is the most serious chronic environmental illness affecting children in spite of interventions to prevent it and cases of lead poisoning still present at hospitals and clinics in the twenty-first century. The Maternal Child nurse can aid the childbearing family with physical assessments, teaching self care and nutrition, environmental assessments, family teaching and fetal assessment. The guidance offered during the pregnancy and post partum newborn period can serve to prevent unnecessary exposure and absorption of lead. Parents can be made aware of the risks of lead exposure and the importance of early intervention and treatment for the child. While lead products are still being produced, many older buildings have outdated plumbing and ethnic products may contain lead, the Maternal Child nurse can offer services and support to decrease the numbers of poor children with lead poisoning. Monitoring of the home environment, education and case management can ensure that fewer babies are born with impaired brain functions leading to a life time of physical and behavior problems.

Determination of the molar mass of magnesium Essay Example for Free

Determination of the molar mass of magnesium Essay Introduction: This experiment will be an attempt to determine the molar mass of magnesium. For that we will have an experiment where we dissolve sulphur into hydrochloric acid. Then we measure the amount of gas created during the reaction. To get the molar mass itself we will have to make sure to record the conditions of the experiment such as the temperature or pressure. Material: The material used for the experiment was: 1. eudiometer 2. thermometer 3. barometer 4. measuring cylinder (1000 cm3) 5. Stand with clamp 6. magnesium ribbon 7. hydrochloric acid Method: 1. About 20mm of magnesium ribbon and weight it with the accuracy of 0.001g 2. Pour 5cm3 of HCl into the eudiometer. Then carefully filling the eudiometer with water above the HCl, without mixing the liquids. 3. Wind the magnesium ribbon around a piece of copper wire and let it hang down a little bit into the eudiometer. Make sure there is a hole into the rubber stopper and fill it with water. 4. Place a large measuring cylinder filled with water in the sink. Put a finger over the hole in the stopper and turn the eudiometer upside down into the cylinder. 5. Observe what happens with the hydrochloric acid and magnesium after a little while. When the reaction is complete wait at least 5 minutes so that the eudiometer reaches room temperature. 6. Arrange the eudiometer in the cylinder so that the gas into the eudiometer has the same pressure as the air pressure in the room. Note the air pressure and temperature in the room. 7. Calculate the molar mass of magnesium. Result: Before the experiment the magnesium was carefully weighted on a scale. After turning the eudiometer the HCl started to go down towards the magnesium through the water. Once it reached it a reaction took place creating bubbles of air that went up to the top and pushed the water level down. Once the reaction ended all the magnesium was gone. During the reaction the temperature was read of a thermometer and the pressure of a barometer to get the most accurate values. finally we measured the volume of air inside the eudiometer. Conclusion and Evaluation: When studding the results and comparing them with the book (24.31 ) one can see that the value received from the experiment () is very comparable. Percentage yield: Despite that high percentage the experiment was not accurate enough to have the book value within the error range (≈). The biggest two sources of error in this experiment are the instruments (systematic errors) and of course the human factor (random errors). Also the part of the experiment where one is supposed to turn the eudiometer and put it into water can impossibly be done without bigger or lesser errors since its such a complex movement. Then I would like to put extra attention on the thermometer and especially the barometer. The thermometer could only show whole degrees which is a great loss to precision. Then the barometer seemed quite old and unstable and the need to convert the pressure to Pascal and finally reading from it was quite hard which in my opinion was altogether quite hard. Also these where only the conditions in the entire room. One cannot be sure if they where exactly the same in the tube. Especially the temperature of water could have been quite different. Then of course the amount mg could have impossibly been measured accurately and we cant be sure if exactly all of it reacted. Also the unknown pureness of the reactants and the solvent could justify the error in the result. My suggestions for improvements is to begin with is use of more precise instruments. Then a different method involving a more closed environment and a different method for gathering data. Bibliography: 1. Standard Level Chemistry Pearson Baccalaureate by Catrin Brown and Mike Ford

Example of Concert Essay Example for Free

Example of Concert Essay This was a paper written by an actual student in the Popular Music in America class. It is not offered as an award-winning review nor is it compositionally error-free. It did, however, receive an A for this assignment and is an example of the level of writing and analysis that is required to receive an A. Please do not, however, begin your paper in exactly the same way or attempt to copy â€Å"buzz words† or phrases. Write your own paper! On February 17, 2005, the Jazz Ensemble at Tarleton State University had their first concert of the spring semester with special guest trumpeter, Daryl White. The jazz ensembles collectively performed thirteen pieces during the concert. â€Å"Fly Me to the Moon†, â€Å"Waltz for Debby† and â€Å"Ancient Memories† were three stylistically different pieces that allowed the audience to experience the various sounds of jazz music. Jazz music, like all music, tells a story and here are the stories of â€Å"Fly Me to the Moon†, â€Å"Waltz for Debby† and â€Å"Ancient Memories†. â€Å"Fly Me to the Moon†, written by Bart Howard and arranged by Sammy Nestico, is an upbeat standard sung most famously by Frank Sinatra. In the instrumental version of this song, a Latin-inspired sounding consonance set the romantic mood at the beginning of this song. A piano and saxophone then alternated the melody of the song as though they were dancing like two lovers flying to the moon. As the passion of the song heated up, the texture changed within the song as the saxophone took the melody and the piano and other instruments within the ensemble were in accompaniment. The rhythm, which was continuously steady seemed to get faster like a heart beat by the climax of the song. It was also at this point that the dynamics of the song were increasingly getting louder until all instruments met at the top with a bang and then changed the dynamics again to a moderate level until the song concluded.

Gender Issues in Art History and Production

Gender Issues in Art History and Production Describe How Issues of Gender Are Important to the Production of Art and the Writing of Art History Feminism has given new and important insights into the production of art and the study of art history. It has not only helped us to discover the work of neglected women artists but has also given us a new approach to the study of art as a whole. Feminists built upon the earlier insights of Marxism. Traditional art history holds that works of art are the creations of individual genius – that they are forms of self- expression – but Marx argued that art is a product satisfying a demand, supporting the ideology of the ruling class. Part of that ideology included the subjection of women, who tended to be depicted in a subordinate role. These are the kind of arguments that Rozsika Parker and Griselda Pollock put forward in their book Old Mistresses: â€Å"Art is neither pure nor neutral. It is, as we have shown, an ideological practice, secured within power structures† (Parker 157). Power structures are not just those of sexism, they are also those of racism and class distinction; and thus feminism is closely bound up with the social history of art. With respect to gender distinctions, it seems clear that â€Å"femininity† and â€Å"masculinity† are to some extent social constructs. They are behaviour traits learned in childhood to satisfy the demands of society. Feminists have shown that the individual artistic â€Å"genius† is not a universal phenomenon but rather a feature of western art since the Renaissance. In other parts of the world, and in Medieval Europe, artists were often anonymous craftworkers. In the Middle Ages, both men and women worked at producing beautiful objects for the Church: illuminated manuscripts, carvings, embroideries. There was no distinction between â€Å"art† and â€Å"craft†, which was a distinction that arose during the Renaissance. The twentieth-century saw a partial end to this rather artificial division between â€Å"art† and â€Å"craft†. We have not yet seen â€Å"the death of painting†, but it is now rivalled in importance by other media. This rise in the status of the crafts has tended to benefit women artists, since women have always been closely involved with craftwork. The development of abstract art in the twentieth-century owes something to women’s k nowledge of the abstract patterns on textiles and embroidery. Sonia Delaunay and Sophie Taeuber-Arp, for example, were both fashion designers as well as painters (Chadwick 271). The split between â€Å"art† and â€Å"craft† which arose during the Renaissance was furthered by the new interest in the biographies of individual artists, as distinct from anonymous craftworkers. Vasari wrote a series of Lives of the Artists. The artist, unlike the craftworker, was expected to know about the rules of perspective and about history and the classics, which provided subjects for paintings. This kind of knowledge was usually denied to women, who had a restricted access to education, and this helps to explain why there were few female artists in the Renaissance – although artists’ daughters sometimes learned to paint, and there are examples of aristocratic lady artists, such as the painter Sofonisba Anguissola and the sculptor Properzia de Rossi. A myth developed that the true artist must be a temperamental â€Å"genius†, a rebel, a bohemian – as exemplified in the career of a painter like Caravaggio – and this meant that women’s work was not taken seriously, because a bohemian lifestyle would have been deemed inappropriate for a woman (Parker 99). Thus, because of restricted opportunities and the prejudices of society, it came about that no women were deemed to belong to the ranks of the â€Å"great artists†. Not surprisingly, feminists debunk the myth of the â€Å"great artist†, although it is also true that feminist art history itself still relies heavily on the biographies of individual women artists and seeks to demonstrate that their work has been undervalued. Germaine Greer makes the important point that overemphasis on â€Å"great artists† detracts our attention from the myriad of so-called â€Å"minor† talents: â€Å"The seven wonders of the world are not the only things worth looking at† (Greer 150). Indeed, artistic taste is something very personal, and the gallery visitor may find that she or he prefers the work of a â€Å"minor† painter to that of a far more famous name. â€Å"Great artists† are usually seen as innovators – Caravaggio’s use of dramatic light and shadow, for example – while â€Å"minor† artists are thought of as their followers. There are many examples of women as innovators: Sofonisba Anguissola helped to develop the new form of the domestic â€Å"conversation piece†; Rosalba Carriera popularised the new medium of pastel; Angelica Kauffman helped to introduce the Neo-Classical style to England; Helen Frankenthaler developed a new staining technique for producing abstract paintings. It may be true, however, that – until recently – women’s work has tended to be conservative rather than innovatory, and Germaine Greer provides a possible reason for this: The fact that so many gifted women strangled themselves in archconservatism is not some sort of secondary sexual characteristic working its way out, as if women are with necessity born with corsets on the mind. It comes of the very insecurity that these women felt upon entering into competition with men who seemed to have made all the running so far (Greer 131). There were also barriers to prevent women from competing with men in the first place. For example, women were usually excluded from art academies in the eighteenth and nineteenth centuries, and denied the chance to copy the nude, which was the basis of the most prestigious art form, that of â€Å"history painting†. Women’s social lives were also restricted. Griselda Pollock points out that Baudelaire’s â€Å"flaneur† who wanders the streets of Paris is a male figure – a woman would not have been able to roam freely in this way (Pollock 70-72). This limited the subjects available for women to paint, and helps to explain why the Impressionist painter Berthe Morisot concentrated on domestic interiors. In order to visit the Paris horse market for her painting The Horse Fair, Rosa Bonheur had to disguise herself as a man (Parker 37). Women’s restricted opportunities meant that they tended to concentrate on â€Å"lesser† genres like portraiture and still-life. But the idea that there is a hierarchy in painting is now completely discredited, because there is obviously no link between the subject of a picture and its aesthetic quality. The flower paintings of seventeenth century Holland – many of which are by women – include some of the most beautiful works of art ever made. The academic hierarchy of genres broke down in the later nineteenth century, as Parker and Pollock explain: When avant-garde artists rejected academic theories and hierarchies, they took up the hitherto less prestigious fields of portraiture, landscape and still-life. Women could and did take full part in avant-garde movements based in these, for them, familiar areas of art (Parker 35). Berthe Morisot and Mary Cassatt, for example, were important in the new movement of Impressionism. The subject of gender and the visual arts also includes the ways in which gender roles are depicted. Up until the end of the eighteenth century, the male nude was probably more important than the female nude as a subject for art. One only needs to think of Greek sculpture and Michelangelo. But the female nude was also important, and these female nudes tend to depict women in a humiliating way, as objects of male fantasy. Carol Duncan argues that even the distorted nudes of avant-garde Modernism such as Picasso’s Les Demoiselles d’Avignon continue this way of portraying women into the twentieth century (Duncan 47-52). She is certainly correct to point out that it is strange that modern art, which is often said to move way from representation, still contains a surprisingly large number of female nudes. John Berger has demonstrated that the nudes in â€Å"old master† paintings often bear a surprising resemblance to the nudes in modern advertising images and porn m agazines (Berger 55). Berger points out that the nude is essentially dehumanising because â€Å"a naked body has to be seen as an object in order to become a nude† (Berger 54). It seems that Kenneth Clark, a traditionalist of the old school, would agree with Berger to some extent, since Clark writes of Manet’s Olympia that â€Å"to place on a naked body a head with so much individual character is to jeopardize the whole premise of the nude† (Clark 225). This rather dehumanising quality of the nude is, however, a quality that Clark admires, because he sees the nude as a vehicle for expressing a sense of ideal form, divorced from life to some degree; whereas Berger and the feminists are interested in showing how art reflects and constructs the attitudes and injustices of society. Paula Modersohn-Becker’s famous nude Self-Portrait of herself was an important and original contribution because of the individuality she gave to her features, subverting the whole tradition of the nude. Feminist artists seek to actively change society, and one of their achievements has been to draw attention to the stereotyped gender roles which appear in art, advertising and the media. Barbara Kruger’s famous print entitled Your Gaze Hits the Side of My Face draws attention to the fact that the male gaze can be a means of expressing dominance or hostility, a form of harassment. Cindy Sherman photographed herself in poses derived from stereotypical advertising and media images of women. Sylvia Sleigh painted a series of pictures showing male nudes in the kind of poses usually given to women, to demonstrate their absurdity. (The above examples from Kruger, Sherman and Sleigh are taken from Chadwick, chapter 13). Yet women’s art is concerned with much more than issues of gender and sexism. It may, indeed, be a mistake to consider women’s art as separate from men’s because it risks placing women’s art in a separate category, a kind of â€Å"ghetto† area. Works of art themselves have no gender. In this Postmodern era we should now do more to stress the individual contributions of individual women artists, who are much more than just representatives of their gender. Works Cited Berger, John. Ways of Seeing. London: Penguin, 1972. Chadwick, Whitney. Women, Art and Society. London: Thames Hudson, 1996. Clark, Kenneth. The Nude. New York: Doubleday, 1959. Duncan, Carol. â€Å"The MOMA’s Hot Mamas.† Art Journal Summer 1989:47-52. Greer, Germaine. The Obstacle Race: The Fortunes of Women Painters and their Work. New York: Farrar Strauss, 1979. Parker, Rozsika and Griselda Pollock. Old Mistresses: Women, Art and Ideology. London: Pandora Press, 1981. Pollock, Griselda. Vision and Difference: Femininity, Feminism and the Histories of Art. London: Routledge, 1988.

Scabies Essay -- essays research papers

Scabies While sitting around your house, watching television, you notice that you have been scratching your arm and in between your fingers for a little while. After taking a closer look you notice something that you assume is a rash and just ignore it. The next day however you notice that the rash has spread and that you think you see burrows in your skin. Then it hits you, the weekend that you spent away on vacation in that not so expensive hotel to save a couple of dollars has now cost you more money in the long run. You must go see your doctor to be treated for scabies! Scabies mites are distributed worldwide, affecting all races, ages and socioeconomic classes in all climates. Sarcoptes scabei, human itch, or mange mites, are in the arthropod class Arachnida, subclass Acari, family Sarcoptidae. These mites burrow under the skin, living in linear burrows. Other races of scabies may cause infestations in other mammals such as domestic cats, dogs, pigs, and horses. It should be noted that races of mites found on other animals could not establish infestations in humans. They may cause temporary itching due to dermatitis but they do not tunnel into the skin. The mode of transmission is primarily person-to-person contact. Newly emerged impregnated females will crawl onto the uninfected person. The mite will hold onto the skin using suckers attached to the two most anterior pairs of legs. They will then burrow into the skin. Transmission may also occur via fomites (e.g., bedd...

Warnings in Shakespeares Sonnet 95 Essay -- Sonnet essays

Warnings in Shakespeare's Sonnet 95      Ã‚  Ã‚  Ã‚   William Shakespeare is the master of subtle humor and sexual puns.   In his "Sonnet 95," a poem to a blond young man, both are seen while pointing out a couple of realities about sexual sin.   He speaks directly to a young man whose physical beauty compensates for his lack of sexual morality.  Ã‚      Shakespeare would like for this young man to realize that his handsomeness is the sole aspect of his person that prevents absolute disapproval of his behavior in other people, and he also wants him to be aware of the ultimate consequences of his actions.   Through a clever use of diction, imagery, and meter in a typical Shakespearian format, Shakespeare warns his young friend of the risks involved with the overindulgence of sexual activity.    In the first quatrain, Shakespeare presents the young man to the readers by contrasting his beauty and his character.   He tells the young man that he renders "shame" (1) "sweet and lovely" (1).   That is, he is much too handsome to be overshadowed by his questionable conduct.   His "shame" may not be a dominant trait, but it does sneak around behind the scenes "like a canker" (2).   A canker is a nasty internal ulceration, or growth; it is a flaw that cannot be seen in an otherwise beautiful object, such as a "fragrant rose" (2).   This flaw in the young man, sexual vice, may "spot" (3), or taint his image later on in his life, as he is still "budding" (3); he is still young, and there is plenty of time for his reputation to be completely damaged by his sexual impropriety.   This young man is indeed beautiful and he is lucky to have such "swee... ...re slyly and jovially slips in the idea that if the young man is careless, he will spend his allowance of energy before his time comes; that is to say, he will become sexually impotent.   This image is brilliantly conjured up with the picture of a dull knife that will cut no more after years of its owner using it as a hatchet.   The simple lightness of his joke is expressed through the simple evenness of the iambic pentameter throughout the couplet, and its straightforwardness adds to the wryness of the humor.    Works Cited Shakespeare, William. "Sonnet 95." The Norton Anthology of English Literature.   Eds. M. H. Abrams and Stephen Greenblatt. Seventh ed. 2 vols. New York: Norton, 2000. 1:1041-42.    Works Consulted Oxford English Dictionary. Eds. James A. H. Murray, et. al.   Oxford, 1961. Warnings in Shakespeare's Sonnet 95 Essay -- Sonnet essays Warnings in Shakespeare's Sonnet 95      Ã‚  Ã‚  Ã‚   William Shakespeare is the master of subtle humor and sexual puns.   In his "Sonnet 95," a poem to a blond young man, both are seen while pointing out a couple of realities about sexual sin.   He speaks directly to a young man whose physical beauty compensates for his lack of sexual morality.  Ã‚      Shakespeare would like for this young man to realize that his handsomeness is the sole aspect of his person that prevents absolute disapproval of his behavior in other people, and he also wants him to be aware of the ultimate consequences of his actions.   Through a clever use of diction, imagery, and meter in a typical Shakespearian format, Shakespeare warns his young friend of the risks involved with the overindulgence of sexual activity.    In the first quatrain, Shakespeare presents the young man to the readers by contrasting his beauty and his character.   He tells the young man that he renders "shame" (1) "sweet and lovely" (1).   That is, he is much too handsome to be overshadowed by his questionable conduct.   His "shame" may not be a dominant trait, but it does sneak around behind the scenes "like a canker" (2).   A canker is a nasty internal ulceration, or growth; it is a flaw that cannot be seen in an otherwise beautiful object, such as a "fragrant rose" (2).   This flaw in the young man, sexual vice, may "spot" (3), or taint his image later on in his life, as he is still "budding" (3); he is still young, and there is plenty of time for his reputation to be completely damaged by his sexual impropriety.   This young man is indeed beautiful and he is lucky to have such "swee... ...re slyly and jovially slips in the idea that if the young man is careless, he will spend his allowance of energy before his time comes; that is to say, he will become sexually impotent.   This image is brilliantly conjured up with the picture of a dull knife that will cut no more after years of its owner using it as a hatchet.   The simple lightness of his joke is expressed through the simple evenness of the iambic pentameter throughout the couplet, and its straightforwardness adds to the wryness of the humor.    Works Cited Shakespeare, William. "Sonnet 95." The Norton Anthology of English Literature.   Eds. M. H. Abrams and Stephen Greenblatt. Seventh ed. 2 vols. New York: Norton, 2000. 1:1041-42.    Works Consulted Oxford English Dictionary. Eds. James A. H. Murray, et. al.   Oxford, 1961.