Exploring The Concept Of Empowerment Social Work Essay

Exploring The Concept Of authorization Social Work EssayEmpowerment can be defined in general as the contentedness of individuals, groups and/or communities gain swan of their circumstances and achieve their own goals, thereby cosmos able to work towards negociateing themselves and former(a)s to maximise the quality of their lives. In health and kindly care dominance representation patients, carers and service users drill choice and taking control of their lives. It is not that one is empowered means he or she become all powerful like God. however if we are empowered still we keep limitation. Actual meaning of mandate is that one feels that he or she able and feels powerful enough in certain situations to make out part in decision making. I in addition allow for explain how politics played a part in disempowering women in health and social care work. It is a greatest dispute in health and social care to achieve progress with the empowerment of carers and people who receive services.Beginnings of ordinal century women were disempowered because of politics played a part. Emancipation is a commonly used news program in other western European countries to refer to what in the UK mean by empowerment. The word emancipation has is useful because it has overtones of the struggle for votes for women in Britain at the beginning of the twentieth century, so it reminds us that empowermentin the health and social services has a political aspect. When carers and people who use services experience being disempowered and excluded, this is a form of political disenfranchisement. In other words, it is as though they have no vote and are not treated as full members of society. In contrast, when people become empowered, they can exercise choices and have the possibility of maximising their potential and living full and active lives. in that respect is a tension between enabling people to take control of their lives and recognising that workers may need to inter vene and take control sometimes, in beau monde to protect other people. This applies to both empowerment and advocacy.Empowerment for people with skill disabilities is the process by which they develop increased skills to take control of their lives. This provide help them achieve goals and aspirations, maximising their quality of life.A key gasconade in empowering people is giving them a voice and actively comprehend to what they have to say. Empowerment is, therefore, closely linked to the concept of advocacy.Empowerment in reading deadening can be described as a social process, whereby people who are considered as belonging to a stigmatised social group can be assisted to develop increased skills to take control of their lives. This increased control will help them to achieve their goals and aspirations and and so potentially maximise the quality of their lives. The concept has connections with assertiveness and independence and is clear linked to the various forms of ad vocacy.When considering the current climate it is somewhat an indictment on our times that the Government catch outs the need to name the White Paper regarding its fantasy for training disability services as Valuing People. The title alone inversely suggests that as a society we are not valuing people. The content presents the picture on levels of exclusion, disempowerment and lack of valued social roles facing those with a learning disability and how services should be planned to address this. (A similar sparing Executive Review of cultivation Disability has the title The Same As You.)For the individual with a learning disability, the subjective experience of empowerment is round rights, choice and control which can lead them to a more self-governing lifestyle. For the professional, it is about anti-oppressive practice, balancing rights and responsibilities and supporting choice and empowerment whilst maintaining safe and ethical practice.Education is often seen as the ma in engine of empowerment, equality and rights of access. Thus, as a group, people with a learning disability can be at a particular disadvantage. They may have to be enabled and back up to perhaps overcome social obstacles and can be dependent on others to make important information accessible to them, assist them with advocacy and help safeguard their rights.A key feature in empowering individuals is giving them a voice and then listening actively to what they have got to say. Person Centred supply with its focus on placing the individual at the centre of the process and using techniques to obtain meaningful participation can be a study contribution to finding out what people have got to say. Empowerment will bring along with it rights and responsibilities plus also potential guesss for people. It is often the business of physical risk which can inhibit empowerment processes for people who see themselves as responsible for vulnerable people. They may fear a censure culture if things go wrong. Surprisingly, as recently as 1998, the Social operate Inspectorate noted there were no systematic approaches for risk assessment and management in the field of learning disability.The Foundation for People with a Learning Disability set out to identify good practice in how to reconcile the tension between ensuring the safety of an individual with a learning disability and empowering them to enjoy a full life in the community. A report was produced called Empowerment and Protection (Alaszewski et al, 1999) which suggested that organisations needed to develop risk policies which traverse both protection and empowerment issues at the same point. The definition of risk should look at consequences and probability. Procedures should also include, from the start, the wishes and needs of the person who has the learning disability and involve themthroughout, including the decision making stage.Such comments about organisations developing assign risk strategies show th at empowerment is not there justas a concept for front line staff, but should penetrate the strategical planning levels. Valuing People states (Section 4.27) that people with a learning disability should be consulted for their views on services and these views utilised at a corporate planning level.In Mrs Ali case she is empowered by Muslim religious reliance to take of her bed-bound husband although in contrast her care taker Jean believes that Mrs Ali should be empowered. This indicates religion also empower some people to take care vulnerable people.

Muslim Women: Wearing The Hijab

Moslem Women Wearing The HijabLiterature on this topic is abundant as research has been conducted glob wholey on the topic of the hijab as to the reasons why women should and should non hold the hijab. The research conducted was made possible by generatority of the go for of come offs, inter surveys, questionnaires and observations. Katherine wind in particular, a Canadian residential district militant, author and lecturer did long research on the topic of the hijab and create her abide byings in the form of a book c all in alled Rethinking Moslem Women and the Veil which challenges Historical and Modern Stereotypes . She has likewise published articles on Moslem women and the media, and Islam and semipolitical speculation.Purposes of the researchThe objectives of the study argon to experience if the plethoric contr everywheret Hesperian intuition affects the reasons why the Muslim community is divided on the subject of hijab.This research ad clothees the con cern for a conversation that could inform westerlyised societies to the highest grad the personal reasons why around female Moslem students wear hijab and why differents do not. I want my research to be meaningful, relevant to local communities and to open my mind and that of differents by being taught through and through research and personal inter purviews nigh the subject.Scope and entrapationsThe pool of participants is limited to the Muslim students at TSiBA Education. The entropy set is meaningful, notwithstanding not representative of the grand range of Muslims in diametrical contexts. It will however show a diversity of views within a common theology and faith.Plan of cultivationMETHODOLOGY2.1 ParticipationThe coffin nail group for the research is 20 southernmost Afri tummy Muslim women between the ages of 18 and 40. This age group is the target of this study because they argon the current generation of TSiBA students and be experiencing modern southwestwa rd Africa in a time when it go overms thither is an ever increasing inflow of western culture. The age group is similarly likely to include marry women who might be inclined to think differently somewhat the hijab as their marriage might have changed the way each looks at the hijab.2.2 Methods of data collectionTwo sets of data will be employed 1) open-ended e-mail questionnaires with 20 Muslim students about the hijab 2) Conduct interviews and observations on the sensdidates if farther data is required. The first data collection method I chose was a simple questionnaire. The research purges on qualitative data from questionnaires and interviews with 20 Muslim female students of varying ages within the TSiBA community. by and by umteen different drafts of the questionnaire I went to the Tertiary School in Business Administration (TSiBA) Education to pass around the final version. My questionnaire included the opinions of two young women who wear the hijab and those that d o not. I did not ask for names in any section of the survey to ensure the anonymity of all my human subjects. In the end I collected 20 surveys in total. After gathering the questionnaire, I analyse the results manually.As my second method of data collection, I conducted interviews, each having an estimate duration of between 30 minutes. I used a put option down device on all my interviews.LITERATURE REVIEWIntroductionKeywords Islam, Muslim, hijab, kill, female, students, TSIBA Education, reasons, dominiant negative western sandwich perception.The arguing regarding the corroding of unearthly garb in frequent, special(prenominal)ally coverings worn by Muslim women has increased over the past a few(prenominal) years resulting in a lot of controversy among those who agree with the expend and those who do not (iqraonline.net). The cut, along with the west expected that the hijab would pass remote into hi level as westernization and worldlyization took root. However, in the Muslim world, particularly among the jr. generation, a great wave of returning to hijab was spreading through several(a) countries. This current resurgence is an demonstrateion of Islamic revival (Khaula Nakata, A stack Through Hijab, 1994, pg 2).Hijab is seen all over the world, especially in places with a spirited concentration of practicing Muslims. The hijab has been the boil down of often fierce media debates and has come to emblemise the jolt of cultures supported by links between Islamic extremism and 21st speed of light terrorism. While in several Islamic states such as Saudi-Arabian Arabia, Afghanistan and Iran, the full covering, known as the burqa, has been compulsory. A hostile response against Muslim culture has seen such traditional array eschewned, along with the much more common hijab, in the interests of secularism. In this context, Muslim women atomic number 18 portrayed by the Western media either as misted victims in need of tone ending beca use of a lack of leave office choice in foreign lands, or a threat to the Western societies in which they reside because of their choice to bosom the hijab which is a traditional Islamic dress.Muslim women are almost systematically portrayed as break downed and disguiseed, a terrorist threat or exotic, intimateised beings. This is in line with Saids theory of Orientalism (Said, 1978), which solicits that the Muslim world and its inhabitants are considered backward, barbaric and outsiders to Western society. This portrayal of Muslims is notable in the media in terms of the coverage of Muslim women. some representations of Muslim women involve them erosion traditional Islamic clothing such as the hijab, and their graphic symbolic representation in the media is generally limited to input on issues such as the veil.Western InfluencesDominant negative Western perceptionThe Western media and feminists often portray the hijab as a symbol of oppressiveness and slavery of women. ( http//www.al-islam.org). Many feminists, both Western and Islamic consider that the hijab is a symbol of gender subjection and that the Islamic veiling of women is an oppressive practice. Fadel Amara, an Islamic feminist and a Muslim female member of french government verbalizes The burqa is a prison, a straightjacket. It is not religious. It is the insignia of a totalistic Political project for familiar in par. (King,Islam, Women and Terrorism, 299.)Feminists argue that public presence and visibility is important to Western women. It represents their struggle for economic independence, sexual agency and political participation. In the West, celebrity is the peak of cultural legitimacy. The hijab is a challenge to the view of liberated visibility and freedom of self-expression unfettered by the male gaze.( www.theage.com)After a century of struggle for freedom of expression that included discarding the bra, some Western countries have called for cast asidening the hijab in t rains. They have developed, it would seem, a sort of limited view of what public visibility might mean to different women. Frances 2004 law, known popularly as the law on the headscarf, reveals the difficulty of respecting impertinent humors between diverse communities, especially when one community, in this case the Muslims of France, is a minority. harmonize to this law, female students are banned from wearing the hijab as fountainhead as all other openly religious symbols in public cultivates. France bans women from wearing the hijab in public schools because galore(postnominal) feminists and lawmakers argue that veiling women serves as an oppressing force, a force that silences women. Alia Al- Saji states in her article The Racialization of Muslim Veils A philosophic Analysis galore(postnominal) feminists see the headscarf As a symbol of Islamic gender oppression that should be banned from public schools, a length where gender equality is presumed (or desired). Supporter s of the law believe it fights gender oppression and gives equality to women in the school system.Katherine Bullock sheds light on the passings in picture over hijab by having identified themes from her research on the women and Islam field. She divides these themes into the descriptions of those who are for and those who are against the hijab.According to Katherine Bullock, critics of the veil rely on secular liberal assumptions about society and human nature and thitherfore the veil is supposed to be and described as a symbol of oppression because itCovers up (hides), in the sense of smothering, femininityIs apparently link to the essentialized male and female digression (which is taken to mean that by nature, male is superior, female is inferior)Is linked to a particular view of cleaning ladys place (subjugated in the home)Is linked to an oppressive (patriarchal) picture of morality and female purity (because of IslamsEmphasis on chastity, marriage, and condemnation of pre- and extra-marital sexual relations)Can be imposed andIs linked to a package of oppressions women in Islam face, such as seclusion, polygamy, easy male divorce, unequal inheritance rights.3.2.2 Media attitudes to reportage Islam and hijabWhile the media arseholenot be held solely responsible for the construction of national individuation nor blamed for societal attitudes towards minority cultures and religions, they play a significant constituent by providing the lens through which reality is perceived (Bullock Jafri, 2000). While the Western media sees itself as a democratic institution, it is often held accountable for legitimising and spreading racial discrimination and bias against religious communities such as Muslims (Bullock Jafri, 2000). The media portrays Muslims as tricky, sleazy, sexual and untrustworthy, as uniformly violent, as oppressors of women, and as members of a global conspiracy (Bullock Jafri, 2000).Macmaster and Lewis appoint the shift in the European medias portrayal of veiled women from exotic to a danger to society (Macmaster Lewis, 1998, p. 121). They point out the juxtaposition of representations of Muslim women as concurrently oppressed and threatening, plot of ground Kolhatkar highlights the depiction of Muslim women as unformed blue-clad forms of Afghan women (Kolhatkar, 2002, p. 34).The identification of Muslim women in the media by the use of traditional Islamic dress has been noted by Begum, who argues that images of Islamic dress are increasingly used in the media as a visual stenography for dangerous extremism, and Muslims all over Europe are suffering from the consequences of such associations (Begum, 2005, p. 1). In France, a breeding ground of media and political debate about the hijab, has had a polarising affect on the Muslim community and a divisive impact on society and feminism. (Begum, 2005, p. 1)The medias portrayal of these women went from sinister symbols of Islamic extremism to brook heroines of the republic overnight (Ezekiel, 2005). But since then, the French media have reported on the suspension of a Muslim meter reader who wore a hijab nether her hat, the ban of a fashion show of veiled women, the prevention of hijab-wearing mothers from volunteering in schools the refusal of service to a student wearing a hijab by a university cafeteria and the banning of a witness to a civil service wedding party from signing the documentation because her hijab prevented her from being formally identifiedAccording to Ezekiel, sexism and racism intersect in this debate. On one side of the feminist debate about the hijab, there are those who demand veils be banned from French streets as they encourage the harassment of unveiled women. But at the other end of the spectrum, feminists advocating a Muslim charrs right to train to wear or not to wear a hijab have aligned themselves with fundamentalist Islamic leaders, arguing that its a Muslim womans obligation to wear a hijab and demanding the ban be overturned.The authors argue that because of the medias cultural fixation on Muslim womens dress as a symbol of oppression, Muslim women often have to focus on that medical prognosis of their identity as well, even if they would sooner demonstrate something else. They suggest that even responsible journalism about Muslim women tends to discontinue them to the role of a reactionary source in the hijab debate. In sum, it is wee that Muslim women are predominantly presented to the Canadian public as foreign, exotic, oppressed, or threatening others rather than as ones unexotic, unthreatening next door neighbours. (www.reportingdiversity.org.)Clearly, the hijab story re main(prenominal)s newsworthy in Western countries, and Muslim womens identities are inextricably linked to the headscarf as a result.3.2.2.1 The argument of oppressionAlthough it is true that many women do choose to wear the Hijab, it is not the case for all women. In many Middle Eastern and northbound A frican countries women are labored and are persecuted and abused for noncompliance with the hijab. This Hirshmann, Western Feminism, Eastern Veiling, and a perplexity of Free Agency, was recently demonstrated in Pakistan, where an extremist killed a womens activist and government minister, because she refused to wear the Hijab. King states, From Afghanistan to Algeria to Sudan, Pakistan and Iran- women are systematically brutalized and caught in a deadly crossfire between the secular and fundamentalist forces. few Islamic feminists argue that although the statement in the volume about women covering themselves was not meant to oppress women, the beation of those verses by Islamic societies does in concomitant oppress women. Although it can be argued that the hijab is a symbol of the oppression that occurs against women in Islam, many Islamic women dont agree. It is true that under some Islamist rule, specifically in some North African countries, Afghanistan, Iran, and Saudi Ara bia women are oppressed and forced to wear the hijab, but in an international context, this is the exception to the rule regarding womens practices of wearing the veil11.Salma Yaqoob, a Muslim woman who chooses to wear the hijab explains the veil is not that an oppressing force in Islamic countries that require the veil, but as well in Western countries that ban the veil. Yaqoob adamantly contends that by infringing laws that restricts womens choice on whether or not to wear the veil, they are also being oppressed. I am opposed to the Saudi and Iranian governments imposition of the veil and that of the Taliban previously. But this is also why I oppose the ban on wearing the hijab. In both cases the woman herself is no longer free to make a choice. In both cases her dignity is violated.. Yaqoob explains that more women are currently banned from wearing the hijab, than are required to wear it.The argument of liberationIt can be argued that rather than oppressing, the hijab is libera ting. The oppressing force behind the veil is when members of the authority, both Islamic and Western, take forward a womans right to choose. The veil itself is just a piece of cloth. We interpret the hijab according to our social and religious constructions. Through the Western discussion and banning of the hijab in public schools, the Muslim school girls of France lose their freedom to express their spirituality. This view on the veil serves to continually disable and oppress women by terminating their freedom of spiritual expression.Frances 2004 law on the headscarf disables Islamic females from wearing the veil in places of education. The desired effect of the 2004 law is to fight gender oppression and inequality in the public school system, but as a residual effect, it actually diminishes womens freedoms rather than enhancing them. The law on the headscarf supports the oppressing Western discourses about veiled women and attempts to Westernize French Muslim schoolgirls.Interna l debate Reasons for wearing and not wearing the hijabThe opinions of Islamic women vary in their decision whether or not to wear the veil. close to feminists, both Muslim and non-Muslim, defend the veil as a mark of agency, cultural membership, and defiance. Tayyab Bashart, a feminist prentice and Muslim who teaches in France, explains her beliefs, A woman in hijab, who is a surgical operation member of society, symbolizes an empowered, independent woman, rather than someone who lacks self-determination and is a puppet of society (Tayyab, Basharat.Hijab as an instrument of Taking Women off the Sex Economy.). Muslim women see bans on the veil as creating or perpetuating stereotypes that are turn harder to fight. Hirshmann states that Western society tends to oversimplify these cultural stereotypes without looking into the women whom they think are being degraded.Reasons for wearing the hijab in Islamic TraditionThe most staple fiber debate over the hijab is over the requirement of the hijab. This is an issue that is debated by many Muslim scholars. First in order to understand why there is an issue it is important to understand the power of the Quran. The Quran is the word of divinity brought by his last messenger the Prophet Muhammad (Peace Be Upon Him). Islam is the total entree to Allah (God the Father) and obedience to Allah, as the Quran is Gods word then it also means total submission and obedience to Quran. The first issue with the requirement of the hijab comes from whether the hijab is in the Quran or not. There are two sides to this argument there are those who say that the hijab is a requirement because it is in the Quran and those who say that it is not because it is not part of the Quran. Amr Khaleds lectures have greatly influenced the Muslim youth, especially Muslim female youth on the topic of the hijab. He represents the school of thought that considers the hijab to be directly in the Quran and thus a requirement for Muslim women. In on e of his lectures about the hijab he says Some people argue that this hijab is not obligatory and that it was not mentioned in the Quran. These are the Qurans verses that make the Hijab obligatory to Muslim women.O Prophet Tell your wives and your daughters and the women of the believers to draw their cloaks (veils) all over their bodies. That will be better, that they should be known (as free respectable women) so as not to be annoyed. And ALLAH is Ever Oft-Forgiving, Most Merciful. (3359) ( Amr Khaled). Here in this verse women are told to cover their bodies so that they should be known as modest women and are not harassed.The hijab, according to many Muslims, has multiple uses and meanings. The hijabs symbolism is one of modesty and morality. According to Islam, the hijab functions as a shield for a woman against the lustful gaze of men. The hijab also serves as a cover to preserve the modesty and piety of the woman, as that is her main role as stated in the Quran. Not only is this her role in her faith, but in society as well. The Quran also states that the woman is the familys main preserver of honour, piety, and modesty. Thus, the hijab is an aid in which the woman can successfully act out this function as demanded by Allah through the Prophet Muhammad (PBUH) (Kulenovic 714-715). Amr Khalad, a popular Islamic scholar, layman, and highly influential Muslim speaker, has had a strong influence on Muslim youth in on the issue of the hijab, especially in Jordan (Stratton 98). According to Amr Khalads lecture Al-Hijab, the hijab also serves the purpose of forcing men to not sexually objectify women but to see her as a vessel of intelligence and high moral abide bys. Khalad says that the hijab reinforces the fact that Islam made the beauty of women of a higher value in mens eyeball by providing protection in the form of hijab to that beauty from uncontrolled lusts and desires, and instead lodge men to respect greater the inner beauty of her soul. Thus, th e real value of women is associated with the degree of her bashfulness and her abidance by it (Khalad Al-Hijab). This is the tradition Islamic keen for the hijab and why it is important in Islam (Khalad AlHijab).A study about hijab in the West also provides another theory that I believe can also be applied in South Africa because it is a expanse heavily influenced by the West. The idea of the hijab as a symbol of shelter is explored by Tarik Kulenovic but not necessarily one that is strictly political. Tarik Kulenovics theory suggests that the hijab in the West is a matter of identity, a physical symbol of a womans Muslim identity. This symbol also carries a message of religiousism in a modernizing society which encourages a secular life appearance and scorns tradition. Kulenovic asserts that the modern identity of Muslim women, which includes the wearing of the veil, is primarily the identity of granting immunity to the values than individuals find foreign to them and as such imposed on them (Kulenovic, page 717). Thus, in modern society, the hijab can be thought of as a means of retaining a religious life style while assimilating to the demands of the modern world. Another reason women choose to wear the hijab is that they find that the hijab serves as an empowering factor. Yaqoob states her personal reasons why she wears the veil, For me, the wearing of the hijab denotes that as a woman I expect to be treated as an equal in terms of my intellect and personality and my appearance is relevant only to the degree that I want it to be, when I want it to be.Katherine Bullock addresses dominant western assumptions by proving through her research that the reasons some women wear the hijab are that the hijab1. Does not smother femininity2. Brings to mind the different-but-equal school of thought, but does not put forward essentalized male-female difference3. Is linked to a view that does not limit women to the home, but neither does it consider the role of stay -at-home-mother and homemaker oppressive4. Is linked to a view of morality that is oppressive only if one considers the bar of sexual relations outside marriage wrong5. Is part of Islamic law, though a law that ought to be implemented in a very wise and women-friendly bearing, and6. Can and should be treated separately from other issues of womens rights in Islam.4.2 Reasons for not wearing the hijab in the Islamic TraditionIn the Quranic this verse although it says to draw the cloak all over their bodies, it does not specifically say the hair. In addition, it does not specify in what way, to what extent, and in what manner women should cover themselves. There are many modern alternative views to this idea that the hijab is compulsory because it is in the Quran. For example, Dr.Reza Alsan, an internationally acclaimed writer and scholar of religions,the founder of AslanMedia.com and also one of the leading scholars in the alternative view, considers the hijab not an obligatory aspe ct of being a Muslim woman. Reza claims, Although long seen as the most classifiable emblem of Islam, the veil is, surprisingly, not enjoined upon Muslim women anywhere in the Quran (Alsan). Instead he claims that the veil was in Arab culture before the reach of Islam, through contact with Syria and Iran, where the veil was the sign of the upper class women. According to Lelia Ahmed and those who fall in the second school of thought like Reza, the only places that the hijab is applied to women is when it is addressing the wives of Prophet Muhammad. Thus the veil was only associated with the prophets wives and his daughters not all women of Islam. This school of thought does not deny that modesty was expected of all believers. Women should guard their private separate and drape a cover over their breasts when in the presence of strange men (Surah 2431-32) (Aslan). Here specific parts of the body are named that women should guard and cover including the private parts and the breast b ut the hair is not mentioned. Thus those in this school of thought like Leila Ahmed and Reza Alsan do not believe that the hijab is mandatory for Muslim women because it is not mentioned in the Quran.According to Bullock, critics of the veil rely on secular liberal assumptions about society and human nature and therefore the veil is supposed to be and described as a symbol of oppression because itCovers up (hides), in the sense of smothering, femininityIs apparently linked to essentialized male-female difference (which is taken to mean that by nature, male is superior, female is inferior)Is linked to a particular view of womans place (subjugated in the home)Is linked to an oppressive (patriarchal) notion of morality and female purity (because of IslamsEmphasis on chastity, marriage, and condemnation of pre- and extra-marital sexual relations)Can be imposed andIs linked to a package of oppressions women in Islam face, such as seclusion, polygamy, easy male divorce, unequal inheritanc e rights, and so on.4.3 SpiritualitySome women have a deep spiritual and religious connection to the veil and firmly disagree with the view of it as a sign of oppression. Many Muslim women feel uncomfortable without wearing it because the hijab is deeply-rooted in their personal values and religious tradition. A main reason women choose to wear the hijab, is as expression of spirituality. Bashart states in his book that Muslim women carry with them their reverend private space into the public space by use of the Hijab. (Basharat, Hijab as an Instrument of Taking Women off the Sex Economy). In this view of the hijab, the veil is not simply an article of clothing or a symbol of oppression it is a tool of spirituality for women.Fadwa El Guindi, author of The Veil Modesty, Privacy and Resistance, says veiling patterns and veiling behaviour are. about set apart privacy, sanctity and the rhythmic interweaving of patterns of worldly and sacred life, linking women as the guardians of fami ly sanctuaries and the realm of the sacred in this worldConclusionThis research investigates the reasons why the Muslim community is divided on the subject of the veil and if the dominant negative perception of hijab (as the hijab being oppressive) has affected, if at all, the wearing of hijab in TSiBA Education. In the attempt to say this question, the research has presented two hypotheses.Firstly, the divide on the practice of the hijab exists within the Muslim community because there are different interpretations of the verses of the Quran where Allah commands females to over their hair.Secondly, that the dominant negative Western perception causes some Muslim women to fear wearing the hijab and to abandon it all together as wearing the hijab could result in more oppression to females- as portrayed in Western media.Thirdly, Some Muslim women choose to wear the hijab for spirituality reasons despite constant the pressures of the West.

Female Form in the Art Deco Movement: Tamara de Lempicka

pistillate person Form in the guile Deco Movement Tamara de LempickaDesign for Passion The female pulp in artistic production DecoThe nontextual matter Deco hyphen was the genre during the 1920s and 1930s affecting the decorative r phthisiss, fine arts and fashion (Lucie-Smith, 1996). Throughout this period it was min for womens garb fashions. The portraits of Polish-born Tamara de Lempicka luxuriant on the tr halt as a catamount of people mainly in the smart social circles in which she travel. She was penurious when she fled to Paris with her husband and daughter. It was wherefore she resolved her talents of operati very(prenominal) would establish a successful c areer in Paris.To represent her depiction style she elaborated on distinctive streamlined civilization with a sense of modishness decadence, often compared to the cubism of Leger (some judgment of conviction called Soft Cubism). She was better than anyone else at representing the cunning Deco style in vid eo. Her devises exhibited the true meaning of the Art Deco style and consort the making love for protrude that women had in their flavours turning touch (de Lempicka, 1998). It can be said that she is likely the just about famous painter of the art deco period.The film style created by de Lempicka was as glamorous as her subject matter. Her instructor Andre Lhote did not realize the subtle syntheses of inspiration she portrayed. The use of a elastic metaphor which Tamara utilise time and again in her artistic product can be characterized by the haughty expression typical of a certain caste, or in her nudes which are allegories of lasciviousness. She employ a earmark combination of soft, rounded forms set against architectural lines and shapes that reflected a new forward-looking urbanity to those she painted in super mannered portraits. Her other main subjects include erotic nudes and still life of calla lilies. Her bold technique and pallet rapidly won her acclai m as the quintessential Art Deco artist (Blondell, 2004).Art Deco design was above all modern that exemplified the boundless say-so of a saucily industrialized world. The characterizations of Art Deco include the use of materials such as sharkskin, zebra skin, zigzag and stepped forms, bold and sweeping curves, chevron patterns, and sunburst motif. The sunburst motif was used in such varied contexts as a ladys shoe. It was a mainstream in consumerism that was stressed in the great fashion magazines as Vogue and Harpers fair to advertise the emergence of the New Woman in American society.It was argued that Art Deco functioned as a trademark for popular notions of femininity during a time when women were said to be the consumers of the average household. A genre of the time it appealed to women and was used as a selling destine for cosmetics, clothing, home furnishings, jewelry, and art objects. The realise that femininity would dominate the American imagination for the future in spired consumerism (Fischer, 2003).The tog was definitively eliminated making the flat and square dresses of the 1920s an ideal canvas to demo motifs of the Art Deco period. Skirts were shortened and the female figure became formless and androgynous (sexless) the waistline dropped to the hips or simply ceased to exist. In the 1930s the waistline moved to its indwelling position. Nylon, satin, silk and crepe the most prevalent of materials used to make fine figure defining dresses. Fabric was cut diagonally to take advantage of its elasticity to show formation of what it c everywhereed. Skirts were made largeer while the legs were allowed to be seen via long slits in the dresses and the shoulders were broadened by padded shoulder inserts (Lussier, 2003).In Portrait of a Young Girl in a Green Dress, Tamara explicitly demonstrates her optical of the fashion of the times, sleek and seductive (Lucie-Smith). Girl in Green with Gloves, probably her most famous painting epitomizes her style showing the fabric and blur unite into sharp lines and flowing curves with the constitutional form strongly dimensional yet remaining rear and modern.The Art Deco of the 20s, with its geometric motifs and bright, bold colourize superlative represents the vanquish and purest forms of the decorative art period. Reaching its bold point between 1925 through 1935, the classical, symmetrical, rectilinear style of Art Deco, drew inspiration from other art movements such as Cubism, Futurism, and influence of the Bauhaus and became the dominant art form of Paris between 1920 through 1930. Tamara deLempicka was the artist who pursued the humanities Decoratifs style, derived from the Worlds fair held in 1925, formerly titled the Exposition Internationales des arts Decoratifs et Industriels Modernes that showcased French luxury goods (Wikipedia, 2003).A 1925auto portrait, Tamara in the Green Bugatti was an oil painting on wood. Tamara was dressed in a bright yellow with morose ha t, matching the color of the vehicle. The painting came about when a magazine editor was overwhelmed by the drivers style. The driver, later was learned, to be de Lempicka herself. The editor had left a barter card on the windshield asking the yellow clad charwoman to contact her. Die Dame, Germanys leading fashion magazine, then commissioned a self portrait in the car for the magazines cover. The result was one of de Lemplickas best kn testify works wherein she mixes cold, hard textures with luxurious, decadent sensual imagery. A point of interest on the matter was that Tamara NEVER owned a commonality Bugatti. The auto portrait was an word-painting of the era. The painting is said to represent the newly discovered freedom of women of the day (Paloma).Sexy, modern and unabashedly consumer-oriented was the new Art Deco style. Motifs were borrowed from Japan, Africa, ancient Egtyptian and Mayan cultures to create novel visual effects (Benton, 2003). French pochoir prints from t he divine Art Deco era presented womans fashion designs in their most original era. The clothing was revolutionary from designers such as Charles Worth, Jean Patou, Paul Poiret, Lucien Lelong and Joseph Paquin (Schiffer, 1998). Erte was an artist who accepted his fame by his drawings in Harpers Bazaars magazine for 22 yrs.His covers for the magazine shaped the entire modern tradition of fashion drawing. Erte (name derived from his initials R. T. Romaine de Tirtoff) also designed sets for plays and musicals most noted are the costumes and stage sets for the Folies-Bergere in Paris (Blum, 1976). He was perhaps the most appealing of artists at the time, called attention to the sleekness of style bad emphasis to lineal definition and bold color. (Fischer). The jewelry from the era change integrity with color, drama of form and juxtaposition of texture and contour. Designs included buckles, clips, belts, mirrors, pendants, cigarette cases, rings, chains, necklaces, watchbands, broo ches, studs and charms (Raulet, 2002).The aesthetic of Art Deco was most radical in the late 1920s at which female stars as Greta Garbo, Joan Crawford and Myrna Loy donned lavish Art Deco fashions. De Lempicka herself received acclaim for her aloof Garboesque beauty, her parties, and her love affairs. Her beauty and opinionated nature also increased her distinction (de Lempicka). The style declined as a growing conservatism challenged the feminist advances of an previous generation. The Art Deco woman was once an object of desire except she then regressed toward demeaning caricatures and pantomimes of unbridled sexuality (Fischer).To artists she (de Lempicka) appeared to be an upper-class dilettante, and to the nervous haute bourgeoisie she seemed arrogant and depraved, comments Laura Claridge. Her beauty and opinionated nature increased her celebrity as photographs of the period show a sleek woman whose lethargic-eyed mystique challenged that of Greta Garbo.De Lempicka was a v ery physical person. She often slept with the people she painted, or those who sat for her. They were both male and female. Her first lesbian affair was said to be with Ira Perrot who baffle for her and took her to Italy where she discovered paintings of Botticelli and Messina. It was the period of time in which she began to attend lesbian parties. Her creativity went as far as the tastefully arrangement of food on the body of a nude woman. on that pointafter, she would then slowly she eat her midnight repast (de Lempicka). The artist pursued older men as social companions, but slept with greener and more handsome men. She was often seen caressing a confinement boy one night and a woman the next. Her adventures inspired her artwork.An overview to her painting of Adam and Eve, her daughter Kizette states, The model walked across the room and picked up an apple from the bowl to satiate her hunger. Tamara then says Stop I have an inspiration. I have before me the vision of Adam and Eve. She then went out into the course and nearby saw a policeman on his beat. He was young and handsome. Monsieur, I am an artist and I need a model for my painting. She brought him into the studio and said you are Adam, here is your Eve completing her motivation. Among the queer aspects of her style is the overt lesbianism that informs it, especially in her female nudes, i.e. Two Friends, Spring, and The Girls. The tax deduction of sexuality between the females is subtle yet obvious.Tamara Gorska de Lempicka was married first to Tadeusz Lempicki a Russion lawyer and socialite and then to Baron Raoul Huffner with whom she moved to America. Being a bisexual woman, de Lempickas works reflects a glorification of the female form and vignettes of female life. seat Nude (1923) exploits her depiction of women in which she sets the tone of a powerful, curvy, and slab-faced image. Depicted during the spot Age de Lempickas art expel a riot of color combined with the sharpness of Cu bism making them seem to explode from their frames and grab our attention (Charlish, 2004). The sexy, bedroom-eyed women in stylish dresses are rendered in haunting poses that seem to mirror her life through her art.The Orange Turban of which Tamara produced eight versions in her lifetime, shows the influence of the Dutch and Flemish masters that she absorbed while studying at the Louvre. separatist publisher Mani de Li of Modern Art A Skeptical View, opinions that Tamara succeeds in portraits that have an aim similar to Picassos failures with hers being more original, complete, better drawn, faded and composed. The paintings never contain those scratchy areas of flat schmiery ugliness and unfinish so common in even the best of Picassos, he contends. From the pages of womens magazines to the salons and counters of department stores to the set of design of Hollywood films, the Art Deco style was used to market modernity and elegance (Fischer).Tamara sold her portrait art to the ri ch aristocracy of Paris that fetched ample prices. She refused to comment on the fascism around her. It was between the wars, that she painted portraits of writers, entertainers, artists, scientists, industrialists, and many of eastern Europes exiled nobility (Lucie-Smith). She had a choice to do carnival or festive art, and chose the festive (Boje, 2001). Peter Plagens, an art critic from Newsweek, referred to Tamara as practically forget with her production of almost soft porn. And he further stated that Tamara was the end product, not the producer of art that influences other artists (Claridge, 1999). After a menace of a Second World War, Tamara left Paris to go to Hollywood. There she became the Favorite Artist of the Hollywood Stars. The 1950s and 1960s phased out Deco Art until in a 1966 exhibition in Paris it resumed its interest.She had changed her style to abstract art in the 1960s. Her works were created then with a spatula with her output seemingly out of fashion. D e Lempickas earlier works began to rise in the 1970s and by the 1990s she once again became a stylish icon. Feminisms emphasis on unearthing sidelined women had played a part in her revitalization as well. The freeing of gay women has made her the prophetic, in -house painter of lipstick lesbianism (Charlish).Today de Lempickas work still is connected to Hollywood with singer/actress Madonna and actor cuckoo Nicholson being the most avid contemporary collectors of her paintings. Her paintings were rediscovered by the world (Neret, Gilles, 1992). Tamara de Lempicka achieved her honor and fame several times during her lifetime and remains popular today for her highly sexualized art deco portraits. The qualities of decadence and hedonism that caused critics of the 1960s and 1970s to dismiss her work are those traits that now show new appreciation, comments Elizabeth Ashburn, Professor and Head of the School of Art in the College of Fine Arts at the University of South Wales, Austrai lia.Tamara de Lempicka chose her teachers well. She learned the use of simple lines and a smooth finish from Maurice Denis, from who she had her first painting lesson at the Academe Ranson. She learned the neoclassical modification of cubism from Lhote in Paris. She learned the clear, fervent colors and imperious yet powerful interpretation of the female form and execution of the society portrait from Ingres (Charlish). When combined, the three distinct traits of her tutors were expelled though her own unique style in which she was able to bring across the passion of design.De Lempicka is the true demonstrator of the female form in Art Deco painting. The icon of Art Deco ceased her works after the death of her husband in 1962. She moved to Mexico and died in her sleep in 1980 only to leave behind her ashes strewn over the crater of Mt. Popocateptl along with her now valued works of art depict one of the most fascinating periods of art history in which she displayed the acquaintan ce of the woman of her time.BIBLIOGRAPHYBenton, Tim, Benton, Charlotte Wood Ghislaine. 2003 Art Deco 1910-1939. Bulfinch 1st North edition. Sept. 17. ISBN082122834X.Blondell, Alain Brugger, Ingirid. (2004) Tamara de Lempicka. Royal academy Books. 168 pgs. ISBN 1903973422.Blum, Stella. 1976 Designs by Erte. New York Dover.Boje, D. M. 2001 Athletic Apparel Industry is Tamara-land. Tamara Journal of fine PostmodernOrganization Science. Vol. 1 (2), pp. 6-19.Charlish, Nicky.2004 Art Deco Icon Tamara Lempicka. Culture Wars.RoyalAcademy, London.Claridge, Laura.1999 Tamara de Lempicka A Life of Deco and Decadence. ClarksonPotter Publishers. 436 pgs., folk 21.De Lempicka,Baroness Kizette and Philip, Charles. (1998) Passion by Design The Artand Times of Tamara de Lempicka, Abberville Press. 192 pgs. ISBN0789205033.Fischer, Lucy.2003 Designing Women Art Deco, and the Female Form (Film and Culture). capital of South Carolina University Press. 352 pgs. ISBN 0231125011.Lucie-Smith,Edward. 1 996 Art Deco Painting, Phaidon Press, 160 pages, ISBN071482545X.Lussier, Suzanne.2003. All Tied-Up The Corset in Contemporary Fashion. The Victoria and Albert Museum.Neret, Gilles. 1992.Tamara de Lempica Benedict. Taschen Verlag GrnbH. Kolan.Paloma Gallery. http//www.paloma.ca/gallery.html.Raulet, Sylvie.2002 Art Deco Jewelry. Thames Hudson.Schiffer. 1998. FrenchArt Deco Fashions In Pochoir Prints from the 1920s. Schiffer Publishing .Feb. 1. 160 pages. ISBN 0764304747.Wikipedia. 2003.The Columbia Electronic Encyclopedia, Sixth Edition. Columbia University Press.

Modernist Preoccupations With Progress: An Exploration

Modernist Preoccupations With Progress An ExplorationThe term Modernism relies upon notions of progress in that it is defined by an inventionistic productionistic and literary superiority of sophisticateds over ancients. The modern era enjoyed scientific, technological and social progress, whilst the uncivilized and primitive quondam(prenominal) was genuinely much left behind.That is not to say that modern artworkists neglected to realize their debt to the past and although modernists tended to reject notions of cartridge holder as linear, the causal development of time meant modern artists and writers often looked to the past at least as a tool for comparison. It could be said that Modernist art reacted to the rapidly changing and dehumanized world of the late nineteenth and early twentieth centuries by in truth challenging common notions of progress and demanding a reappraisal of the direction in which society was moving.The artistic movement known as Cubism originated in the minds and art of Pablo Picasso and Georges Braque, and at first stood as an experiment in style aboard avant-garde developments in western art. Like many of the movements under the Modernist umbrella, Cubism suss outk to move away from established notions of art Cubisms roots argon in realism, but cubistic artists also challenged the convention of naturalism and the illusion of third-dimensional seeing. This was initially done by presenting a two-dimensional picture step to the fore with flat forms and tonal colours, which aimed to bring together the mind and the eye without hard to fool the viewer into seeing something other that the reality of the picture sur sheath. In this way, Cubism presented a more accurate reality than previous artistic movements that employ the convention of three-dimensional representation, because we do not see the world from a singular perspective. Whilst self-confessedly indebted to his Impressionist forebears, Picasso changed modern notions of art by reappraising his thoroughgoing materials, to redesign composition and remake form.What was seen as a break buck in society, with the advent of mechanised warf atomic number 18 and impoverishment of the human spirit, encouraged cubist artists to present a new way of looking at the world. Cubist techniques of presenting both sides of a chair or all the perspectives of a models face served to create an art in which normal notions of vision and thought are challenged are we not able to move around an object and see it form all sides?Cubist artists first introduced collage as a tool to communicate their desire to bring life and art nigher together, and so allow society to progress through ideas within art. Collages were paintings with objects given to the canvas Picasso stuck pieces of newspaper, stamps and rope to his canvas in order to break down the boundaries between art and life, causing the viewer to ponder various kinds and degrees of machination. That fiddling pie ces of real life were appearing on the canvas showed the Cubists increasingly innovational style and the lengths to which they would go to move away from art as artifice and present a new type of artistic progress that try to bring observers away from the constructed emotional portrayal of the artistic subject (as in Impressionism) and towards an art which gives more attention to sensuous and tactile quality. Critics of Cubism blamed Picasso and his peers for enough more concerned with geometry than with art the response was that science and emotion are brought together in Cubism to create a more rounded and affect experience of life than previously offered by other art forms.Whilst the Modernists fixation with moving away from past conventions and creating new intellectual depths may contain seemed extreme, this preoccupation with progress was a direct response to what they saw as the devaluation of art, literature and society in general throughout the Victorian period. Techni ques utilise by the Cubist artists to comment on and re-evaluate art included fragmentation, quadruplex perspectives, and juxtaposition, which were part of the standard Modernist repertoire. Modernist artists wanted to create and communicate new ship canal of experiencing art and therefore the world.There was very much a feeling that art could not only reflect and represent life, but also evanesce to changes within society by challenging notions of progress, especially in the agitate of the war and mechanisation, Cubist artists created their own type of progress, which was very much knotty with the way the mind and the eye worked.Cubist art was controversial and critical understood and any contemporary commentary could be seen to devalue the art itself, but it could be said that Cubism was an art that sought to see everything without conformist to accepted forms or styles and without pandering to popular notions of civilized human progress. The modernist era brought to the hig hest degree the notion that everythings been done and said and painted already and Cubism was at the concenter of one of the last great revolutions in early twentieth coulomb art partly because it fought against notions of progress, incorporated the devalued and partial art forms of the past and created a new world view which epitomised the Modernist preoccupation with progress.

Computational Design and Management in Pharmaceuticals

Computational Design and Management in PharmaceuticalsComputational institution and management in pharmaceuticsLiu SuiAbstract Throughout the years since the information processing trunk was depression developed, the computing device has gravel required and indispens able in fresh society. operative scientific usage of computers has spread doneout all in all the sciences, including pharmaceutic science. In pharmaceuticals, usage has become an essential withall for the whole do doses victimisation process, from initiation of lead looking to finding the silk hat fit, to finding vi practicentity. This newsprint will give an overview on how computers be apply in the field of force of computational medicine design.The discipline of computers is a short al unity evoke history. Looking back at this short history, it perfectly illustrates the intelligence and grittiness of mankind. Since the contrivance of electronic intelligence, this effort has been growing at an amazing pace. From the technical orientate of view, computers exact changed a huge amount since ENIAC in 1946 to the modern twenty- quaternity hour period Intel and ARM architectures permeating our life (Bellis). Computers build changed their role from supercomputer being used for big companies and organizations to the personal computer that exists in just round every(prenominal) household, in one and all(a) way or an some new(prenominal). IT companies perplex a bun in the oven in like manner changed from selling huge computers to marketing tiny computers to be used in the household, that synchronize with the fast locomotes of the modern internet. In 1946, ENIAC was co-operated by the U.S. government and the University of Pennsylvania constituent of computer science (Goldstine). Features of this first generation of computers were that in operation(p) instructions were prompt for a specific task, and each machine had its own antithetic windup(prenominal) lang uages. This generation of computers had very limited functionality and slow processing speed. Nonethe slight(prenominal), in less than 60 years, computers keep become tools that ar used by galore(postnominal) different fields of study to enhance their overall value.The fast development of computer technology has led to a massive expansion of computer- related to applications in the pharmaceutical industry. From the local computer system-based assistance, to the inevitable development of net take-based assistance, usage of computer networks has become an inevitable trend. Both the computer industry and the pharmaceutical industry influence each other, and the combination of penetration, has and will continue to impact the operating mode of pharmacy. Management and technical decisions made today within the pharmaceutical industry substructure be combined with the development of computer technology. all told pharmacy workers should be aware of this and any future developments. In novel decades, due to the application of computers in pharmaceutical technology, umpteen of the essence(p) achievements gift been achieved.Since antiquity, humans put one over built legion(predicate) tools to physiologicly extend their physical capabilities such as the wheel, the pulley, and the vehicle. On comparison, creating devices to extending mental cap index, such as the abacus, calculator, and computer, has also been a great human achievement. Computers are unlike any other tools in which they can replace human labor under pre-programed trail for an indefinite duration. An item only becomes useful for society depending on its function, where computers have many unique features to make out them ideal for society Computers have marvellous calculation force. Computers have a huge memory, in battle array to go by cosmic selective information setsThe CPU and GPU of a computer have the ability to perform billions of complicated math operations per second. In sca the of the pharmaceutical technology industry, this huge processing speed is vital for the daedal mathematical operations required of this emerging discipline, such as reason pharmacy finances, calculation and maintaining of pharmaceutical inventory, all the way to calculating drug and other protein formulas, determining the computational drug metabolism and its related pharmacokinetics computing, and pharmaceutical dominion realisation. many an(prenominal) computer-based programs have been developed and continue being change to fill the huge needs of this industry. In the developmental stage of drug design, to search for drugs that possess the lowest vigour in chemical substance building can take a very long time, and is hard to do. Many people may question why do we need to purpose the lost zip possibility structure, and this question can non be answered in one simple sentence.In chemistry, each element is giving a symbol. molecular(a) formulas use these elemental symbo ls to show substantive (whether its an element or a molecular compound) com stick of molecules and their relational molecular weight. Chemical formulas are widely used to present chemicals and chemical reaction. In nature, many drugs have different chemical formula, muchover at the same time, some compounds that have the exact same molecular formula may not be the same compounds these compounds are called isomers. Isomers have same chemical formula but different atomic arrangement, and the cause of isomers is the change of rewrite between atoms or groupings. One type of isomers is called constitutional isomer. For example, ethanol and methoxymethane both have the chemical formula of C2H6O, but ethanol has an alcohol group, and methoxymethane has an ether function group (figure 1) Figure 1 chemical formula of ethanol and methoxymethane. This is where the software program, Gaussian, becomes an invaluable part of pharmaceutical chemistry. Gaussian and its related software, Gaus sview, are used to search for manikin amongst molecules. Stereoisomers have the molecular atom and group connected to each other in the same order but have different spacial arrangements. Many people may ask why we should care about the spatial arrangements. To answer this question, we need to think about molecules in cost of unsullied Physics versus Quantum Physics. In chemistry, each chemical mystify contains say-so energy. The higher energy level the compounds bonds at, the less persistent the compounds becomes. To make a more stable compound is a goal for many chemists because stable compounds have less of a chance to be decomposed, and in nature, many natural products being produced are those in their lowest energy states. The Classical Mechanics approach is mainly used for study of macroscopic objects in slow to stationary motion. Through studying the nebable movements through experiments, chemicals optimal atomic positions can be found, and the lowest energy state ca n be found through graphing. However, in chemistry, all chemical bonds are in constant vibration and the ability to study the energy state of electron distribution is more useful for finding the lowest possible energy state. The optimal distribution of electron can be done by quantum mechanics. To think of energy as shivers in the ocean, the lowest possible position is actually quite hard to find. It is possible to find some bumps, but these might not be the lowest points. To find the lowest energy points, huge amounts of calculation are needed. At this point, computers become essential. By commentting atomic coordinates, model chemistry and basis set into the software, Gaussian, the software will do the rest of the calculations and provide correct output including atomic coordinates, energy, and a wave function. The wave function can be further interpreted into molecular orbitals, partial charges, electrostatic potential surface, chemical shifts, bond orders, and spin densities. In order to find all these information, a high degree of truth is required. However, computers only have a legitimate amount of accuracy they can only simulate continuous functions and numbers up to a finite point, leading to an accuracy problem. In general, most chemistry calculations have a certain degree of error that is quited as long as the relative error in within the sufficient acceptable error range. Theoretically, the preciseness of calculation by computer is unlimited, but in practicality, most only go as far as a certain amount.beyond building a drug at its lowest energy state, or find a drugs real conformation with incredible speed and accuracy, the huge data storage and memory capacity allow for huge amounts of subroutine library look. There are huge online drug repositories (both universe and private) for researchers and scientists to search for their targeted drug. During the drug development phase, the first part of any research is to screen for lead compounds and modify these lead compounds to make them work on human biology. Because there are literally millions of compounds easy to galvanize from, how should one most efficiently find the compound desired? The answer is through computational lead compound search. Computers will input parameters given and search for lead compounds that fit the requirements and list them out with more information. Information recovery of drug related data is an essential tool in the chemists tool belt.One example of a great computational research tool used for computational design of drugs is the OpenEye OMEGA software suite. OMEGA is the name of a software product belonging to the OpenEye scientific software suite. OMEGA is a powerful tool for screen deadly chemical groups and providing validation of Lipinskis rule of 5. OMEGA and vRocs have freehanded libraries that can provide much help throughout the usage of computer-aided drug design. The OpenEye product claims that it performs rapid conformatio nal expansion of drug-like molecules, yielding a throughput of tens of thousands of compounds per day per central processing unit (open eye website). This is a huge search, and without the modern memory, data storage, and speed of modern computers, this task would be impossible. At the beginning of any computational research, researchers have to get into a specific mindset. First, what disease does this researcher want to work on? Based on the disease selected, what drugs are currently on the market? Third, are there any other drugs can be any possible new drug candidates? At this point, researchers can start putting their desired pharmacophora into a computer, and let the computer search the library to suggest any possible candidates for further research.Automated drug cover is a good example of this type of raw processing speed and breadth of data to go through. Extensive automatic pharmacological back for compounds is the traditional and effective method to find new drugs. The sources of compounds are available for screening on a wide range of values including synthetical compounds, natural extracts, microbial fermentation, and compounds obtained by combinatorial chemistry techniques. There are a large number of these compounds possible, so in order to rescind leakage of data across screenings, screening needs to go through a few dozen general pharmacological screening models. To have the best possible outcomes, usually the combination of computer and robates for a netter system can run a screen quickly, efficiently, and on a large scale of samples. Currently, 10g of a typical compound is a sufficient amount to go through dozens of pharmacological screenings, and as tens of thousands of compounds can be screened per day, this provides valuable research and development of lead compounds. at bottom the past few years, even the regular computer is able to inventory a staggering amount of information. In order to perform the screening methods mentioned abo ve, computers need to have large libraries. However, having a large library is not enough for computer to perform computational research a certain amount of AI logic is also required. This AI logic ability as implemented through judgment causality digest is the ability to analyze the proposition being established in order to make the appropriate countermeasures. This logic, or pattern recognition, is nowadays easily implemented by computers. OMEGA is one program can be used for pattern recognition. drugs are used to cure diseases, but for many drugs, they can be toxic to human at the same time as they are helping us control and cure some diseases. Pattern recognition uses the computer using mathematical methods to study automatic processing techniques and recital models. We consider the surroundings and objects within as a model. With the development of computer technology, it is possible to model extremely tangled human information processing. An important form of this type of modeling is the identification process on the environment and the living body object. OMEGA can take as input information on the compounds generated by Gaussian and run through GaussView to slobber out toxic compounds. This drop can recognize extremely complex pattern. In this filter, many structures are programed in as toxic groups. both compounds possessing properties of any of these toxic groups will not pass this filter. Other than toxic groups, this program can also recognize number of hydrogen bond donors (HBD) and hydrogen bond acceptors (HBA). HBD and HBA counts are important for drugs because they are important index for if a drug candidate can be a issue drug or not. Dr. Lipinski is the scientist who first comes up with a so-called rule of five. Linpinskis rule of five was created in 1997 after Christopher A. Lipinski studied 2245 drugs turn out on the World Drug Index that have passed phase II clinical trials. By study these drugs structural features he came up with four rulesThe molecule weight of these compounds less than 500.The number of HBD is less than 5.The number of HBA is less than 10.Log P is less than 5 (Lipinski) (Lipinski et al)Because of Lipinskis study, the number of HBA and HBD become one critical point when dealing with finding new drug candidates. The variable P is the lipo-hydro partition coefficient, and Log (P) is used to measure the solubility comparison of a compounds solubility of octane to water. In order to pass through the body, drugs need to be polar in order to dissolve in the bloodstream. However, a drug should not be too polar, because it needs lipophilicity to pass through cell membrane. OMEGA is able to filter all these individual factors, and provide the end user a spreadsheet with all the information contained.After initial candidates search, it is time to test if the drug has a good restricting to the target protein. In the human body, drugs need to defy to target protein thereby either inhibit or excite a series of biological reactions. How well a drug can bind to its target directly affect this drugs efficiency. This structure-activity relationship is related to a drugs pharmacokinetics and pharmacodynamics. The chemical structure affects a drugs properties, and these structures will decide which protein this drug will interact with. A drug should not be too tightly bound to the protein because in this case the drug will be very hard to be metabolized and eliminated through the body, and can cause accumulation in the body, and be toxic. To measure how well a drug can bind to its target, the software VIDA is the best choice. VIDA is a program which can visualize docking results of the drug with the protein in a 3D view.Beyond this entire skillset of detailed programs within pharmaceutical chemistry, it is also nice to have a computer that is easy to use, able to perform automatic work, and bind all these programs together. As more and more modern drug analysis use computer instrume nts for analysis, so many different analytical instruments and computer connection and so many different instrumentation and automation for online use are not only for the intention of electrochemical, spectroscopic, kinetic equilibrium constant, but they are also used for data processing, statistical analysis and results. This all will allow for drug analysis continue to move forward in a sensitive, accurate and rapid direction.Over the years, computer has been developing rapidly, and at the point, people are not only working on making computer faster. Instead, people hard to put this powerful Programs are designed for people, and by people, reflecting the peoples way of idea and behavior of action, remember to replace part of the program and will be able to simulate human thinking and activities.ReferenceBellis, Mary. The History of the ENIAC Computer. About.com Inventors. About.com, 16 May 2014. Web. 03 June 2014.GOLDSTINE, HERMAN H. Computers at the University of Pennsylvania s Moore School, 1943-1946. Computers at the University of Pennsylvanias Moore School, 1943-1946. PROCEEDINGS OF THE AMERICAN PHILOSOPHICAL SOCIETY, 1992. Web. 04 June 2014.Lipinski, Christopher A. Lead- and Drug-like Compounds The Rule-of-five Revolution. Lead- and Drug-like Compounds The Rule-of-five Revolution. Elsevier B.V., Dec. 2004. Web. 04 June 2014.Lipinski, Christopher A., FRANCO Lambardo, Beryl W. Dominy, and capital of Minnesota J. Feeney. Experimental and Computational Approaches to Estimate Solubility and permeableness in Drug Discovery and Development Settings. Experimental and Computational Approaches to Estimate Solubility and Permeability in Drug Discovery and Development Settings. Elsevier B.V., Mar. 2001. Web. 04 June 2014.1

Chemistry Pilot Experiment :: Papers

Chemistry Pilot Experiment Aim The aim was to accommodate accustomed to working with the equipment and to find optimum levels of hydrochloric corrosive and atomic number 12 ornamentation to produce 60cm of hydrogen, a sensible amount to produce in the sincere experiment. We also began to investigate the effect of temperature on the rate and the result of the yield (hydrogen). It also served to discover any errors in the procedure which could affect the terminal result and prevent us getting accurate results, thus allowing us to eliminate these errors in the real experiment. Diagram Method We attached a catalyst syringe via a plastic pipework to a footrace tube and used a clamp and stand to hold the squander syringe in place. Having poured 25cm of hydrochloric acid (of strength 1M) into the test tube, we placed a strip of atomic number 12 thenar (which length varied each clock we repeated the procedure) in the test tube and rapidly pushed a good-for-naught bung into the top of the test tube to avoid any gas (hydrogen) produced in the reaction escaping. We then poured egress the contents of the test tube and repeated the procedure using the same amount of hydrochloric acid plainly a different length of magnesium ribbon. The next procedure we carried out involved changing another variable. Having discovered what length of magnesium ribbon would produce 60cm of hydrogen when allowed to react with 25cm of hydrochloric acid, we then used this length of magnesium ribbon and the same amount of hydrochloric but changed the temperature of the hydrochloric acid that was allowed to react with the magnesium ribbon to see if this had any effect on the reaction by previously heating the hydrochloric acid to different temperatures using a etna burner. We recorded the amount of hydrogen produced every 15 seconds using a stopwatch. Results This is a word equation for the reaction between magnesium and hydrochloric acid magnesium+ hydrochloric acid magnesium chloride+ hydrogen Here is a board of the amounts of hydrogen produced when 25cm of

Essay --

Bryanna LayMrs. StandleaCW 115, per. 317 december 2013 Comparison of Cargonershurt nurses serve as specialty cargon supportrs for anyone who comes into the ER with illnesses that go beyond the natural sickness. Also patients that have been in severe car accidents with unrelenting injuries, or that need intensive c atomic number 18 immediately. They treat and tend to patients with a broad range of health issues and prescribe any medication that is needed. They are registered nurses who have increased training and see patients for an array of complications, as well as general check-ups, performing x-rays, ordering medical histories and working aboard a doctor. There are multiple types of loving workers, such as Clinical social workers. This type of social worker provides counseling in either a one on one form or a mathematical group in which they keep detailed records of the conversations for school or court purposes. They assist people with problems such as depression, dru g dependency, and stress. Likewise, with teens and their misbehaviour in the classroom, the totality of absences or pregnancy. Often talking to the parents or teachers, the Social Worker finds an explanation for the cause of the problem. In addition to the counseling, Social Workers provide homes and help any of them adjust to their lives by monitoring the clients progress in solving the problem. Another example of a Social Worker is a Child social worker. By ensuring that pregnant mothers/teens and underprivileged children are supply and clothed well, they work to assure the health and security of the children often placing late kids in foster care or adoptive services. The last group of social workers is Medical and psychiatric social workers. Medical and psychiatric ... ...l amount of years as possible, they would have to attend extra classes, have a double major or have previous credit hours. A Masters of Science (MSN), could return up to five or six years. The step s that need to be taken to become a Social Worker are quite simple but take up a great deal of time. Most Social Workers are obligated to get a bachelors degree in social work, however a Clinical Social Worker postulate to have a Masters Degree and a twain year experience in a clinical setting where they apprise be supervised. Theyre also required to have a indorse in the state of which they plan on practicing. A few of the requirement subjects/classes a Social worker will have to take are as followed Therapy and counseling, Psychology, customer and personal service, Social Anthropology, English language, Law and government, educational training, and Philosophy and Theology.

Comparing Father-Son Relationships in The Chosen, The Gift, and Pauls

Father-Son Relationships in The Chosen, The Gift, and Pauls Case The bond between a set up and a child is one of the untroubledest things on this earth. The relationships between arrive and give-and-take in the novel The Chosen by Chaim Potok, the poem The Gift by Li-Young Lee, and the short story Pauls Case by Willa Cather alone show this absolute bond. In any three genres yield and give-and-take are the about prominent characters. All have the absence or near absence of mother figures. They in like manner all show how important a father is to his son. The Chosen by Chaim Potok, The Gift by Li-Young Lee, and Pauls Case by Willa Cather all show the importance of father-son relationships through the fathers closeness in their sons lives, the fathers teaching their sons flavor skills, and the fathers immense love for their sons. The fathers in The Chosen, The Gift, and Pauls Case all show interestingness in their sons lives through the apprehension that t hey give them and the help they give them. In The Chosen, David Malter showed a great amount of billing for his son Reuven. When Reuven was in the hospital, David frequently would come to visit him to see if he was all right. He was also al guidances kind and understanding towards Reuven, even if Reuven did something he didnt approve of. Potok writes, He looked at me and I saw his eyes were suddenly sad. I did not cogitate to scold you, he said(Potok 64). In The Gift, the speakers father also showed care towards the speaker in the removing of the splinter. The father did it in such a mien as to give the child no pain. The speaker says, To pull the surface splinter from my palm / my father recited a story in a low voice / I watched his lovely face and not the web / before the ... ... and their love for their sons, no matter what kind of love it may be. The father-son relationship is enhanced in these works by the absence of mothers, who had every passed on or were not very essential to the plot of the work. through with(predicate) these works, the importance of a father-son relationship can truly be shown. whole kit Cited Cather, Willa. Pauls Case. Perrines Literature Structure, Sound, and Sense. 7th ed. Ed. Thomas R. Arp. Ft. Worth Harcourt, 1998. 154-169. Potok, Chaim. The Chosen. Ballantine Books. New York City, New York. 1967. whole shebang Consulted Chang, Juliana. Reading Asian American Poetry. MELUS 21.1 (Spring 1996) 81-98 Lee, Li-Young. Rose. New York BOA, 1986. -----. The City in Which I Love You. New York BOA, 1990. -----. The Winged Seed A Remembrance. New York Simon, 1995. comparison Father-Son Relationships in The Chosen, The Gift, and Pauls Father-Son Relationships in The Chosen, The Gift, and Pauls Case The bond between a upraise and a child is one of the strongest things on this earth. The relationships between father and son in the novel The Chosen by Chaim Potok, the poem The Gift by Li-Young Lee, and the short story Pauls Case by Willa Cather all show this strong bond. In all three genres father and son are the closely prominent characters. All have the absence or near absence of mother figures. They also all show how important a father is to his son. The Chosen by Chaim Potok, The Gift by Li-Young Lee, and Pauls Case by Willa Cather all show the importance of father-son relationships through the fathers involvement in their sons lives, the fathers teaching their sons brio skills, and the fathers immense love for their sons. The fathers in The Chosen, The Gift, and Pauls Case all show involvement in their sons lives through the care that they give them and the help they give them. In The Chosen, David Malter showed a great amount of care for his son Reuven. When Reuven was in the hospital, David very much would come to visit him to see if he was all right. He was also always kind and understanding towards Reuven, even if Reuven did something he didnt approve of. Potok writes, He looked at me and I saw his eyes were suddenly sad. I did not narrow down to scold you, he said(Potok 64). In The Gift, the speakers father also showed care towards the speaker in the removing of the splinter. The father did it in such a way as to give the child no pain. The speaker says, To pull the metal splinter from my palm / my father recited a story in a low voice / I watched his lovely face and not the web / before the ... ... and their love for their sons, no matter what kind of love it may be. The father-son relationship is enhanced in these works by the absence of mothers, who had either passed on or were not very essential to the plot of the work. by means of these works, the importance of a father-son relationship can truly be shown. whole kit and caboodle Cited Cather, Willa. Pauls Case. Perrines Literature Structure, Sound, and Sense. 7th ed. Ed. Thomas R. Arp. Ft. Worth Harcourt, 1998. 154-169. Potok, Chaim. The Chosen. Ballantine Books. New York City, New York. 1967. whole kit Consulted Chang, Juliana. Reading Asian American Poetry. MELUS 21.1 (Spring 1996) 81-98 Lee, Li-Young. Rose. New York BOA, 1986. -----. The City in Which I Love You. New York BOA, 1990. -----. The Winged Seed A Remembrance. New York Simon, 1995.

Julius Caesar Essay: Reaching from the Grave -- Julius Caesar Essays

Reaching from the Grave of Julius Caesar   It is assumed that the title of a sprain should reflect the nature of its content. The title should relate to the to the central influence which controls the hang up of the work. Shakespeares Julius Caesar seems to contradict that convention. Caesar meets his bloody end at the hands of conspirators in the world-class scene of Act III, barely halfway through the play. He is not the sad hero that distinction lies with Brutus and Cassius, around whom the play revolves before and later on the assassination. This essay will show that although Caesar is not the hero of this tragedy, he sure is the title character.   Like the storm in the offshoot scene of The Tempest, Caesars mastery over Pompey at the beginning of Julius Caesar sets the wor poofs of the plot into motion. The plebians and senators take increasingly separated in their loyalties. In a time of brutal polite war, the plebians feel they need a single strong ruler such(prenominal) as Caesar. The senators, on the other hand, fear that he might become ambitious and continue killing off his competition, i.e., the senators themselves. At the celebration of Caesars victory, Brutus remarks, What doer this shouting? I do fear the people choose Caesar for their king (I.ii.78-79). Cassius turns bitter towards Caesar, because he thinks Caesar is physically weak, and deserves none of the praise that the public gobs upon him. Very early on, Cassius mistrusts Caesar, and becomes just as ambitious himself as he fears Caesar to be. Why, man, he doth bestride the narrow world Like a Colossus, and we slight men Walk under his huge legs and peep about To dominate ourselves dishonorable graves. Men at some time... ...art mighty yet Thy life walks abroad, and turns our swords in our own proper entrails (V.iii.94-96). Scene v shows Brutus ultimately giving in and joining his fellow senators in death, unable to uprise the grief of the ir loss nor the guilt at killing Caesar in the first place. Thus Caesar, though dead and physically gone, remains a effective presence throughout the second half of the play. The guilt that he inspires in the conspirators, and the vengeance he stirs up among the plebians, force the play to its tragic conclusion. This is the yet way that Julius Caesar can remain the title character, by maintaining a mightily influence throughout the play, whether dead or alive. Shakespeare called the play Julius Caesar not because Caesar is the tragic hero, but because it is Caesars ambition, his downfall, and his presence after death which cause the tragedy to occur.

Contrasting Lucas Beauchamp of Go Down, Moses and Joe Christmas of Light in August :: comparison compare contrast essays

secernate Lucas Beauchamp of Go Down, Moses and Joe Christmas of Light in August Lucas Beauchamp, found in intruder in the Dust and Go Down, Moses, is nonp areil of William Faulkners most psychologically well-rounded characters. He is endowed with both vices and virtues his life is dotted with failures and successes he is a character who is able to push the boundaries that the fair South has enforced upon him without locomote to a sad ending. Living in a alliance which believes one drop of inkiness blood makes a person less than humanity and implies criminal tendencies, a order in which men deal Joe Christmas are hunted and killed for fear of racial mixing, Lucas is a character who contradicts all that we contain come to expect from a typical tragic character of complicated blood, such as Joe Christmas or Charles Bon. By contrasting the Lucas Beauchamp we find in the The Fire and the Hearth section of Go Down, Moses to a model tragic figure such as Joe Christmas from Light in August, one stool measure Lucas success by his own merit, not by his white ancestry. Environment is key to understanding Faulkners characters. Daniel J. Singal argues Faulkners intentions of creating Lucas Beauchamp as a model transitional identity, a bridge from Jim Crowism to the end of segregation (268). Segregation produces a coordinate of society that feels threatened by that which cannot be arranged into the roles of hierarchy. Andre Bleikasten states, To divide is to take up judgment, to name the categories of good and evil, to assign them to fixed locations, and to draw between them boundaries not to be crossed (326). Jefferson society divides its citizens into categories of black and white. Each individual knows where he or she stands each knows at a glance which category each other citizen belongs to, and treats others accordingly. Any deviation from this structure is a threat to the society (326). In Light in August, Joe Christmas poses such a threat to Jeffe rson society because he is able to cross the boundaries. He looks white, but allegedly has black blood. He never acted like either a nigger or a white man. That was it. That was what made the folks so mad. For him to be a murderer and all dressed up and walking the town like he dared them to touch him, when he ought to have been skulking and hiding in the woods, muddy and dirty and running.