Architecture and Commerce-Free-Samples for Students-Myassignment

Question: Carson Pirie Scott Department Store, Louis Sullivan 1904. Answer: Presentation Carson Pirie Scott Department Store was the principal working in the nineteenth century that fused the word high rises in the city of Chicago1. The products of another flourishing are delighted in when the first lights of illuminated perspectives get through the dull issues that encompass us in this manner making another opportunity for the mankind Carson Pirie Scott Department Store breaks the dreariness of hordes of the tall structure along State and Madison Streets of Chicago. The structure is developed of bronze on the ground floor with the veneers completed on wide white. Carson Pirie Scott Department Store The structure serves to outline the connection among engineering and business. Being a draftsman of the neoclassical occasions, Sullivan kept up his expression of structure follows work in his plan work. He in this manner turned to thinking of a structure that mirrors the social capacities that are to be served by the space2. This was after he broke down the difficulties of skyscraper business design. He shows his way of thinking through depicting a perfect tripartite high rise in which the primary level which is the base level is the ground floor that houses business exercises. The simplicity of free, open space and light overwhelm. The subsequent level is gotten to by general society through the3 flight of stairs. The following level includes workplaces which have a similar plan since they serve a similar capacity. As was contended by a portion of the innovator draftsmen of the time, Sullivan based his structure accomplishing a greater amount of usefulness than excellence. It is conceivable to fabricate a lovely structure however around then Sullivan went for a structure that is appalling yet practical instead of simply raising just faade design. Sullivan delineates his way of thinking in the structure of Carson Pirie Scott Department Store in which he offers accentuation to the lower road level and passage that pull in customers into the store. He accomplishes that by utilizing extremely huge windows on the ground floor utilized in showing items, putting the three entryways that fill in as the passageway inside an adjusted inlet at an edge of the site4. The arrangement of the entryways makes them obvious from any bearing when one is moving toward the structure. References Giedion, Sigfried. Space, Time and Architecture: The Growth of a New Tradition. New York: Harvard University Press, 2013. Siry, Joseph. Carson Pirie Scott: Louis Sullivan and the Chicago Department Store. Chicago: University of Chicago Press, 2015.

The Long-Term Health Effects of Marijuana

The Long-Term Health Effects of Marijuana Addiction Drug Use Marijuana Print Long-Term Health Affects of Smoking Marijuana By Buddy T facebook twitter Buddy T is an anonymous writer and founding member of the Online Al-Anon Outreach Committee with decades of experience writing about alcoholism. Learn about our editorial policy Buddy T Updated on November 23, 2019 David Sutherland Collection/Photographers Choice/Getty Images More in Addiction Drug Use Marijuana Cocaine Heroin Meth Ecstasy/MDMA Hallucinogens Opioids Prescription Medications Alcohol Use Addictive Behaviors Nicotine Use Coping and Recovery We’ve come a long way from the days when smoking marijuana was strictly a hush-hush activity. From increasing acceptance of recreational products made from pot to the use of medical marijuana to treat symptoms such as pain and nausea from chemotherapy, more and more people are being open about the role marijuana plays in their lives. But although theres less secrecy around marijuana use, it doesn’t necessarily mean it’s safeâ€"at least not for folks who smoke pot for fun. Scientists  don’t how long-term pot puffing affects the body, but there are studies that suggest it can cause several health problems over time. For instance, preliminary animal and human studies suggest smoking marijuana can put a damper on the  immune system. Here are three other health problems that may be linked to using pot. Breathing Problems Although marijuana and tobacco are two entirely different substances, smoking either has similar effects on the lungs. These can be more severe for pot smokers because they tend to inhale more deeply. Whats more, in order to bring about a high, they tend to hold the smoke in their lungs for as long as possible. This increases the amount of smoke the lungs are exposed to, putting them at even greater risk of certain respiratory problems  than tobacco smokers. For example, they may have increased production of phlegm leading to frequent coughing, and they may be especially prone to obstructed airways. Pot smokers also are at greater risk of chest colds and lung infections. When researchers in California analyzed the health records of 450 people who smoked marijuana (but not tobacco) daily, they found the  marijuana smokers  took more sick days off from work and had more doctor visits than did a similar group of subjects who did not smoke either tobacco or pot. Lung Cancer While coughing and colds are at the most annoying and inconvenient side effects of smoking marijuana, an increased risk of lung cancer is a life-threatening one. Marijuana smoke  contains some of the same cancer-causing compounds as tobaccoâ€"sometimes in higher concentrations. Given the way pot smokers hold in smoke after inhaling it, it’s easy to see why, puff for puff,  smoking marijuana  may increase  the risk of cancer more than  smoking tobacco  does. Studies show that someone who smokes five joints per day may be taking in as many cancer-causing chemicals as someone who smokes a full pack of cigarettes every day. The important word here is “may.” Its a challenge for researchers to figure out whether cannabis alone causes cancer because many people who smoke pot also smoke cigarettes and use other drugs.  Tobacco smoke and marijuana smoke  may work together to change the tissues lining the respiratory tract. Testicular Cancer Smoking marijuana may  be particularly dangerous for men in the long term. A number of studies suggest a link between an increased risk of testicular cancer, the most common cancer among males under 45. In one such study, published in 2012, men who smoked marijuana were two times as likely to develop testicular cancer as were those who didnt use pot. A 2015 study in  the peer-reviewed journal BMC Cancer  concluded that using cannabis once a week or for more than ten years was associated with an increased risk of testicular cancer (particularly  testicular germ cell tumors, or TGCTs).

Religious Doubt and Faith in Hopkins Later Poetry - Literature Essay Samples

The central role of religion in Hopkins’ life gives it a similar significance in his poetry. The later poems by Hopkins, collectively generalised as the ‘Terrible Sonnets’, emphasise how religious doubt and faith, affected largely by personal circumstance, formed the foundation of Hopkins’ late work. As the ‘Terrible Sonnets’ were mostly written at a time where Hopkins was in ill health, physically and mentally, from the stress of living in Dublin after 1884, his personal conflict with religion undoubtedly underpins these poems. Most of the later poems clearly present elements of doubt and despair as shown in ‘No worst, there is none’ and ‘Spelt from Sibyl’s Leaves’. However, some of these later poems can also be interpreted as containing hope, most notably in ‘That Nature is a Heracltiean Fire and the Comfort of Resurrection’ and even ‘Carrion Comfort’. The significance of religion is seen in the intense personal struggle that Hopkins endures as he questions his own faith. His lamentation in ‘My own heart let me have more pity on’ that â€Å"not live this tormented mind / With this tormented mind tormenting yet† encapsulates the distress of his situation in Dublin. The repetition of torment has many moving connotations of an endless and consuming frustration. The lines produce a sense of madness which has an almost schizophrenic quality. The use of â€Å"this† twice makes the article uncertain, which could also reflect the loss of certainty of identity endured by Hopkins as he questions his own faith. The contrast in the devices used by Hopkins between his earlier poems and the ‘Terrible Sonnets’ emphasises the significance of religion in his later poetry. In poems such as ‘God’s Granduer’ Hopkins expresses powerfully that â€Å"the world is charged with the grandeur of God†. The use of light and ‘electric’ image of â€Å"charged† is a typical feature of the earlier poems which reflect Hopkins’ perception of God as a saviour and as guide. By contrast the ‘Terrible Sonnets’ are characterised by darkness. The loss of light, which was previously embodied in religious faith and belief in God, implies that Hopkins endures religious doubt. ‘Spelt From Sybil’s Leaves’ has been seen as the transitory poem between Hopkins’ hope and â€Å"Despair† as he describes the coming of the night as â€Å"Her fond yellow hornlight wound to the west†. Hopkins sees darkness in this poem, and others, with a similar perspective. In ‘Spelt From Sybil’s Leaves’ he sees darkness as showing â€Å"For earth her being has been unbound, her dapple is at an end†. Hopkins interprets the coming of the night as an end to the ‘dapple’ and uniqueness that evokes such passion in his earlier p oems. ‘Spelt From Sybil’s Leaves’ has many ambiguities in the octet, in particular in his juxtaposition of â€Å"womb-of-all, home-of-all, hearse-of-all† to describe the night. â€Å"Womb† and â€Å"home† have immediately positive connotations of security and comfort and is powerfully contrasted by â€Å"hearse† which creates a morbid shift in tone. Although the lines could be interpreted as reflecting the peaceful night, the later line, â€Å"Our evening is over us; our night whelms, whelms and will end us† emphasises the view that Hopkins regards the darkness as a form of death. The association of darkness to ‘death’ can be interpreted as literal death and possibly reflecting Hopkins’ greater consciousness of his morbidity with his ill health and isolation. However, a biographical interpretation is difficult as the date of the poem is not precisely known. Darkness seems more appropriately related to the beg innings of religious doubt and used in similar style to Blake’s ‘A Little Boy Lost’ in which the boy is lost in darkness and searches for direction in God. Hopkins’ sense of being in darkness is characterised in ‘I wake and feel the fell of dark, not day†. The religious meaning is also visible in this poem as Hopkins laments that â€Å"God’s most deep decree / Bitter would have me taste†. Hopkins reflects â€Å"But where I say / Hours, I mean years, mean life† which suggests that his sense of Despair has consumed him to undo the foundations of his entire existence – therefore being a significant influence on his poetry. As Hopkins laments the loss of the earth’s â€Å"skeined stained, veined variety† the religious tone of the poem is emphasised as it leads to the poignant image of â€Å"all on two spools; part, pen pack†. The alliterative pairs of â€Å"skeined stained, veined variety† al so resonate with the image of division with two â€Å"spools†. The remainder of the poem has further religious imagery such as the separation of ‘good and evil’ emphasised by biblical connotations of â€Å"two flocks, two folds – black, white; right wrong†. Religion appears to be divisive for Hopkins, causing a personal conflict similar to torture as emphasised by the most poignant image of the poem – â€Å"of a rack, / where selfwrung, selfstrung, sheathe – and shelterless, thoughts against thoughts in groans grind.† As religious faith was so central to Hopkins, it seems most appropriate to interpret his sense of torture and darkness as a consequence of his conflict with the concept of God. Hopkins seems disturbed by an expectation of torture in death as emphasised by the image of â€Å"a rack.† This could reflect an element of religious doubt or fear of the eventual outcome of his existence. His coinage of the words â⠂¬Å"selfwrung, selfstrung† has immediate connotations of a personal conflict which, from the preceding religious imagery, is likely to reflect Hopkins’ struggles with religious faith in Dublin. The images resonate with the descriptions of Dante’s Inferno and the expression by Dante that the worst torture endured by humans is to act-out their sins for eternity; this is also implied by Hopkins’ image of â€Å"selfwrung, selfstrung†. Hopkins final words of â€Å"thoughts against thoughts in groans grind† can link to the same image but also emphasise his fears about his conflict with religion. Just as in ‘Carrion Comfort’ Hopkins seems horrified that â€Å"I wretch lay wrestling with (my God!) my God†, in ‘Spelt From Sybil’s Leaves’ as the darkness falls literally in the poem and metaphorically on Hopkins’ tone, he seems to be most concerned with religion. Hopkins emphasises the role of religion in h is later poems most clearly in ‘No worst there is none’. His demanding questions – â€Å"Comforter, where, where, is your comforting?† and â€Å"Mary, mother of us, where is your relief† – show the direct concern with religion. The repetition of â€Å"where† can be seen as forming the Sprung Rhythm. However, it seems to have more rhetorical importance as the line is sharp and powerful which is salient amid the general rhythm in showing the intensity of Hopkins’ emotions towards God (almost certainly represent by the metaphor of â€Å"comforter†). The anguish of the repetition only emphasises the sense of despair. Hopkins’ direct address to God is rarely seen in his earlier poetry, which may emphasise his personal turmoil at the time of writing. Just as he addresses the â€Å"comforter† and â€Å"Mary, mother of us† in ‘No worst there is none’, in ‘Carrion Comfort’ Hopkins is directly critical towards God: â€Å"O though terrible, why wouldst thou rude on me / Thy ring-world right foot rock?† The image of Hopkins being a â€Å"rock† and ‘kicked’ by God is emphasised by â€Å"my bruised bones† and â€Å"the hero whose heaven-handling flung me, foot trod.† Hopkins appears to lament his suffering despite him having â€Å"kissed the rod, / Hand rather† of God. God is likened to a â€Å"tempest† and the combination of different images used encapsulates the torment felt by Hopkins as his religious faith became shaken. His emotion, poetic expression and passion all appear to be driven by religious faith. There are, however, examples of Hopkins later poems which are not centred on God. ‘To seem the stranger lies my lot, my life’ emphasises the distress of Hopkins as he is â€Å"in Ireland now† and â€Å"at a third / Remove†. This poem is important in examining the causes of the des pairing tone presented by Hopkins consistently throughout his later poems. The isolation from his family while in Dublin and the extraordinary emotional pressure it placed on Hopkins is shown poignantly in this poem as he even feels distanced from â€Å"Father and mother dear, / Brothers and sisters† because they are â€Å"in Christ not near†. This line exemplifies religion as an important concern of Hopkins’ poetry as again shows how his choice of religion distanced him from his family. However, the religious aspect is not central to this particular poem as it seems more to embody Hopkins’ lament at his distance from his family and isolation. The distance that Hopkins seems to feel from himself and his expectations of his character appears to be equally important. The central notion of ‘To seem the stranger lies my lot, my life’ appears to be in the lines â€Å"Only what word / Wisest my heart breeds dark heaven’s baffling ban / Bars or hell’s spell thwarts.† In addition to religious doubt and faith, Hopkins also struggles with his own character as he finds his passion of writing beginning to fade. Even until his final poem, ‘To R.B.’, this concern consumes Hopkins – â€Å"I want the one rupture of an inspiration†. Therefore, in Hopkins’ later poetry, his religious doubt seems to emerge due to his intense struggles with being unable to write and feelings of isolation. The one exception of religious doubt being significant among the later poems is in ‘That Nature is a Heracltiean Fire and the Comfort of Resurrection,’ which also shows the strength of faith. The poem contains a rare image of light for the ‘Terrible Sonnets’ in the lines, â€Å"Across my foundering deck shone / A beacon, an eternal beam† which could represents the hope that Hopkins may have seen in the transience of existence and suffering in anticipation of an afterli fe with salvation. This transience is reflected by the image of â€Å"Heracltiean fire† in its association with the philosophy of Heraclites on the cyclical nature of existence. His regaining of hope in this poem as he suggests â€Å"I am all at once what Christ is† and â€Å"This Jack, joke, poor postherd, patch matchwood, immortal diamond / Is immortal diamond† reflects the strength of Hopkins’ religious sentiments to influence his poetry. The sprung rhythm of the penultimate rhyme with the euphony of the ‘dappled’ alliteration and contrasts of images between â€Å"matchwood† and â€Å"immortal diamond† reflect the power of faith to inspire Hopkins. The return of more coloured language and further light, implied by the diamond imagery, suggests Hopkins found momentary relief amidst his despair. The separation of the final â€Å"immortal diamond† on the last line reflects the confidence in his conclusion. The line is pre sented firmly and individually showing no expression of doubt and a finality that is embodied in being â€Å"immortal†. Hopkins is unable to break from his religious faith and even expresses this in ‘Carrion Comfort’, one of his most despairing poems, that he will â€Å"not choose not to be.† Since Hopkins returns to religion in the time of his greatest tribulation, despite the sometimes accusing tone, it is possible to suggest that religion is central to his life and poetry. The foundation of his religious faith seems to be the very cause of his greatest sorrow in suffering. It is only because of religious belief and faith that Hopkins is troubled by his suffering and questions the central foundation of his existence. Before the ‘Terrible Sonnets’, Hopkins was consistently positive and passionate towards nature and God’s creation. The exhortations of instress and inscape seen in poems such as ‘The Windhover’ and ‘Pie d Beauty’ is absent from the later poems. Although it can be dubious to examine what is not there, with such a central feature of almost every poem written by Hopkins, the absence of this highest passion shows the great religious turmoil that he endured. The fear, uncertainty and devastation of having doubts about such fundamental faith are the underpinnings of the emotions in Hopkins’ later poetry.

Forming Plural Nouns in Italian

As you know, all nouns or sostantivi in Italian have an implicit gender—masculine or feminine, depending on their Latin root or other derivation—and that gender, together with their number—whether they are singular or plural—colors nearly everything else in the language, except, perhaps, for some verb tenses. Of course, it is essential that you learn which nouns are feminine or masculine—or how to recognize them—and how to correctly make a singular noun into a plural. How Does One Know? Mostly—and you will see that there are some exceptions—nouns ending in -o are masculine and nouns ending in -a are feminine (and then there is the vast world of sostantivi in -e, which we discuss below). You know about -a and -o from proper names, if nothing else: Mario is a guy; Maria is a girl (though there are some exceptions there, too). Vino, gatto, parco, and albero are masculine nouns (wine, cat, park, and tree); macchina, forchetta, acqua, and pianta are feminine (car, fork, water, and plant). Interestingly, in Italian most fruits are feminine—la mela (the apple), la pesca (the peach), loliva (the olive)—but fruit trees are masculine: il melo (the apple tree), il pesco (the peach tree), and lulivo (the olive tree). This is not something you or anyone else decides or chooses: It just is. Singular feminine nouns are accompanied by the definite article la, and singular masculine nouns by the definite article il or lo (those that get lo are those that begin with a vowel, with s plus a consonant, and with gn, z, and ps), and when you pluralize the noun, you must also pluralize the article: la becomes le, il becomes i, and lo becomes gli. The article, together with a series of other parts of speech in a sentence such as adjectives and pronouns, tell you if a noun is masculine or feminine. Alternatively, you need to look it up. Pluralizing Masculine Nouns Ending in -O Regularly, masculine nouns ending in -o become, in the plural, masculine nouns ending in -i. Singolare Plurale l(o)'amico gli amici the friend/friends il vino i vini the wine/wines il gatto i gatti the cat/cats il parco i parchi the park/parks l(o)'albero gli alberi the tree/trees il tavolo i tavoli the table/tables il libro i libri the book/books il ragazzo i ragazzi the boy/boys -Co to -Chi and -Go to -Ghi Note that amico becomes amici, but that is actually an exception (together with medico/medici, or doctor/doctors). In fact, most nouns that end in -co take -chi in the plural; most nouns that end in -go take -ghi in the plural. The insertion of the h keeps the hard sound in the plural. Singolare Plurale il parco i parchi the park/parks il fuoco i fuochi the fire/fires il banco i banchi the desk/desks il gioco i giochi the game/games il lago i laghi the lake/lakes il drago i draghi the dragon/dragons Pluralizing Feminine Nouns Ending in -A Regular feminine nouns that end in -a generally take an  -e ending in the plural. With them, the article la changes to le. Singolare Plurale l(a)'amica le amiche the friend/friends la macchina le macchine the car/cars la forchetta le forchette the fork/forks l(a)'acqua le acque the water/waters la pianta le piante the plant/plants la sorella le sorelle the sister/sisters la casa le case the house/houses la penna le penne the pen/pens la pizza le pizze the pizza/pizzas la ragazza le ragazze the girl/girls -Ca to -Che and -Ga to -Ghe Feminine nouns in -ca and -ga pluralize for the most part to -che and -ghe: Singolare Plurale la cuoca le cuoche the cook/cooks la banca le banche the bank/banks la musica le musiche the music/musics la barca le barche the boat/boats la droga le droghe the drug/drugs la diga le dighe the dam/dams la collega le colleghe the colleague/colleagues -Cia to -Cie/-Gia to -Gie and -Cia to -Ce/-Gia to -Ge Beware: Among female nouns there are some that end in -cia and -gia that pluralize in -cie and -gie— la farmacia/le farmacie (the farmacy/farmacies)la camicia/le camicie (the shirt/shirts)la magia/le magie (the magic/magics) —but some lose the i in the plural (this happens generally if the i is not needed to maintain the words accenting): la lancia/le lance (the spear/spears)la doccia/le docce (the shower/showers)larancia/le arance (the orange/oranges)la spiaggia/le spiagge (the beach/beaches) Again, there is nothing wrong with looking up a plural while you are committing your new vocabulary to memory. Pluralizing Nouns Ending in -E And then there is a very large group of Italian nouns that end in -e that encompasses both masculine and feminine nouns, and that, regardless of gender, pluralize by taking the ending -i. To know whether a word that ends in -e is feminine or masculine you can look at the article, if you have one available, or other clues in the sentence. If you are just learning a new noun in -e, you should look it up to find out. Some are counterintuitive: fiore (flower) is masculine! Maschilesing/plur Femminilesing/plur il mare/i mari the sea/seas l(a)'arte/le arti the art/arts l(o)'animale/gli animali the animal/animals la neve/le nevi the snow/snows lo stivale/gli stivali the boot/boots la stazione/le stazioni the station/stations il padre/i padri the father/fathers la madre/le madri the mother/mothers il fiore/i fiori the flower/flowers la notte/le notti the night/nights il bicchiere/i bicchieri the glass/glasses la stagione/le stagioni the season/seasons il colore/i colori the color/colors la prigione/le prigioni the prison/prisons Within this group it is helpful to know, for example, that all words ending in -zione are feminine: la nazione/le nazioni (the nation/nations)l(a)attenzione/le attenzioni (the attention/attentions)la posizione/le posizioni (the position/positions)la dominazione/le dominazioni (the domination/dominations) Male/Female Variations Within -O/-A Endings Note the ragazzo/ragazza nouns in the tables above: There are many such nouns that have a feminine version and a male version with a mere change of the o/a ending (and, of course, the article): Maschilesing/plur Femminilesing/plur l(o)'amico/gli amici l(a)'amica/le amiche the friend/friends il bambino/i bambini la bambina/le bambine the child/children lo zio/gli zii la zia/le zie the uncle/uncles/aunt/aunts il cugino/i cugini la cugina/le cugine the cousin/cousins il nonno/i nonni la nonna/le nonne the grandfather/grandfathers/grandmother/grandmothers il sindaco/i sindaci la sindaca/le sindache the mayor/mayors There are also nouns that are identical in the singular for male and female (only the article tells you the gender)—but in the plural change ending to suit the gender: Singolare (masc/fem) Plurale(masc/fem) il barista/la barista the bartender i baristi/le bariste the bartenders l(o)'artista/la artista the artist gli artisti/le artiste the artists il turista/la turista the tourist i turisti/le turiste the tourists il cantante/la cantante the singer i cantanti/le cantanti the singers l(o)'abitante/la abitante the inhabitant gli abitanti/le abitanti the inhabitants l(o)'amante/la amante the lover gli amanti/le amanti the lovers Male/Female Counterparts in -E There are also male nouns in -e that have similar female counterparts: lo scultore/la scultrice (the sculptor masc/fem)l(o)attore/la attrice (the actor masc/fem)il pittore/la pittrice (the painter masc/fem) When they pluralize, they and their articles follow normal patterns for their genders: gli scultori/le scultrici (the sculptors masc/fem)gli attori/le attrici (the actors masc/fem)i pittori/le pittrici (the painters masc/fem) Strange Behaviors Many, many Italian nouns have eccentric ways of pluralizing: Masculine Nouns Ending in -A There are a number of masculine nouns that end in -a and pluralize in -i: il poeta/i poeti (the poet/poets)il poema/i poemi (the poem/poems)il problema/i problemi (the problem/problems)il papa/i papi (the pope/popes) Masculine Nouns in -O That Pluralize in the Feminine These pluralize in what appears to be a singular feminine with a plural article: Il dito/le dita (the finger/fingers)Il labbro/le labbra (the lip/lips)Il ginocchio/le ginocchia (the knee/knees)Il lenzuolo/le lenzuola (the sheet/sheets) Il muro (the wall) has two plurals: le mura to mean the walls of a city, but i muri to mean the walls of a house. The same for il braccio (the arm): le braccia to mean the arms of a person, but i bracci for the arms of a chair. Feminine Nouns in -O A tiny but important category of exceptions, both in the singular and the plural: la mano/le mani (the hand/hands)la eco (leco)/gli echi (the echo/echoes) Masculine Nouns Ending in -Io In the plural, these just drop the final -o: il bacio/i baci (the kiss/kisses)il pomeriggio/i pomeriggi (the afternoon/afternoons)lo stadio/gli stadi (the stadium/stadiums)il viaggio/i viaggi (the trip/trips)il negozio/i negozi (the store/stores) Words of Foreign Origin Words of foreign origin stay unchanged in the plural (no s); only the article changes. il film/i film (the film/films)il computer/i computer (the computer/computers)il bar/i bar (the bar/bars) Accented Words Words that end in accento grave stay unchanged in the plural; only the article changes. il caffà ¨/i caffà ¨ (the coffee/coffees)la libertà  /le libertà   (the freedom/freedoms)l(a)università  /le università   (the university/universities)il tiramisà ¹/i tiramisà ¹ (the tiramisà ¹/tiramisà ¹)la città  /le città   (the city/cities)il lunedà ¬/i lunedà ¬ (that goes for all accented days of the week)la virtà ¹/le virtà ¹ (the virtue/virtues)il papà  /i papà   (the dad/the dads) (this is also a male noun ending in -a) Invariable Unaccented Some other words (including monosyllabic words) remain unaltered in the plural; again, only the article changes. il re/i re (the king/kings)il caffelatte/i caffelatte (the latte/lattes)leuro/gli euro (the euro/euros) Nouns of Greek Origin These change only in the article (interestingly they change in English in the plural): la nevrosi/le nevrosi (the neurosis/neuroses)la analisi/le analisi (the analysis/analyses)la crisi/le crisi (the crisis/crises)la ipotesi/le ipotesi (the hypothesis/hypotheses) Miscellaneous Exceptions il bue/i buoi (the ox/oxen)il dio/gli dei (the god/gods)lo zio/gli zii (the uncle/uncles) And best of all: luovo/le uova (the egg/eggs)lorecchio/le orecchie (the ear/ears)luomo/gli uomini (the man/men) Buono studio!

Coca (Cocaine) History, Domestication, and Use

Coca, the source of natural cocaine, is one of a handful of shrubs in the Erythroxylum family of plants. Erythroxylum includes over 100 different species of trees, shrubs and sub-shrubs native to South America and elsewhere. Two of the South American species, E. coca and E. novogranatense, have potent alkaloids occurring in their leaves, and those leaves have been used for their medicinal and hallucinogenic properties for thousands of years. E. coca originates from the montaà ±a zone of the eastern Andes, between 500 and 2,000 meters (1,640-6,500 feet)  above sea level. The earliest archaeological evidence of coca use is in coastal Ecuador, ca 5,000 years ago. E. novagranatense is known as Colombian coca and it is more able to adapt to different climates and elevations; it first up in northern Peru beginning about 4,000 years ago. Coca Use The ancient method of Andean cocaine use involves folding coca leaves into a quid and placing it between the teeth and the inside of the cheek. An alkaline substance, such as powdered wood ash or baked and powdered seashells is then transferred into the quid using a silver awl or pointed tube of limestone. This method of consumption was first described to Europeans by the Italian explorer Amerigo Vespucci, who met coca users when he visited the coast of northeastern Brazil, in AD 1499. Archaeological evidence shows the procedure is much older than that. Coca use was part of ancient Andean daily life, an important symbol of cultural identity in ceremonies, and used medicinally as well. Chewing coca is said to be good for relief of fatigue and hunger, beneficial for gastrointestinal illnesses, and said to ease the pain of dental caries, arthritis, headaches, sores, fractures, nosebleed, asthma, and impotence. Chewing coca leaves also is believed to ease the effects of living in high altitudes.   Chewing more than 20-60 grams (.7-2 ounces) of coca leaves results in a cocaine dose of 200-300 milligrams, equivalent to one line of powdered cocaine. Coca Domestication History The earliest evidence of coca use discovered to date comes from a handful of preceramic sites in the Nancho Valley. Coca leaves have been direct-dated by AMS to 7920 and 7950 cal BP. Artifacts associated with coca processing were also found in contexts dated as early as 9000-8300 cal BP. What is the AMS dating method?What does cal BP mean? Evidence for coca use has also been from in caves in the Ayacucho valley of Peru, within levels dated between 5250-2800 cal BC. Evidence for coca use has been identified from most cultures in South America, including Nazca, Moche, Tiwanaku, Chiribaya and Inca cultures. According to ethnohistoric records, horticulture and use of coca became a state monopoly in the Inca empire about AD 1430. The Inca elites restricted use to the nobility beginning in the 1200s, but coca continued to widen in use until all but lowest classes had access at the time of the Spanish conquest. Archaeological Evidence of Coca Use Nanchoc valley sites (Peru), 8000-7800 cal BPAyacucho valley caves (Peru), 5250-2800 cal BCValdivia culture (3000 BC) of coastal Ecuador (may represent long-distance trade or domestication)Peruvian coast (2500-1800 BC)Nazca figurines (300 BC-AD 300)Moche (AD 100-800) pots illustrate a bulging cheek, and coca leaves in gourds have been recovered from Moche tombsTiwanaku by AD 400Arica, Chile by AD 400The Cabuza culture (ca AD 550) mummies buried with coca quids in their mouths In addition to the presence of coca quids and kits, and the artistic depictions of coca use, archaeologists have used the presence of excessive alkali deposits on human teeth and alveolar abscesses as evidence. However, it isnt clear whether abscesses are caused by coca use, or treated by coca use, and results have been ambiguous about using excessive calculus on teeth. Beginning in the 1990s, gas chromatography was used to identify cocaine use in mummified human remains, particularly the Chirabaya culture, recovered from the Atacama Desert of Peru. The identification of BZE, a metabolic product of coca (benzoylecgonine), in hair shafts, is considered ample evidence of coca use, even for modern-day users. Coca Archaeological Sites San Lorenzo del Mate (Ecuador), 500 BC-AD 500, adult male interment with excessive calculus deposits on his teeth, an associated decorated shell spatula and a small bowl-like deposit of an alkali substance (probably once in a gourd)Las Balsas (Ecuador) (300 BC-AD 100). Cal receptaclePLM-7, Arica site in coastal Chile, 300 BC, coca kitPLM-4, Tiwanakoid sites in Chile with a bag full of coca leavesLlullallaco, Argentina, Inca period child sacrifices exhibited coca consumption prior to death Sources: Bussmann R, Sharon D, Vandebroek I, Jones A, and Revene Z. 2007. Health for Sale: The Medicinal Plant Markets in Trujillo and Chiclayo, Northern Peru. Journal of Ethnobiology and Ethnomedicine 3(1):37.Cartmell LW, Aufderheide AC, Springfield A, Weems C, and Arriaza B. 1991. The Frequency and Antiquity of Prehistoric Coca-Leaf-Chewing Practices in Northern Chile: Radioimmunoassay of a Cocaine Metabolite in Human-Mummy Hair. Latin American Antiquity 2(3):260-268.Dillehay TD, Rossen J, Ugent D, Karathanasis A, Và ¡squez V, and Netherly PJ. 2010. Early Holocene coca chewing in northern Peru. Antiquity 84(326):939-953.Gade DW. 1979. Inca and colonial settlement, coca cultivation and endemic disease in the tropical forest. Journal of Historical Geography 5(3):263-279.Ogalde JP, Arriaza BT, and Soto EC. 2009. Identification of Psychoactive Alkaloids in Ancient Andean Human Hair by Gas Chromatography/Mass Spectrometry. Journal of Archaeological Science 36(2):467-472.Plowman T. 1981 Amazonia n coca. Journal of Ethnopharmacology 3(2-3):195-225.Springfield AC, Cartmell LW, Aufderheide AC, Buikstra J, and Ho J. 1993. Cocaine and Metabolites in the Hair of Ancient Peruvian Coca Leaf Chewers. Forensic Science International 63(1-3):269-275.Ubelaker DH, and Stothert KE. 2006. Elemental Analysis of Alkalis and Dental Deposits Associated with Coca Chewing in Ecuador. Latin American Antiquity 17(1):77-89.Wilson AS, Brown EL, Villa C, Lynnerup N, Healey A, Ceruti MC, Reinhard J, Previgliano CH, Araoz FA, Gonzalez Diez J et al.  2013. Archaeological, radiological, and biological evidence offer insight into Inca child sacrifice. Proceedings of the National Academy of Sciences 110(33):13322-13327.

Centrosaurus - Facts and Figures

Name: Centrosaurus (Greek for pointed lizard); pronounced SEN-tro-SORE-us Habitat: Woodlands of western North America Historical Period: Late Cretaceous (75 million years ago) Size and Weight: About 20 feet long and three tons Diet: Plants Distinguishing Characteristics: Single, long horn on end of snout; moderate size; large frill over head About Centrosaurus It was probably too dumb to notice the difference, but Centrosaurus was definitely lacking when it came to defensive armament: this ceratopsian possessed only a single long horn on the end of its snout, compared to three for Triceratops (one on its snout and two over its eyes) and five (more or less, depending on how youre counting) for Pentaceratops. Like others of its breed, Centrosaurus horn and large frill probably served dual purposes: the frill as a sexual display and (possibly) a way to dissipate heat, and the horn to head-butt other Centrosaurus adults during mating season and intimidate hungry raptors and tyrannosaurs. Centrosaurus is known by literally thousands of fossil remains, making it one of the worlds best-attested ceratopsians. The first, isolated remains were discovered by Lawrence Lambe in Canadas Alberta province; later, nearby, researchers discovered two vast Centrosaurus bonebeds, containing thousands of individuals of all growth stages (newborns, juveniles, and adults) and extending for hundreds of feet. The most likely explanation is that these herds of migrating Centrosaurus were drowned by flash floods, not an unusual fate for dinosaurs during the late Cretaceous period, or that they simply perished of thirst while gathered around a dry water hole. (Some of these Centrosaurus bonebeds are interlaced with Styracosaurus fossils, a possible hint that this even more ornately decorated ceratopsian was in the process of displacing Centrosaurus 75 million years ago.) Recently, paleontologists announced a pair of new North American ceratopsians that seem to have been closely related to Centrosaurus, Diabloceratops and Medusaceratops--both of which sported their own unique horn/frill combinations reminiscent of their more famous cousin (hence their classification as centrosaurine rather than chasmosaurine ceratopsians, albeit ones with very Triceratops-like characteristics as well). Given the profusion of ceratopsians discovered in North America over the last few years, it may be the case that the evolutionary relationships of Centrosaurus and its nearly indistinguishable cousins have yet to be fully sorted out.

Comparing Emotions Love And Hate - 881 Words

Comparing Emotions: Love and Hate Emotions come with every thought and action that is had throughout the day. Whether it is an emotion towards an academic class, the nerves of meeting someone new, or even what is felt about the day as a whole; there is always an emotion that is being felt. The two most extreme emotions are hate and love. Most sub-emotions come from these two powerful feelings. Anger, happiness, sorrow, and anxiety can all be results of both love and hate. To most, these emotions seem like contradictory ideas. They have obvious differences to make them appear as opposites but, when broken down, they have a lot more in common than accounted for. Hate and love both contain powerful definitions, passionate emotions, artistic expression, cause and effect of one another, and complexity. According to Dictionary.com, the definition of love is â€Å"a profoundly tender, passionate affection for another person; a feeling of warm personal attachment or deep affection.† W hen first read, this term can bring ideas of joy and fulfillment. There tend to be a lot more positive associations with love because of what has been told through movies, society, and personal experience. It is not always realized that many negativities, such as sadness and anger, can be associated with love as well. Hate, on the other hand, is defined by Dictionary.com as â€Å"to dislike intensely or passionately; to feel extreme aversion for.† However, when the word hate is mentioned, it does not have theShow MoreRelatedAnalysis Of Jodi Picoult s The Storyteller1183 Words   |  5 Pages â€Å"Love can be simply stated to be the desire of the human being to integrate oneself with other selves in such a way that one starts feeling the pain and pleasure of another person as if of one’s own. Hatred can be defined as just the opposite – to derive pleasure in the pain of others, while feeling unhappy seeing others happy†(Singh 1) Emotions, by their very nature, warp perceptions and cloud judgement. Ever seen Star Trek? If you have, then you would have noticed Spock’s whole, unwavering useRead MoreAmerica s Paradoxical Love Hate Relationship With War1374 Words   |  6 PagesThis paper reviews America’s paradoxical love-hate relationship with war and how this relationship influences American warfare through the research and study of the interpretation and analyzation of American military models, policy and goal changes, the use of military technology, â€Å"American way of war,† and the relationship with, preparation for, and appl ication of war. In the two hundred years since 1775, there has been thirty-five years of fighting in what we consider major conflictsRead MoreThe Tell Tale Heart By Edgar Allan Poe918 Words   |  4 Pagesman. He had never wronged me.† Inferring it was a woman, the reader can develop an idea that the old man and narrator once â€Å"loved† each other. The acknowledged hate for the old man’s eye could have been developed from this love. Love and hate are prevailing themes in this short story and Poe uses them to reveal how destructive, the two emotions together, can be. It is not clearly stated what the relationship between the narrator and old man are, but it can be inferred that there was no real threatRead More The Use Of Animal Imagery In Othello Essay1040 Words   |  5 Pages In William Shakespeare’s play â€Å"Othello† the use of animal imagery was evident throughout the telling of the story. Shakespeare explained several characters actions by comparing them to similarities in animals. The characters in â€Å"Othello† were often depicted as having animal-like characteristics. Some characters were even compared to animals by other characters in the play. By defining characters in terms of these characteristics one can get a clear description of what the character isRead MoreThemes Of Love And Hate1443 Words   |  6 PagesLove and hate are both an occurring theme in both Romeo and Juliet by Shakespeare and Frankenstein by Mary Shelly. In this essay I will be comparing the similarities and differences of the way that the two texts portray the feeling of love and hate. The essay will be divided into different topics that I will be comparing, these following topics will be: death, passion, betrayal and one more. Romeo and Juliet was a play that was written by the famous English poet, playwright William Shakespeare whoseRead MoreEdgar Allen Poe s The Cask Of Amontillado1528 Words   |  7 Pagesgreatly towards the gothic themes of his work, conflicts of love and hate as well as self and the alter ego, have influenced his writing on death and delusional characters. Though there are many notable writers and poets who contributed to the field of English literature in the 19th century, Edgar was among those who remained on the sideli nes despite their extraordinary talent. In all of Poe s works, the themes of emotional pain, love and hate, despair and delusion are common (Halliburton). It is theRead MoreHOW SHAKESPEARE PRESENTS ROMEO‚Äà ´S FEELINGS IN ACT 1 SCENE 1 AND ACT 2 SCENE 2893 Words   |  4 PagesHOW SHAKESPEARE PRESENTS ROMEO’S FEELINGS IN ACT 1 SCENE 1 AND ACT 2 SCENE 2 Love is an important theme in most of Shakespeare’s play, including in Romeo and Juliet because love is a stronger force than all the animosity and forces of fate in Romeo and Juliet. In Romeo and Juliet, Shakespeare’s play, Shakespeare explores Romeo’s change in attitude to love between Rosaline and Juliet. In Act 1 Scene 1 Shakespeare introduces us to Romeo’s passionate desire towards Rosaline through the use of oxymoronRead MoreThe Tragedy Of Romeo And Juliet By William Shakespeare963 Words   |  4 PagesSteinbeck once said, â€Å"What good is the warmth of summer, without the cold of winter to give it sweetness.† Without the use of opposites, The Tragedy of Romeo and Juliet would just be another love story. By incorporating many different dualities into his writing, Shakespeare differentiates his readers the true emotions and identity of every single one of his characters. As Steinbeck compares Summer and Winter, he describes them in a way tha t show they depend on each other. Shakespeare creates The TragedyRead More Comparing the Themes of Wuthering Heights and Of Mice and Men1098 Words   |  5 Pages Comparing the Themes of Wuthering Heights and Of Mice and Men nbsp; nbsp; Wuthering Heights and Of Mice and Men are two novels that were written approximate hundred years apart by different authors living in different time periods. Wuthering Heights, was written by Emily Bronte who lived in England. Of Mice and Men was written by John Steinbeck who lived in California. Although they were written by different authors of different background, time, and place. One could neverthelessRead MoreLiterary Explication: Sylvia Plaths Daddy1201 Words   |  5 PagesConflicting Emotions of Sylvia Plath The speaker in the poem â€Å"Daddy† is someone who both fiercely hates her father but also passionately loves him. When she was younger, she compared her father to a god-like entity—always looking up to him and constantly seeking his approval. Her fierce hate towards her father stems from the deep rooted fear of him. The speaker is torn between these two polar emotions that have been constantly tormenting her and blames them on her unresolved emotions toward her