Poverty in Canada.

Poverty in Canada. Poverty is a reality in Canada today. Despite having one of the higheststandards of living among all the developed nations, and despite being voted numerous times in recent years by the United Nations as the best country in the world in which to live, experts agree that poverty is prevalent in Canada today. Unfortunately, that is more or less where the agreement ends. Exactly how prevalent and how serious a problem poverty is in Canada is an open question that has been hotly debated for the last 10 years.There have been two times in the past 300 years when economic structural changes have occurred in the world that have been so massive and so far-reaching, that the impact on societies has been nothing short of monumental.The first time was in the Industrial Revolution which began in the early 1700s and caused massive societal transformations, especially in the western world, changing life from agrarian-based societies to industrial-based societies.POVERTYThe second time was in the ea rly 1980s with the beginning of the "Information Revolution." Today, a rapid, world-wide, economic transformation is taking place that is changing our societies from industrial-based societies to information-based societies, the 3rd wave.These changes are part of a greater phenomenon called "globalization" . The improvement in technology lead to a desire to make trades with other countries, and therefore allowing foreign companies to sell in Canada and thereby compete with Canadian companies, and vice versa ("Laisser faire, laisser passer" - Adam Smith).This increased competition lead to ever greater pressures on Canadian companies to reduce their costs of producing goods. Companies closed down and went looking in third world countries because labour is cheaper. At the same time, technology was replacing human labour; employees lost their jobs, being replaced by machines that could do the...

A Brief History of Prosthetics

A Brief History of Prosthetics The history of prosthetics and amputation surgery begins at the very dawning of human medicine. In the three great western civilizations of Egypt, Greece and Rome, the first true rehabilitation aids recognized as prostheses were made. Early use of prosthetics goes back to at least the fifth Egyptian Dynasty that reigned between 2750 to 2625 B.C. The oldest known splint was unearthed by archaeologists from that period. But the earliest known written reference to an artificial limb was made around 500 B.C. During the time, Herodotus wrote of a prisoner who escaped from his chains by cutting off his foot, which he later replaced with a wooden substitute. An artificial limb dating from 300 B.C., was a copper and wood leg that was unearthed at Capri, Italy in 1858. In 1529, French surgeon  Ambroise Pare  (1510-1590) introduced amputation as a lifesaving measure in medicine. Soon after, Pare started developing prosthetic limbs in a scientific manner. And in 1863, Dubois L Parmelee of New York City made a significant improvement to the attachment of artificial limbs by fastening a body socket to the limb with atmospheric pressure. While he was not the first person to do so, he was the first to make it practical enough to be used in medical practices. In 1898, a doctor named Vanghetti came up with an artificial limb that could move through muscle contraction. It wasn’t until the middle of the 20th century that major advancements were made in the attachment of lower limbs. In 1945, the National Academy of Sciences established the Artificial Limb Program as a way to improve the quality of life of World War II veterans who suffered the lost of limbs in combat. A year later, researchers at the University of California at Berkeley developed a suction sock for the above-knee prosthesis. Fast forward to 1975 and  the year an inventor named Ysidro M. Martinez took things a major step further by creating a below-the-knee prosthesis that avoided some of the problems associated with conventional artificial limbs. Instead of replicating the natural limb with articulated joints in the ankle or foot which tended to lead to poor gait, Martinez, an amputee himself, took a theoretical approach in his design. His prosthesis relies on a high center of mass and is light in weight to facilitate acceleration and deceleration and reduce friction. The foot is also considerably shorter to control acceleration forces, further reducing the friction and pressure. New advances to keep an eye involve the growing use of 3-D printing, which has allowed for the fast, precise manufacturing of artificial limbs that traditionally have been custom-built by hand. The U.S. government’s National Institutes of Health has recently established the 3D Print Exchange program as a way to provide researchers and students with the necessary modeling and software tools to fabricate prosthetics using 3D printing machines.   But beyond prosthetic limbs, here’s another fun fact: Pare could also have laid claim to be the father of facial prosthetics, making artificial eyes from enameled gold, silver, porcelain and glass. Thats your fun fact of the day

The Success Of BMW Company Assignment Example | Topics and Well Written Essays - 2000 words

The Success Of BMW Company - Assignment Example It explains the reason why the company has chosen focussed differentiation as the most suitable alternative. The strategy to produce luxury cars of the best quality using the latest technology provides reasons why it has evolved as the most luxurious brands used by the high-income groups in society. Then, the project assesses the key resources and capabilities which have been used by the company in the last five years. Lastly, the company’s present strategies have been evaluated in comparison to its future competition in terms of suitability, feasibility, and acceptability. The critical success factors identify the key issues that organizations should focus on to attain success. It refers to the specific areas where satisfactory results would yield competitive success for the individual, department or department. The critical factors which account for the success of BMW include industry, competitive strategies, environmental factors, managerial position and temporal factors. The most important factor that has been the key to the company’s progress towards success is its brand image. Its brand strength is so high that it allows product changes to take place smoothly and without any hurdles. It can easily introduce new products in the market without losing its share of the market. The company would also continue to attain success as long as the new products introduced under the original brand continues to meet customer requirements in terms of image, quality, and value (Ward, Srikanthan & Neil, 1990, p.10). The automobile industry has been undergoing a process of transition since the last few years. The number of suppliers is supposed to come down from 5500 to 2800 by 2015. Among the independent manufacturer's mention may be made of Fiat, Ford, Honda, and Porsche. The BMW has to compete with the above companies to be in the limelight.

Cities and Social Difference Term Paper Example | Topics and Well Written Essays - 2250 words

Cities and Social Difference - Term Paper Example The concept of culture landscape today suffers a series of more enrichment and transformations, thus we find the acquired character of culture and the process of production as well as attribution which culture is an instrument in the entire study and analysis of the complexity of the social contemporary societies (Gower, 1990, p. 45). Therefore, in this paper, I will engage with the large body of mainstream sociological research which views landscape as being divided, segregated and patterned by inequalities in a measurable way and objectively defined way such as quantitative rate of urban residential segregation as well as inevitable boundaries that separate poor neighborhoods from gentrifying area. The next section of the paper is to analyze the landscape, economics, and politics identities. I also turn to look at the city street as a site for the micro-social interaction patterned with structural relationships of social difference and inequalities, Then finally I present a more su bjectivist perspective, which highlight the role of space in the social production of inequalities, at this point, the neighborhood is shown to act as both a cultural and a special form. The habitues of many residents in impoverished neighborhoods is seen as both a mechanism and a product for reproduction of isolation and poverty from mainstream society. Analytical review of city landscape: Throughout time, social culture differences that have been stimulated by a series of major events are identified as being essential in the process of evolution and shaping of spaces that exists today. In this context of two major forces of globalization and new economy, Los Angeles city has found a new way to survive and collaborate through creativity and technology. This particular revolution is referred to as social cultural moment, whereby, the past paradigms of social developments are replaced with new culture development, diversity and fragmentation. To find out the acquired character as wel l as present culture, we carried out a field work analysis of the complexity culture and material concept of landscape in LA. Therefore, this paper shall discus the social differences expressed in the landscapes of contemporary Los Angeles. One of America’s iconic landscape, Los Angeles strip stretches from the south of Hollywood Hills, down town LA, all the way to the Pacific Ocean 18 miles in length. It cuts across different landscapes, residential areas, and commercial and entertainment amenities; making it the diverse city that it is today. Without a doubt, a ride from Bell Air to downtown LA reveals the diverse physical landscape that clearly separates the various social segments from one part of the town to another. As the bus approached towards Beverly Hills, I could see the change in street signs and signal structures. From Blue shabby signs to white crisp indicators, I was beginning to feel the contrast from campus already. The aligned green trees welcomed us as we t raversed into the residential areas. The huge houses, mansion to be exact, evidently said something about the people that resided within. With manicured lawns and polished driveways, these starters offered an exotic menu for the eyes. The aesthetic value attributable by these trees not only acts as beautiful scenery, but also as a natural heritage as well as for environmental nourishment as they make the climate to be cool and conducive for the residents as well as

Tre Graffiti Paradigm: The Art of the Piece Essay -- Visual Art Artis

Tre Graffity Paradigm: The Art of the Piece It’s 11:00 p.m. on a Tuesday when three young men, barely high school age, slip through a chain-link fence and into a New York City trainyard. Each carries a duffel bag, from which can be heard the rattling and clanking of spray cans. Six hours later, they re-emerge, their hands stained with paint and their bags almost empty. What have they done? Inside the yard now stands a freshly painted mural, sixty feet wide and twelve feet high. The work is the result of weeks of designing and planning, and with luck it might last as long on the train as it already has on paper. What the boys have done, what has taken place inside that trainyard, is a work of art. [Let us begin with a basic assumption. One may object to graffiti on social or moral grounds, but only in the most conservatist terms can it not be considered â€Å"art.† Any idea of art which does not go out of its way to disinclude vandalism will, in fact, contain graffiti. We will, then, put aside social and moral considerations for the duration, and consider graffiti as art.] What does the work consist of? Who authored it, and how? What is it based on, and how does it relate? What is it, and what will become of it? The answers to these questions, collectively, form an important response to a bigger question: What is art? What does it mean to describe a piece as â€Å"a work of art†? AUTHORSHIP The young men have, in the course of this night, authored a â€Å"piece,† a work of graffiti. In the traditional sense, authorship is defined as the creation of the work. In such a sense, one of these young men is the author of the piece. One of the artists claims the piece as his own, and gives credit to the other two for â€Å"assis... ...ach style is in the distance between the previous styles and the style of the existing piece. Here, then, is the nature of art which graffiti exposes. Art is an activity, not an object; it is something which happens when foundations are developed upon and, most importantly, when new reference points are created. Each new reference point is a work of art; each new reference point is art. Works Used/Further References The quotes at the beginning are from New York City graffiti artists Bando and Seco, and came from Subway Art, by Henry Chalfant and Martha Cooper. This book and another, Spraycan Art (by Chalfant and James Prigoff), have been invaluable resources. Another invaluable resource is the ArtCrimes web site, at http://graffiti.org/. The definitions above are taken from that site’s glossary, and I found my way to all the pictures from that site as well.

Themes of Chopin’s Writings

David Spencer Smith Mrs. Spears English 11 AP February 19, 2010 â€Å"The Storm† Title: The Storm Author:Kate Chopin Background: Chopin moved to Louisiana with her husband in 1870 and was immersed into the Creole culture. When her husband died suddenly in 1882, Chopin was left to raise six children. This gave her a huge sense of individualism from a woman’s prospective. The themes of many of her writings, including The Storm, involve topics to controversial for the time, and were never published. Conclusions:By the title â€Å"The Storm†, I would assume that the story was written about about a strong thunderstorm that had a lasting effect on a family. However, after reading the background information, I had an more accurate hypothesis. Subject: Adultery Introduction:C- Kate Chopin begins the story with a strong description of the setting and two characters. P- The leaves were so still that even Bibi thought it was going to rain. Bibinot, who was accustomed to converse on terms of perfect equality with his little son, called the child’s attention to certain sombre clouds that were rolling with sinister intention from the west, accompanied by a sullen threatening roar. They were at Friedheimer’s store and decided to remain there till the storm had passed. They sat within the door on two empty kegs. Bibi was four years old and looked very wise. W- Chopin wanted readers to notice the severity and the importance of the coming storm, and possibly note its symbolism. W- Chopin wanted the readers to be able to relate to Bibinot and Bibi, as a father-son relationship. Syntax and Effect: C- Kate Chopin uses long, complex sentences with clear descriptions of the setting and the characters actions. P- His voice and her own startled her as if from a trance, and she seized Bobinot's vest. Alcee, mounting to the porch, grabbed the trousers and snatched Bibi's braided jacket that was about to be carried away by a sudden gust of wind. He expressed an intention to remain outside, but it was soon apparent that he might as well have been out in the open: the water beat in upon the boards in driving sheets, and he went inside, closing the door after him. It was even necessary to put something beneath the door to keep the water out. W- Chopin wanted to create imagery so that the readers could connect to a further extent with the piece. W- Chopin’s compound sentences carry the reader with story, building a solid base for the continuing plot line and future symbolism. C- Chopin uses dialogue throughout the The Storm. P- â€Å"Mama'll be ‘fraid, yes, he suggested with blinking eyes. â€Å"She'll shut the house. Maybe she got Sylvie helpin' her this evenin',† Bobinot responded reassuringly. â€Å"No; she ent got Sylvie. Sylvie was helpin' her yistiday,' piped Bibi. W- Chopin uses dialogue to show the speech of the time, using the Creole influence of her past. W- Chopin also uses dialogue to show a passing of time, advancing not only the plot line, but the progression of the storm as well. W- Chopin wanted to give the readers a further idea of the setting, and timeframe of the story. C- Chopin begins the paragraphs with short sentences in preparation to the storm and in the aftermath, then escalates to longer, more detailed sentences during the storm. P- Alcee Laballiere wrote to his wife, Clarisse, that night. It was a loving letter, full of tender solicitude. (after the storm) They did not heed the crashing torrents, and the roar of the elements made her laugh as she lay in his arms. She was a revelation in that dim, mysterious chamber; as white as the couch she lay upon. during the storm) W- Chopin wanted to show the reader the extent and the meaning of the storm through her wording. W- Chopin wanted the seriousness of the conflict to be compacted into long details. Diction and Effect:C- Chopin uses french exclamations in various points throughout the story. P- lf this keeps up, Dieu sait if the levees goin' to stan it! † she exclaimed†¦. â€Å"Bonte! â €  she cried, releasing herself from his encircling arm and retreating from the window, the house'll go next! If I only knew w'ere Bibi was! â€Å"†¦ â€Å"Shrimps! Oh, Bobinot! you too good fo' anything! and she gave him a smacking kiss on the cheek that resounded, â€Å"J'vous reponds, we'll have a feas' to-night! umph-umph! † W- Chopin uses the french dialogue to pull an emphasis to the selected sentences. W- Chopin wants the readers to feel the seriousness of the tone through the foreign language. C- Kate Chopin uses dynamic verbs in The Storm. P-She went and stood at the window with a greatly disturbed look on her face. She wiped the frame that was clouded with moisture. It was stiflingly hot. Alcee got up and joined her at the window, looking over her shoulder. The rain was coming down in sheets obscuring the view of far-off cabins and enveloping the distant wood in a gray mist. The playing of the lightning was incessant. A bolt struck a tall chinaberry tree at the edge of the field. It filled all visible space with a blinding glare and the crash seemed to invade the very boards they stood upon. W- Chopin uses the dynamic verbs to show direct actions of the characters, which are mean to be taken exactly as they were written. W- Chopin wanted to limit the story to these simple verbs so that the readers could follow. W- Chopin wanted readers to focus on the descriptive adjectives, instead of the verbs. Vocabulary: Dieu sait: God knows Bonte: Goodness Sombre: gloomily dark; shadowy; dimly lighted. Solicitude: the state of being solicitous; anxiety or concern J’cous reponds: I tell you Resounded: to sound again Conclusion: C: In the conclusion to The Storm, Chopin uses a short, concise sentence. P: So the storm passed and every one was happy. W: Chopin wanted to bring the story to an end with the summation of the story’s major symbol. W: Chopin wanted to end the conflict of the affair by showing the peace within her family. W: Chopin wanted to convey the story’s final message to the reader, that storms, just like problems, will pass. She leaves the lingering question as to wether or not there will be another storm. Other Literary Techniques Used:C- Chopin uses foreshadowing in The Storm. P- As she stepped outside, Alcee Laballiere rode in at the gate. She had not seen him very often since her marriage, and never alone†¦ She was a little fuller of figure than five years before when she married; but she had lost nothing of her vivacity. Her blue eyes still retained their melting quality. W- Chopin wanted to bring the readers a sense of what was going to come. W- Chopin wanted the readers to infer the choice that Calixta was going to make, a choice that could relate to all married woman. C- Chopin uses imagery through extreme details in The Storm. P- Calixta put her hands to her eyes, and with a cry, staggered backward. Alcee's arm encircled her, and for an instant he drew her close and spasmodically to him†¦. Alcee clasped her shoulders and looked into her face. The contact of her warm, palpitating body when he had unthinkingly rawn her into his arms, had aroused all the old-time infatuation and desire for her flesh. W- Chopin wanted to provoke the audiences sensory imaging. W- Chopin wanted the readers to feel as if they were there, and feel the connections between Calixta and Bobinot (husband and wife) and Calixta and Alcee (the adulterous relationship. ) Tone: C- Kate Chopin uses a serious, matter of fact, yet loving tone. P- He stayed cushioned upon her, bre athless, dazed, enervated, with his heart beating like a hammer upon her. With one hand she clasped his head, her lips lightly touching his forehead. The other hand stroked with a soothing rhythm his muscular shoulders. The growl of the thunder was distant and passing away. The rain beat softly upon the shingles, inviting them to drowsiness and sleep. But they dared not yield. W- Chopin wanted to let the readers know that the characters, while in the moment of love, were fully aware of their actions. W- Chopin wanted the female audience to feel both sides of the adulterous relationship. While there was love, she still had the responsibilities of her family. Style: C- Kate Chopin writes in a strict novelist style. P- Chopin used a sequence of events and she is known as a novelist from previous works. W- Chopin uses a novelist style so that the story can proceed in a sequence of events. W- Chopin uses the style so she could portray the extensive detail to the readers. Thesis: C- Kate Chopin uses an implied thesis that shows the commitment and oppression, and at the same time, the love of being a wife. P- Implied throughout the entire plot as well as the major symbol of the story. W- To show that while wives may make decisions outside of a marital relationship, that they still have a strong relationship with their families. W- To show that if the family weathered the storm apart, they could still come together in the end. Type: A narration, because it tells a story and it is in chronological order. Pattern:C: Kate Chopin writes in chronological pattern. P: Chopin tells the story in a series of events, covering the entire storm. W: Wanted to show the progress of the storm and the relationship within it. W: Wanted to help the readers relate to the story, through the change of time. Title: Kate Chopin titled the story based on the pieces biggest symbol, the storm. Within the storm there are several different parts. Including the different relationships and the actions that took place. Purpose:C- Chopin wanted to entertain readers with a story about an affair. P- Although the short story was never published at the time it was written, Chopin wanted to tell an entertaining story about the feelings that married women face. W: To entertain people with a story of the feelings that women have during a marriage. W: To convey the message that people that sometimes act on adulterous feelings. W: To entertain the audiences emotions through the amount of detail. Audience: C: â€Å"The Storm† was meant for an audience of women. P: It was written by a woman at a time where the idea of adultery was one of the most blasphemous crimes that could be committed. W: Because most women are able to relate to other women, better than opposite sexes are able to relate. W: To set an appropriate mood for the story, from a woman to a woman. Write the first sentence of each paragraph: The leaves were so still that even Bibi thought it was going to rain. – The introduction to create the setting. â€Å"Mama'll be ‘fraid, yes, he suggested with blinking eyes. – Dialogue, to set the characters. â€Å"She'll shut the house. Maybe she got Sylvie helpin' her this evenin',† Bobinot responded reassuringly. -Dialogue, to set the characters and show relationships. â€Å"No; she ent got Sylvie. Sylvie was helpin' her yistiday,' piped Bibi. -Dialogue, to set the characters and show relationships. Bobinot arose and going across to the c ounter purchased a can of shrimps, of which Calixta was very fond. – To show the relationship between the husband and wife. Calixta, at home, felt no uneasiness for their safety. – To show the relationship between husband and wife. Out on the small front gallery she had hung Bobinot's Sunday clothes to dry and she hastened out to gather them before the rain fell. – A sequence, moving the plot â€Å"May I come and wait on your gallery till the storm is over, Calixta? † he asked. – Introduction of a new character. â€Å"Come ‘long in, M'sieur Alcee. † Dialogue. His voice and her own startled her as if from a trance, and she seized Bobinot's vest. – Foreshadowing future events â€Å"My! what a rain! It's good two years sence it rain' like that,† exclaimed Calixta as she rolled up a piece of bagging and Alcee helped her to thrust it beneath the crack. Sequence of events She was a little fuller of figure than five years before when she married; but she had lost nothing of her vivacity. – Foreshadowing The rain beat upon the low, shingled roof with a force and clatter that threatened to break an entrance and deluge them there. – Setting Alcee flung himself into a rocker and Calixta nervously began to gather up from the floor the lengths of a cotton sheet which she had been sewing. – Foreshadowing lf this keeps up, Dieu sait if the levees goin' to stan it! † she exclaimed. – Dialogue â€Å"What have you got to do with the levees? – Dialogue â€Å"I got enough to do! An' there's Bobinot with Bibi out in that storm—if he only didn' left Friedheimer's! † – Dialogue, relationship. â€Å"Let us hope, Calixta, that Bobinot's got sense enough to come in out of a cyclone. † – Dialogue. She went and stood at the window with a greatly disturbed look on her face. – Action Calixta put her hands to her eyes, and with a cry, staggered backward. – Action â€Å"Bonte! † she cried, releasing herself from his encircling arm and retreating from the window, the house'll go next! – Foreshadowing â€Å"Calixta,† he said, â€Å"don't be frightened. – Di alogue. â€Å"Do you remember—in Assumption, Calixta? † he asked in a low voice broken by passion. They did not heed the crashing torrents, and the roar of the elements made her laugh as she lay in his arms. – Actions, advancement of the plot The generous abundance of her passion, without guile or trickery, was like a white flame which penetrated and found response in depths of his own sensuous nature that had never yet been reached. – Detail to convey symbolism When he touched her breasts they gave themselves up in quivering ecstasy, inviting his lips. – Detail He stayed cushioned upon her, breathless, dazed, enervated, with his heart beating like a hammer upon her. – Detail. The growl of the thunder was distant and passing away. – Action, after the climax The rain was over; and the sun was turning the glistening green world into a palace of gems. – Recovery from conflict. Bobinot and Bibi, trudging home, stopped without at the cistern to make themselves presentable. – Action Alcee Laballiere wrote to his wife, Clarisse, that night. – Action As for Clarisse, she was charmed upon receiving her husband's letter. – Action So the storm passed and every one was happy. – Conclusion Opposite of â€Å"The Storm† Tone: Happy, Fresh Thesis: Marriage is a complete unity. Effect: To show the exclusive relationship between husband and wife. Purpose: To express a belief about marriage. Audience: Everybody, mainly focused towards other women. Implied from â€Å"The Storm† Tone: Hatred, Outcast Thesis: Society condemns women who commit adultery. Effect: There’s only one protection from the world. Purpose: To show the public thoughts of adulterous women. Audience: Everybody, although directed mainly at women and religious types.

The Image of Haifa, Isreal through Poetry Essay - 1232 Words

Being Israel’s third largest city, Haifa is one of the most diverse and unique cities in Israel. Haifa as a city is a mosaic that has been defined by a variety of qualities that have been portrayed through literature, in particular poetry, ranging from a time period beginning in the early 20th century to the late 20th century. Haifa’s proximity to the sea and its active port, one of the largest in the Mediterranean, contribute to its prominence, drawing merchants, shoppers, and tourists from all across the world. The Port of Haifa has been a major factor in regards to the demographic diversity of the city. This diversity has lead to a form of cultural diffusion within Haifa in regards to both religions and customs, and thus for this†¦show more content†¦56) These lines illustrate Haifa as a vast desert too difficult to inhabit due to being encompassed by intense heat. However, as in the previous poem, White goes on to describe how the harmony and beauty within the shrine make him unaware of the intense heat, â€Å"His effort restores to his eyes the palette†¦flowers riotously colored†¦the sky incredibly blue†. (Haifa: A Poetic Journey, White, pg. 56). It is the harmony present within not only the shrine, but also the city itself that has allowed for Haifa to become inhabited by such a diversity of people, as Roger White metaphorically portrays in his poetic journal. Other than Haifa’s natural beauty, one of the more unique qualities of the city is that it is built around Mount Carmel; a mountain sprawled within the center of the city itself. Mount Carmel has long been considered a symbol of beauty within the city of Haifa because of its proximity to the sea, which gives the mountain large quantities of precipitation, and thus enabling the growth Mediterranean groves. During spring in particular, variety of diverse and colorful flora bloom throughout the mountain. Early 20th century poet Gabriel Priel gives a scinti llating description of how the city of Haifa looks from atop Mount Carmel in his poem, â€Å"On the Carmel†. (Haifa: A Poetic Journey,