The Cuban Government And Schooling - 1296 Words

Introducton The United States had a brief reign over Cuba from 1898 and 1902 after Cuba attained independence from Spain and fell under U.S. control. Education in Cuba Many people and organizations, such as the World Bank, have praised the education system in Cuba, which claimed it is the best education system in Latin America and the Caribbean. The system is driven by high literacy rates, strong teacher and student performance, and its availability to all citizens of Cuba (Gasperini, 2000). To understand why the Cuban education system has been so successful, it is important to know past history between the Cuban government and schooling. The education system has been run by the state since 1961. The Cuban†¦show more content†¦13). Cuban students partake in agricultural activities, woodcarving, drawing, and other labor-intensive classes that solidify the Marxist principles of combining study and work and socializes children to prepare to enter the workforce early (Gasperini, 2000, pg. 17). It is also interesting to note that Cuban students are forced to believe communist beliefs, and if they are caught exploring othe r ideologies, they could face prison time. This sharply contrasts with the United States education system, which provides students with an array of different ideologies through social aspects of schooling, and then allows students to form their own opinions based on personal decisions and associated beliefs. Along with this difference comes an innate change in the structure of educational systems relating to their enforces policies. Cuban students study in primary schools for six years, then move on to secondary school or high schools for three to four years. Upon completing these schooling levels, students can move onto vocational or technical studies at one of Cuba’s many universities or technical schools. However, the Committee for the Defense of the Revolution reviews every student before they can take the college entrance exam. This committee evaluates students based on their acceptance of communist ideology, and those found to be in

Monocular Cues Essay (Psychology) - 813 Words

Masters of Illusions – Monocular Cues Essay The Renaissance was a time of cultural movement occurring from the 14th century to the 17th century, it brought along with it a new view of art and literature. Many of today’s famous artists came from the Renaissance such as Raphael, Leonardo da Vinci, and Michelangelo. Many of the pieces they drew displayed evidence monocular cues which are depth perception cues that allowed the viewer to see the art in three dimensions. Today, monocular cues are used almost everywhere, from photographs to movies and television shows to create a visual appeal and depth to the work. The monocular cue, Linear perspective, is the cue that shows a convergence of lines to a single point, which can also be the†¦show more content†¦The texture of the people in the very front are elaborate and as the viewer focuses his attention to the background of the picture, it is clear that the texture went from coarse to fine because the people in the back do not have significant details such as faces or proper figure. In fact, they seem to be just paint blotches. Monocular cues have played a big role in a person’s perspective and it has allowed people to see things in a whole new way. The Renaissance gave birth to monocular cues and from there, it has been used by many artists like Da Vinci, Pieter Bruegel, and Benozzo Gozzoli, each of them using different monocular cues in different ways. What began with artworks from the Renaissance has evolved into motion pictures and photography. Today, monocular cues are used to create new technology such as 3D TVs andShow MoreRelatedWhy Do we have Two Eyes rather than one? Essay1876 Words   |  8 Pagesperception, the human visual system must receive and interpret information from different sources including monocular and binocular cues to depth. Depth cues or pointers are important source of information, which enable the human visual system to re-construct 3D images from flat or 2D retinal images (Blake Sekuler, 2006; Fischmeister Bauer, 2006). However, contrary to other categories of cues, the cues to depth do not elicit any form of conscious deliberation in order for depth to be perceived, but ratherRead MorePerception; Subliminal and Supraliminal Perception5215 Words   |  21 Pagesschool of thought or psychology. * Figure-ground Relationships. When we look at objects, we usually see them as solid, well-defined image (figure) standing out against a background (ground). * Continuity- objects arranged in a straight or curve line tends to be seen as continuous and as a unit. * Common Region- objects that are in the same area or region is perceived as being in a group. * Monocular cues- require the use of only one eye. Some examples of monocular depth cues are relative sizeRead MoreEssay on Sensation: Color and Absolute Threshold Correct16161 Words   |  65 Pages d) presented in pure form so that only one basic taste is involved ANS: a, p. 101, C, LO=3.10, (2) 102. Maricella always uses less seasoning on her food than do the other members of her family. Her sister has just taken an introductory psychology course and says to Maricella, ________ a) â€Å"I know what you are – you are a taster pro.† b) â€Å"I know what you are – you are a taster queen.† c) â€Å"I know what you are – you are a supertaster.† Correct. Someone who is more sensitive to taste

Cultural Anthropology for Ethnicity and Diversity - myassignmenthelp

Question: Discuss about the Cultural Anthropology for Ethnicity and Diversity. Answer: Philip Lutgendorf has analyzed the film Hum Apke Hai Kaun when he wanted to approach a greater way of thinking about ethnicity and diversity. He wanted to indulge in the recurring themes and patterns that added to the flavor of South Asian culture. This has become easy for Philip as he is an outsider, a European. Indian popular films have a patent traditional flavor which can be easily recognized. This can be identified even by those Anglo- Americans who surf through the TV channels. These films possess a unique characteristic which can be easily seen and felt in a different way (Holbraad, Pedersen and de Castro 2014). Some scholar had said that he had seen American, Japanese, French and African films which almost convey the same kind of messages but the Indian films belong to a different universe. But the experienced people are acquainted with the fact that the new viewers are not interested in the films of this universe and they are received with negative responses. They raise a co mplaint that the films look kind of similar in that universe. They have said that the Indian films are lengthy, have the same pot, indecent and loud music, amalgamation of all kind of story in one, do not convey any specific message and merely a clone of the Hollywood movies. These complaints are also raised by the English critics. They are aware of the fact that most people outside the continent actually enjoy the difference between these films. For the south Asian countries, the standard story telling of religion, history, ethics and literature had expanded in the colonialism period of the elite class among the British and Indians. Due to the asymmetrical shape of power in the collaboration of Indian and British, there was an amendment in the narrative and story- telling plot that was created. In spite of the efforts of to protest and raise question against the contemporary form of Hinduism, caste system, language, and most distinguished Indian form of social organization. Euro- A merican intellectual hegemony has a great role to play in the realm of film and literature. India has been by far represented by Satyajit Ray and all the musicals related to him (Lutgendorf 2015). This large and great influential piece of art, music and literature, once ignored, has now been under the scanner of scholarly articles. Systematic alignment and audacious suggestion is such that this different universe might be able to make a shift by introducing new methods of spacious cultural and innovative way of thinking. This is possible only if the universe is totally different. The practices and conventions are observed in the Indian cultural environment- with respect to the verbal idioms, body language and ubiquitous iconography. Thus they can be learned again generation after generation without much effort, though their specific forms are given at a moment of time subject to the outside influence and historical contingency. The hybrid form of Indian popular cinema is a proverbia l feature which with its pastiche and parody of the international cultural forms and practices (Joshi and Dudrah 2016). The essay analyses the highly popular and successful film of the Bollywood, Hum aapke hai kaun . The unexpected success of the film lies on the structuring of ritual and its situation in the context of production and reception. It also considers the nature and behavior which implies the form of participatory practice that the films encouraged. Popular bollywood films have such visual, audible, aural and thematic content that can be considered religious or more specifically Hindu. These contents have dominated the narratives of the cinema in its historic base as films of various genres are named as mythological and devotional from the major production of the first decade of Indian silent cinema. Although the labels have been changed and the comparison between mythologies in the second decade of the bollywood cinema, religious content- sometimes expressed through ritual- has been an identical feature of popular films (Rajadhyaksha 2014). Taking darshan, receiving Prasad and performing arti in the home temples, women receiving the men with a thali which consists of a lit lamp and the mark on the fore head; also the seasonal and life cycle rites and rituals like the Holi, Diwali, Karva Chauth; rituals of marriage and death- all refer to the motifs of popular films which represent certain conventions. The common utilizations include changing of mood, developing a character, suggestion of the passage of time, for example the constant ringing of the of the temple bell made Deewar a hit in 1975 which symbolizes the 20 years lapse in the life cycle of the main characters. In this film, the scene of a suffering mothers darshan at a shiva temple and the related sequences portray the climax where the son sacrifices his life for the mother. The most popular structured hindi films moistly revolve around the religious concept (Lutgendorf 2015). They might be classified in different genres but they have some striking similarities and differences as well. As all the films have enjoyed that might be considered phenomenal in the opinion of the audience who reacted positively and negatively. The effect on the popular culture has been long lasting and each of them has become a subject to critical literature. The focus on the religious aspect of this film has a narrative as well as prescriptive manner. Within this film the showcasing of ritual scenes is important for the opening of the plot. These practices have a satisfactory resolution and the reception of the films have been largely emulated in terms of religious reviewing of the films. The focus on one of the less appreciated dimension of the film, there can be an argument that suggests that the popularity is mainly dependent on the structural element. With the close examination of few scenes from the film, the existing scholarly articles can be reviewed by putting a comparatively greater emphasis on the cinematic dimension of the film texts that will deliver a similar compelling message to the audience. T he unusual success of the film lies on the individual scripts and associated imitation both by ritual review and practice (Jaikumar 2017). Reference Holbraad, M., Pedersen, M.A. and de Castro, E.V., 2014. The politics of ontology: Anthropological positions.Cultural Anthropology,13. Jaikumar, P., 2017.Cinema at the end of empire: A politics of transition in Britain and India. Duke University Press. Joshi, P. and Dudrah, R. eds., 2016.The 1970s and Its Legacies in India's Cinemas. Routledge. Keesing Felix, M., 2013.Cultural anthropology the science of custom. Rinehart And Company Inc; New York. Lutgendorf, P., 2015. Bollywood: Gods, Glamour, and Gossip.Pacific Affairs,88(1), pp.220-222. Narayanan, V., 2015. Material religion in contemporary Hinduism.Routledge Handbook of Contemporary India, p.329. Penkower, L. and Pintchman, T. eds., 2014.Hindu Ritual at the Margins: Innovations, Transformations, Reconsiderations. Univ of South Carolina Press. Rajadhyaksha, A., 2014. The" Bollywoodisation" of the Indian Cinema: Cultural Nationalism in a Global Arena.Occasional Paper, (22), pp.93-112.

Cultural Anthropology for Ethnicity and Diversity - myassignmenthelp

Question: Discuss about the Cultural Anthropology for Ethnicity and Diversity. Answer: Philip Lutgendorf has analyzed the film Hum Apke Hai Kaun when he wanted to approach a greater way of thinking about ethnicity and diversity. He wanted to indulge in the recurring themes and patterns that added to the flavor of South Asian culture. This has become easy for Philip as he is an outsider, a European. Indian popular films have a patent traditional flavor which can be easily recognized. This can be identified even by those Anglo- Americans who surf through the TV channels. These films possess a unique characteristic which can be easily seen and felt in a different way (Holbraad, Pedersen and de Castro 2014). Some scholar had said that he had seen American, Japanese, French and African films which almost convey the same kind of messages but the Indian films belong to a different universe. But the experienced people are acquainted with the fact that the new viewers are not interested in the films of this universe and they are received with negative responses. They raise a co mplaint that the films look kind of similar in that universe. They have said that the Indian films are lengthy, have the same pot, indecent and loud music, amalgamation of all kind of story in one, do not convey any specific message and merely a clone of the Hollywood movies. These complaints are also raised by the English critics. They are aware of the fact that most people outside the continent actually enjoy the difference between these films. For the south Asian countries, the standard story telling of religion, history, ethics and literature had expanded in the colonialism period of the elite class among the British and Indians. Due to the asymmetrical shape of power in the collaboration of Indian and British, there was an amendment in the narrative and story- telling plot that was created. In spite of the efforts of to protest and raise question against the contemporary form of Hinduism, caste system, language, and most distinguished Indian form of social organization. Euro- A merican intellectual hegemony has a great role to play in the realm of film and literature. India has been by far represented by Satyajit Ray and all the musicals related to him (Lutgendorf 2015). This large and great influential piece of art, music and literature, once ignored, has now been under the scanner of scholarly articles. Systematic alignment and audacious suggestion is such that this different universe might be able to make a shift by introducing new methods of spacious cultural and innovative way of thinking. This is possible only if the universe is totally different. The practices and conventions are observed in the Indian cultural environment- with respect to the verbal idioms, body language and ubiquitous iconography. Thus they can be learned again generation after generation without much effort, though their specific forms are given at a moment of time subject to the outside influence and historical contingency. The hybrid form of Indian popular cinema is a proverbia l feature which with its pastiche and parody of the international cultural forms and practices (Joshi and Dudrah 2016). The essay analyses the highly popular and successful film of the Bollywood, Hum aapke hai kaun . The unexpected success of the film lies on the structuring of ritual and its situation in the context of production and reception. It also considers the nature and behavior which implies the form of participatory practice that the films encouraged. Popular bollywood films have such visual, audible, aural and thematic content that can be considered religious or more specifically Hindu. These contents have dominated the narratives of the cinema in its historic base as films of various genres are named as mythological and devotional from the major production of the first decade of Indian silent cinema. Although the labels have been changed and the comparison between mythologies in the second decade of the bollywood cinema, religious content- sometimes expressed through ritual- has been an identical feature of popular films (Rajadhyaksha 2014). Taking darshan, receiving Prasad and performing arti in the home temples, women receiving the men with a thali which consists of a lit lamp and the mark on the fore head; also the seasonal and life cycle rites and rituals like the Holi, Diwali, Karva Chauth; rituals of marriage and death- all refer to the motifs of popular films which represent certain conventions. The common utilizations include changing of mood, developing a character, suggestion of the passage of time, for example the constant ringing of the of the temple bell made Deewar a hit in 1975 which symbolizes the 20 years lapse in the life cycle of the main characters. In this film, the scene of a suffering mothers darshan at a shiva temple and the related sequences portray the climax where the son sacrifices his life for the mother. The most popular structured hindi films moistly revolve around the religious concept (Lutgendorf 2015). They might be classified in different genres but they have some striking similarities and differences as well. As all the films have enjoyed that might be considered phenomenal in the opinion of the audience who reacted positively and negatively. The effect on the popular culture has been long lasting and each of them has become a subject to critical literature. The focus on the religious aspect of this film has a narrative as well as prescriptive manner. Within this film the showcasing of ritual scenes is important for the opening of the plot. These practices have a satisfactory resolution and the reception of the films have been largely emulated in terms of religious reviewing of the films. The focus on one of the less appreciated dimension of the film, there can be an argument that suggests that the popularity is mainly dependent on the structural element. With the close examination of few scenes from the film, the existing scholarly articles can be reviewed by putting a comparatively greater emphasis on the cinematic dimension of the film texts that will deliver a similar compelling message to the audience. T he unusual success of the film lies on the individual scripts and associated imitation both by ritual review and practice (Jaikumar 2017). Reference Holbraad, M., Pedersen, M.A. and de Castro, E.V., 2014. The politics of ontology: Anthropological positions.Cultural Anthropology,13. Jaikumar, P., 2017.Cinema at the end of empire: A politics of transition in Britain and India. Duke University Press. Joshi, P. and Dudrah, R. eds., 2016.The 1970s and Its Legacies in India's Cinemas. Routledge. Keesing Felix, M., 2013.Cultural anthropology the science of custom. Rinehart And Company Inc; New York. Lutgendorf, P., 2015. Bollywood: Gods, Glamour, and Gossip.Pacific Affairs,88(1), pp.220-222. Narayanan, V., 2015. Material religion in contemporary Hinduism.Routledge Handbook of Contemporary India, p.329. Penkower, L. and Pintchman, T. eds., 2014.Hindu Ritual at the Margins: Innovations, Transformations, Reconsiderations. Univ of South Carolina Press. Rajadhyaksha, A., 2014. The" Bollywoodisation" of the Indian Cinema: Cultural Nationalism in a Global Arena.Occasional Paper, (22), pp.93-112.

osteogenesis imperfecta Essays (1208 words) - Skeletal Disorders

Osteogenesis imperfecta (OI) is "a rare genetic disorder of collagen synthesis associated with broad spectrum of musculoskeletal problems, most notably bowing and fractures of the extremities, muscle weakness, laxity in the ligaments, and spinal deformities."(Binder, 386). Other collagen-containing skeletal tissues, such as the sclerae, the teeth, and the heart valves are also affected to a variable degree. OI has a "common feature of bony fragility associated with defective formation of collagen by osteoblasts and fibroblasts"(Smith, 1983, 13). This disease, involving defective development of the connective tissues, is usually the result of the autosomal dominant gene, but can also be the result of the autosomal recessive gene. Spontaneous mutations are common and the clinical presentation of the disease remains to be quite broad (Binder, 386). OI is most commonly referred to as "brittle bones,? but other names include: fragilitas ossium, hypolasia of the mesenchyme, and osteopsathy rosis. Osteogenesis imperfecta is still not completely understood, and while there has been advances in diagnosing the disease, treatment is still limited. Osteogenesis imperfecta is the result of mutations in the genes that code for type I collagen. In the mild dominantly inherited form of OI (type I), " a non-functional allele for the alpha 1 (I) chain halves collagen synthesis," (Smith, 1995, 169) and is largely responsible for the inheritance. Single base mutations in the codon for glycine causes lethal (type II) OI by wrecking the formation of the collagen triple helix. Types III and IV are the "less dramatic outcomes of similar glycine mutations in either the alpha 1 (I) or the alpha 2(I) chains (Smith, 169). The clinical signs can be caused from defective osteoblastic activity and defective mesenchymal collagen (embryonic connective tissue) and its derivatives, such as sclerae, bones, and ligaments. The reticulum fails to differentiate into mature collagen or the collagen develops abnormally. This causes immature and coarse bone formation and thinning (Loeb, 755). The signs and symptoms of OI vary greatly depending on the type. The most commonly used classification is the Sillence (type I to IV). Type I is the mildest form of OI and is inherited as an autosomal dominant trait. The sclerae (middle coat of eyeball) is distinctly blue. Type I is broken down into IA and IB -- the difference being whether dentinogenesis is present. IA has a life expectancy nearly the same as the general public. The physical activity is limited, and may appear to have no disability at all. The bones have a mottled or worm like appearance, forming small islands (Isselbacher, 2111). Type II is lethal in utero or shortly there afterbirth. The survivors live from just a few hours to several months. The karyotypes of parents are usually normal. This type is broken down into three subgroups: IIA is characterized by a broad, crumpled femora and continuos rib beading, IIB by minimal to no rib fractures, and IIC by a thin femora and ribs with extensive fracturing. While in the uterus, there is poor fetal movement, low fetal weight, poor ossification of the fetal skeleton, hypoplastic lungs, the long bones of the upper and lower limbs are shortened or deformed, and the head is soft. Intrauterine fractures occur, and death is usually from intracranial hemorrhaging due to vessel fragility or respiratory distress from pulmonary hypoplasia. The bones and other tissues are extremely fragile, and massive injuries occur in utero or delivery. The ribs appear beaded or broken and the long bones crumpled (Isselbacher, 2111). Type III and IV is intermediate in severity between types I and II. Type III differs from I in its greater severity and from IV in that it increases in severity with age. It can be inherited as either an autosomal recessive or dominant trait. The sclerae is only slightly bluish in infancy and white in adulthood, although the average life expectancy is 25 years. Type IV is always dominant. With types III and IV multiple fractures from minor physical stress occurs leading to progressive and severe deformities. Kyphoscoliosis (curvature of the spine) may cause respiratory impairment and predisposition to pulmonary infections. "Popcorn-like" deposits of mineral appear on the ends of long bones (Isselbacher, 2111). The symptoms of OI (types I, III, and IV) can appear when the child begins to walk, and