Vietnam Population Change Over Last 100 Years Cultural Studies Essay

Vietnam Population Change Over Last 100 Years Cultural Studies Essay Everybody knows Vietnam as a war country, truly, how long my historic country was, and it is how long wars were also. Those wars had affected a lot of my country including history, culture, environment, economy, policy, technologyà ¢Ã¢â€š ¬Ã‚ ¦ However, have you ever thought population which can be changed because of war? Actually, each war can decrease or increase population, but, how can this rate population relate with changing culture? Lets find the answer in the history of my home country in last 100 years. One-hundred years ago (19th century), it is the period when Vietnam was French colonization. Furthermore, this time could mark a new step forward of the changing population, especially culture. After possessing Vietnam, French had identified Vietnam by allowing the French who could immigrate in Vietnam, gathering military force into Vietnam to control. In this period of time, Vietnam population had regained balance, although almost Vietnamese didnt respond it so much. However, this time marked as beginning of innovated Vietnamese culture. When the French immigrated in Vietnam, they had their culture sharing with us including French was official language in almost school, French music, French art dance, French fashion French life style and modernization. For high society, this identification seemed to make them at the same level with French people, for other social classes, adapting French culture was enhancing knowledge and their business, for a few, this was by force. In general, du e to French colonization, Vietnamese culture has become diversity, especially borrowed language. Furthermore, at this time, the Vietnamese culture was distinguished North culture, Middle culture and South culture by some different policies, treatments and educations of French administration for each part in Vietnam. In one side, this made Vietnamese culture to become more multiform, and rich, but, otherwise, it made a barrier in Vietnamese relation between each part. About 1927- 1945, this was troublous time in Vietnam because of League for the Independence of Vietnam, and involvement between French administration, Japanese and United State. Furthermore, especially, in 1944-1945, due to the Japanese occupation of Vietnam, about two millions of Vietnamese people had died because of no food, natural disasters, grow just instead of rice, war by Japan and United State. This crisis seemed bringing to Vietnamese some phobias, at this time, only thing they could think that how to have food to survive. They werent interesting of showing off, festival, gastronomiesà ¢Ã¢â€š ¬Ã‚ ¦ however, at this period, the neighborly relation was more important than ever, all population in the South in one mind had supported the North overcoming this crisis. In fact, Vietnamese physical culture was farther and lost seriously, but, Vietnamese spirit culture was stronger. Fighting situation was constant until 1976, Vietnam was officially unified and renamed Socialist Republic of Vietnam, with Ha Noi which is its capital. From this period until now, Vietnamese population has grown regularly. Everybody started to recognize that they need to find lost cultures including traditional music, ancient architecture, royal dress and rural clothes,à ¢Ã¢â€š ¬Ã‚ ¦and complete other culture left to create Vietnamese own culture such as language, long-dress, art dance,à ¢Ã¢â€š ¬Ã‚ ¦in this period, life has been more stable and safe, economy has been developing, technology has grew, financial has improved, demand of life has increased, people has knew of taking care themselves and require more and more. Vietnamese culture had been perfect in short time, but, nowadays, with trend of globalization, culture is dissolve. When population increase a lots, it affects living space, education, employment, social benefit,à ¢Ã¢â€š ¬Ã‚ ¦ almost people in countryside emigrate to city to find a job, population density in city is higher than countryside, administration city lost control, education cant ensure its quality because of too students,à ¢Ã¢â€š ¬Ã‚ ¦in consequences, people has trend to live abroad, study a abroad, like to integrate outside culture. Beside, tourism is one of important business in Vietnam, it affects Vietnamese culture also. Actually, when population density is higher, everything is more difficult, serious and acute. In this environment, people take care themselves more than show excessive interest in other people. Therefore, Vietnamese spirit culture is weaker, and physical culture is just enjoyed as trendy entertainment for high social class such as some villas which has ancient royal architecture, royal gastronomies,à ¢Ã¢â€š ¬Ã‚ ¦ even though culture can have the right to refuse or agree integrating, but, in general, its result is also the same. Nowadays, Vietnamese government had some policies to solve these problems as the policy: each family should have two children, skyscrapers to improve living space, stimulating live in countryside, increasing amount of school, and manufactory to create job, building culture in educationà ¢Ã¢â€š ¬Ã‚ ¦ these policies has been useful, in consequences, in 2009, Vietnamese population has totally 85.5 million peoples, population growth is slowing down, economy is more stable with population structure of gold, social order is controlled, social benefit is improved and finally, Vietnamese culture was respected more for younger generation. Conclusion: Through this project, the population growth affects truly to change of the culture of my home country. Over the last 100 years in Vietnam, with population growth decreased and increased irregularly, it made Vietnamese culture own which is one of important factor to attack curiousness of tourist from whole the world. The culture is more strong or weak, more multiform or poorer, population growth is also one of important factor which affects it. As I mentioned before, culture has a strong relation with human, so, any change in human can also affect the change in culture. Have you ever thought when you change your life, when you have family and when you have children, everything you are doing now, it can impact your culture or the country when you live?

Retorhical Argument

Zoe Mojica Ryan Grandik English Comp. II February 27, 2013 Rhetorical Analysis (why violent video games are good for girls) Student Carmen Tieu, in her opinionated article, â€Å"Why Violent Video Games are good for Girls† expounds upon the idea that violent video games are good for girls. Tieu explains that violent video games boost confidence in women. She goes further on to say that it makes aware of the different socialization processes of men and women. Tieu begins by telling a short story about her gaming life. She is attempting to give you a peek into her mind about being a girl playing first person shooting games.She begins to reveal that men and women are socialized differently by using the aggressive chatting being done before the game begins. Tieu speaks to us in this manner to help us experience what it is like to be a girl and to be playing the violent first person shooting games. The way she is saying this makes it seem as though all males playing these games all act in such ways. The way that Tieu tells her story in the first paragraph gives us a more biased or more sympathetic affect to her cause. After Tieu finishes her first person perspective of the shooting games, she begins to say that girls are socialized into more docile activities.The language of the text that the writer is using is trying to make you more sympathetic towards her goal of this paper. Her word choice is meant not only for you to be sympathetic but to cause vexation. Tieu illustrates how society thinks that women shouldn’t and can’t play video games by saying they â€Å"objectify women† and the â€Å"violent† nature â€Å"repulses† girls. Tieu creates this tone by saying â€Å"Girls are socialized into activities that promote togetherness and talk, not high intensity competition involving fantasized shooting and killing. † Tieu continues to explain that women can play, and be just as good as men in violent video games.Carmen Tieu says that playing first person shooting games are empowering because it gives girls a chance to beat the boys at their own game. Her overall tone is meant to excite and make you want to play first person shooting games such as her quick and instinctual reactions using both joysticks. The author creates a very powerful environment when she explains how she gets an adrenaline rush beating testosterone driven men at something they are supposed to â€Å"excel† at. The writer creates a passionate diction when she uses the â€Å"savor† and â€Å"horror† and â€Å"completely destroys them†.The author furthers the goal of her paper by making her victory seem so empowering. Tieu proceeds in this paragraph by elaborating on how women can be made more confident in other aspects of life by playing violent video games. She says that when women play video games they are freed of the stereotype that women are meant to be soft and motherly figures. She claims that s he doesn’t reject these because she is a vegan and a tree hugger, but by saying she understands the opposing view makes it easier for the reader to stay on her side as to why video games are good for girls.She goes into further detail by saying it has psychologically helped her because she is aware that she can beat males at â€Å"their own game† claiming that it gives her more confidence in the male dominated academic field of math and science. Tieu says in this paragraph that playing video games has given her a different way of bonding with guys. She uses the example that a man gave her his respect for playing video games but goes on to say that he didn’t really respect women in general but we can’t really tell if he’s that kind of man just by one sentence.Showing the â€Å"lack of respect† he had towards women, she goes on to say since she started playing video games men have a different way of talking to her. Her way of saying â€Å"You get joy from perfecting your skills so that your high-angle grenade kills become a thing of beauty. † makes it seem as though it becomes a boost of confidence much like winning in a physical game. Tieu begins this paragraph by saying violent video games give girls an insight to a disturbing part of the male subculture. She uses words like â€Å"homophobic† and â€Å"misogynistic† to describe how the men react when they are playing such violent games.She describes them in a way that makes all men who play video games seem as though they downgrade any player who is below or even above them. She goes on to say that when she beats her male friends they are embarrassed by it which turns them into â€Å"testosterone driven macho men. † Tieu suggest that when men are around a female one on one a softer side of them comes out. She also over uses the word â€Å"macho† which creates a dual reality of how men can be a lot shallower when playing first person s hooting games. By her using the words to be a real man† she gives the claim that when men are around other men they have to pretend to be far more manly versions of themselves then what they really are. In contrast though, men are able to act like their true selves when they are one on one with women. When she uses those words to create the dual reality between a real man and a fake man she’s creating a tense environment and leaves us with an open question: Which man is the real man? In this opinionated article, â€Å"Why Violent Video Games are good for Girls†, Carmen Tieu argues how women should play violent video games.She uses diction and tone to help promote her argument. Throughout this article, she lets the reader know how much she has learned about the two natures that men display. Her words show how proud she is that she is able to recognize this difference in behavior and that she did not succumb to this, â€Å"ugly phenomenon†. The overall tone of the paper was persuasive and led you to be sympathetic to her cause. The type of language that the author uses helps to further enhance the argument. Through rhetoric devices Carmen Tieu solidifies that video games can boost confidence in women and that men and women are socialized differently.

Is Macbeth a true tragic hero? Essay

Amongst all of Shakespeare’s tragedies, Macbeth is the most inconsistent and fragmented. Like the mental state of the protagonist, the tragic structure of the play is in disarray from the very onset. According to Aristotle, all tragedies must follow a certain set of characteristics, and the most important of these is the presence of a tragic hero. This tragic hero must possess a tragic flaw, or hamartia, which is a good quality taken to such an extreme that it now exhibits immoral behaviour from the hero. He must also draw sympathy of his plight from the audience. Macbeth, although the protagonist, is not a tragic hero because he does not possess this hamartia. This significant absence of a flaw leads to his actions being without justification, drawing no sympathy from the audience. Because Lady Macbeth’s love for Macbeth acts as a tragic flaw by ultimately bringing about her downfall and extracting a great amount of sympathy from the audience, she exhibits attributes m ore tragically heroic than Macbeth. Macbeth is the protagonist of Macbeth because the play is inexorably tied to his actions. A protagonist is defined as â€Å"the leading character of a literary work†. In Shakespearean tragedies, the protagonist must also be from the nobility and possess exceptional character and vitality. One need not look farther than the title to determine Macbeth’s importance in the play. While the title does not necessarily provide fair judgement of content, Shakespeare has an uncanny habit of titling his tragedies with the name of the protagonist: Hamlet, Romeo and Juliet, King Lear, Julius Caesar and Othello are examples. As the play commences, farther evidence of Macbeth’s importance is apparent through the witches’ subject in the very first scene: â€Å"There to meet with Macbeth† (I.i.7). It is for Macbeth that they will gather upon the heath, and he upon whom their efforts will be focused. In the next scene, Macbeth’s nobility is confirmed through Duncan’s heartfelt â€Å"O valiant cousin, worthy gentleman!† (I.ii.24). The exclamatory nature of this sentence testifies Duncan’s affiliation with, and high regard for, Macbeth. After the victorious battle, Ross describes Macbeth as â€Å"Bellona’s bridegroom† (I.ii.54), an allusion meaning the husband of the Goddess of War, thus establishing him to be of exceptional character and vitality. Macbeth’s role as the protagonist is therefore legitimized through other’s perception of him and his own noble character. While Macbeth is the protagonist and therefore meant to be the tragic hero, the glaring absence of a tragic flaw in his character prevents his recognition as thus. A tragic flaw must be a good quality taken to such an extreme that it now exhibits immoral behaviour. Macbeth has many flaws, a hunger for power and a belief of superiority among them, yet none of these are tragic flaws because they do not have the ability to be virtuous qualities. This leaves ambition and imagination as the main competitors. Ambition cannot be Macbeth’s tragic flaw because he recognizes it in his confusion soliloquy even before he kills Duncan:I have no spurTo prick the sides of my intent, but onlyVaulting ambition, which o’erleaps itself,And falls on the other. (I.vii.25-28)When Lady Macbeth questions Macbeth’s intentions right after the deliverance of this soliloquy, the recognition of his ambition leads him to a decisive â€Å"We will proceed no further in this business† (I. vii.31). The reason he later kills Duncan is because Lady Macbeth appeals not to his ambitious nature, but to his pride. She accuses him of being â€Å"a coward in [his] own esteem† (I.vii.43) and weak in manliness: â€Å"†¦you would/Be so much more the man† (I.vii.50-51). It is not ambition, but a wounded pride and an inbred impulse to unquestioningly follow his wife that leads Macbeth to finally commit the deed that ultimately brings about his downfall. Yet pride is also not his tragic flaw because it does not spur any of his other great crimes. While pride triggers, but is not the cause of, Macbeth’s downfall, an active imagination is not the tragic flaw because it merely serves as an instrument to illustrate that a character is in a confused state of mind. Macbeth is self-doubting all through the first three acts of the play; in his lines following the witches’ initial prophecies, he states â€Å"Come what come may† (I.iii.146), portraying his lack of wilful decisiveness. Yet after the witches’ second set of prophecies, he takes decisive measures to â€Å"crown [his] thoughts with acts† (IV.i.149), and his imagination vanishes. Similarly, Lady Macbeth’s first statement of â€Å"Glamis thou art, and Cawdor, and shalt be/What thou art promis’d† (I.v.15-16) establishes her steely resolve. She is practical and untroubled by any visions. When she realizes the extent of the damage she has caused, however, her imagination takes full reign. In the sleepwalking scene, she is depicted as a broken figure,  tormented by imaginative hallucinations. In both cases, imagination comes along when the character is in a disorderly state of mind; therefore, imagination, like ambition, is not Macbeth’s tragic flaw, testifying that Macbeth does not possess one and therefore is unrecognizable as a tragic hero. Macbeth’s lack of such a flaw deems all his heinous actions without justification, and as a result, draws no sympathy from the audience. The blame for his lapse in character can be placed upon nothing but his own non-tragic flaws. He is depicted as a cowardly man: he kills Duncan because of his inability to make decisions for himself; Banquo out of paranoia: â€Å"our fears in Banquo/stick deep† (III.i.49-50) he says, before ordering the murderers to kill his former friend; and Lady Macduff and her son out of spite: his true quarrel is with Macduff, however as he realizes that the nobleman has escaped his clutches, he proceeds to â€Å"give to the edge o’ the sword/[Macduff’s] wife [and] his babes† (IV.i.151-152). Macbeth’s central desire, the want to safely be king, is born of nothing more than despicable cowardice. The audience gets a sense of this despicability in Macbeth’s character firstly through the witches’ mention of hi m: â€Å"There to meet with Macbeth† (I.i.7). By associating him with the witches so early, Shakespeare foreshadows Macbeth’s later affiliation with them. Lady Macbeth recognizes cowardice and ineptitude in Macbeth: she calls him â€Å"Infirm of purpose!† when he is unable to carry out the plan of killing Duncan to her perfection. It seems that Shakespeare attempts a sympathy-inducing endeavour through Macbeth’s â€Å"Will all great Neptune’s ocean wash this blood/Clean from my hand?† (II.ii.60-61). This attempt backfires however, because instead of showing Macbeth in a remorseful light, the irrepressible imagery of blood only serves to farther exemplify the wrongs he has wrought and how disastrous they are to his moral being. As the plot furthers, Macbeth’s crimes pile up, from belittlement, to hypocrisy, to bare-faced lying, and finally to treacherous murders. Even in catharsis he is despicable; his first words upon realizing the truth about the witches are â€Å"Accursed be that tongue that tells me so† (V.viii.17), cursing others instead of himself for the dreadful deeds he has committed. This is not pitiful, but repulsive. These crimes all sprout from the regicide at the beginning, and since this  first terrible crime lacked purpose, the others do so too. From the very onset, Lady Macbeth is sharply contrasted with Macbeth because she possesses this purpose, driven forward by her love for Macbeth. This love is her tragic flaw because it leads to her ultimate downfall. She does not want Macbeth to be king because of some ulterior motive; she wants it for his benefit. Nowhere in her first soliloquy, in which she speaks to herself and need not hide her true thoughts, does she mention the want of greatness for herself; instead, she refers to Macbeth and says, â€Å"Thou wouldst be great† (I.v.18) and â€Å"Thou ‘ldst have [the crown]† (I.v.22), proving her loyalty to Macbeth’s cause for his sake. She proceeds then to call upon â€Å"spirits/That tend on mortal thoughts† (I.v.40-41) to rid her of all kindness, gentleness, sensitivity, sweetness, and pity that accompanies her womanly nature, all the better to kill Duncan. This is not a small sacrifice on her part, as seen later through the repercussions it has on her conscience. After Macbeth becomes king and begins isolating Lady Macbeth, the once resolute woman is portrayed as a powerless being, unable to survive without the husband that once loved but now alienates her: â€Å"why do you keep alone?† (III.ii.8) she asks him after having to request a meeting to speak with him. During the banquet, she is seen to jeopardize her reputation as a graceful hostess to protect Macbeth: â€Å"Stand not upon the order of your going,/But go at once† (III.iv.85), she says to the noblemen. It is Lady Macbeth’s tragedy that she sacrifices so much for the love of a husband that will not confide in her anymore, and this love is much more sorrowful than the alleged tragedy of Macbeth, which is born from his cowardice. Because her tragic flaw is something pure and good, her demise is so heartbreaking, so utterly tragic, that it draws an unequalled amount of audience sympathy. The infamous Sleepwalking Scene, the last presence of Lady Macbeth in the play, shows that she has reached the very bottom of the pit of tragic downfall that she started falling down at the beginning of Act III. It is a reflection of her mental and emotional state that she speaks in prose instead of iambic pentameter in this entire scene. While Macbeth, previously occupied by horrible hallucinations, has now dulled his ability for feeling horror, Lady Macbeth has done the opposite. This role-reversal  leaves her in a state of severe trauma, exposing her inner thoughts and feelings. The gentlewoman’s words of â€Å"This is [Lady Macbeth’s] very guise, and, upon my life, fast asleep† (V.i.20-21) depict Lady Macbeth’s trauma as being so great that she cannot escape it even in sleep. This is decidedly more sympathy-inducing than Macbeth, who, the last we saw of him, had ordered the brutal murders of an innocent lady and her unguarded son (IV.i.150-154). While Macbeth seems intent upon bloodying his hands remorselessly at every opportunity, it is ironic that Lady Macbeth vigorously rubs her hand to get them rid of Duncan’s blood: â€Å"It is an accustomed action with [Lady Macbeth], to be seen thus washing her hands† (V.i.29-30). This irony excites audience pity for Lady Macbeth as she is clearly disillusioned and has reached her tragic recognition much earlier and more genuinely than Macbeth does. The imagery of blood that is present throughout the play now reaches a climax as well: Lady Macbeth’s obsession with her figuratively blood-stained hand is revealed through her anguished cry of â€Å"Out damned spot!† (V.i.35); she rhetorically asks, â€Å"Yet who would have thought the old man to have had so much blood in him?† (V.i.39-40), then notes that â€Å"the smell of the blood† (V.i.50) is still rampant. This blood symbolizes the guilt that she is burdened with, even years after the murder she helped orchestrate, contrasted with the remorselessness of Macbeth. The gentlewoman, innocent of the crime her lady has committed, still says, â€Å"I would not have such a heart in my bosom for the dignity of the whole body† (V.i.54-55). It can be deduced that the status-deprived gentlewoman does not wish to have the status of a queen if it means feeling the sorrow of Lady Macbeth. This clearly illustrates that our heroine, the true tragic character of the play, is very broken, only because of the great love she has for her husband. Love is not a crime, and this makes her predicament all the more sympathetic. Macbeth is clearly a tragedy, yet it is tragic more because of the role of Lady Macbeth than that of Macbeth himself. The love that propels her change from a strong, sensible character to one overwrought with guilt is much more tragic than Macbeth’s character change, propagated by his cowardice and incompetence. In a play about disorder and ambiguity, where â€Å"fair is foul and foul is fair† (I.i.11), it is only fitting that the role of the tragic  hero is also clearly ambiguous. It seems that Shakespeare involved himself so much in creating perfect ambiguity that he let the tragic structure of the play become quite ambiguous as well. Bibliography Agnes, Michael, ed. Webster’s New World College Dictionary. 4th ed. Foster City: IDG Books Worldwide, Inc., 2001. Shakespeare, William. Macbeth. Mississauga: Canadian School Book Exchange, 1996.

Organ Of Organ And Tissue Donation - 1771 Words

Organ and tissue donation can be defined as the removal of organs and tissues from either a living donor s body or body of a patient who has recently died and transplanting the anatomical gifts into the body of the recipient (Frey and Waun n.p.). Donation has continuously verified itself in the science world as an exemplary form of medical treatment. Based on the advancements in donation over the years, one can expect further amendments to be made to the life-saving treatment in such high demand today. Various circumstances, such as an increase in obesity and life expectancy, have become primitive factors in determining the demand for organs. The ever-growing need for transplantable organs increases daily, which in turn is accountable for†¦show more content†¦Two discoveries that have aided in solving this factor are tissue typing and Jean Borrel s discovery of cyclosporine, an immunosuppressant drug which prevents the immune system from attacking the new organ (Corr n.p.). With organ donation steadily increasing in success, more patients are added to the waiting list every day in hopes of receiving a surgery that will save their lives. The practice of organ and tissue donation requires regulation and legislation to ensure the rights of the donor and recipient are protected throughout the entire process. Because of the scarcity of human organs in the United States, the government created the Uniform Anatomical Gift Act (UAGA) in 1968 to standardize the distribution of organs throughout the country (Organ Donation). Prior to the UAGA of 1968, there were no federal laws concerning donation, and donations were conducted at the state level (Organ Donation). The UAGA of 1968 proved to be efficient in the distribution of organs, but the system needed modifications to meet the high demands of transplants. The original UAGA lacked policies regarding the ethical issues that arise when in the donation process. 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