Assess the impact of television and video technology on children's Research Paper

Assess the impact of television and video technology on children's attention spans - Research Paper Example In the modern world there are many temptations for our children. With the development of technology, they received an access to different technological achievements everyone has at home. If in 1980s only radio usually entertained young people, nowadays they have an unlimited access to TVs and computers. Playing computer games is now a favorite occupation for our children. They also like to watch TV very much and many children start their day by switching the TV set on. Computers and television can help develop children’s intellect but the question arises how this habit affects children’s health. Certainly, it is a well-known fact that excessive TV watching is a very bad habit, but it is necessary to define what exactly it affects negatively. Bad eyesight and sedentary life are not all the negative consequences as now scientists have already paid attention to children’s attention span. If a child is developing in normal conditions, its attention span is constantly improving. However, some factors can influence the process of development negatively. These factors are now actively studied by experts. The first factor is anemia that is usually caused by iron deficiency. Anemia is â€Å"a condition in which a lack of iron results in a diminished amount of blood cells that carry oxygen through the blood† (Bruce, 2013). Anemia is frequently met state and if it has a light form, it is not considered as dangerous and can be easily cured. Serious forms of anemia can affect cognitive functions of children and their attention span. The second state that negatively influences the attention span of children is Attention Deficit Hyperactivity Disorder (ADHD).... This factor deserves special attention as it was proved that if a little child watch TV or play games very often, it may have problems with attention span in future. The objects move in the screen fast and do not allow a child to concentrate, thus it may lose such ability. The investigation held by Peter Jensen came to the conclusion that: "Extensive exposure to television and video games may promote development of brain systems that scan and shift attention at the expense of those that focus attention" (cited in DeGaetano, 2012) Now when the development of the technology is very fast some parents make a strange decision to send their child to school where the process of study is not connected with the technology. They are afraid that technological achievements can influence their child’s brain negatively (Kessler, 2012). This testifies that many parents do believe that visual media prevents children from normal concentration. According to Dr Jane Healy, "A 'good' brain for le arning develops strong and widespread neural highways that can quickly and efficiently assign different aspects of a task to the most efficient system...Such efficiency is developed only by active practice in thinking and learning which, in turn, builds increasingly stronger connections. A growing suspicion among brain researchers is that excessive television viewing may affect the development of these kinds of connections. It may also induce habits of using the wrong systems for various types of learning" (Healy, 1991). As teachers and parents can trace every day, modern children are really less attentive; they become more hyperactive, impulsive with less ability to concentrate. Such a change in children’s

Leadership Impact Essay Example for Free

Leadership Impact Essay This research paper is written on the Leadership styles and the impact they have on the workforce. My information is based on my direct observation while being employed in the U. S. Air Force. My paper will analyze Leadership styles by using two concepts from Robbins and Judge (2009). The two concepts I have chosen are Leader Behaviors (p. 397) and Vision Statement (p. 415). Leadership Behaviors Being in the military for the past nine years has giving me an opportunity to see many different leadership behaviors. Four leadership behaviors Robbins and Judge (2009) defined are directive, supportive, participative, and achievement-oriented leaders (p. 397). The directive leader defines what is expected of the worker and schedules the work (p. 397). I feel that most people start off in with this leadership behavior until they grow as a leader. The supportive leader is concerned with the needs of their followers and interacts with them (p. 397). I have worked with many leaders that have used this behavior and it make them a popular leader, but can make it hard for them to get work done by some of their followers. I have seen were the workers take advantage of a leader because they feel more like a friend and not a boss. The participative leader takes the input of the follower and uses them before making a decision (p. 397). The Air Force leadership does use this behavior by using a yearly climate survey. The last leader behavior is the achievement-oriented leader. I feel that for the most part the behavior is the hardest to work for. This leadership style does not show much concern for the followers and does not take in their input. The leader is goal orientated and expects the followers to perform at their best to meet the goals (p. 97). Vision Statement A vision statement is a tool that leadership can use to tell why the organization exists (Kaplan Norton, 2008). Most military units have a vision statement to motivate its members. My unit’s statement is Safety first, By the book, Then on time. Our vision statement put the safety of the workers first and the sets the attitude of how the work is to be done. Robbins and Judge (2009) state that a vision should be value centered (p. 415) and all the military units I have worked for have had a vision statement that puts it people first. I feel it can make it easier to work for someone if they value you. Conclusion Leaders may use any of the behavior styles talk about in the paper. Charismatic leaders will try to set a goal and good work environment for their workers (Fischer). The leaders of an organization will have to ensure they use the right behavior to motivate its workers. In Psalm 28:11 David asks to be taught the Lords way and be lead in a straight path. I think this is how a lot of employees feel and it is the job of the leaders to ensure they know what path the organization is going.

The Scarlet Letter - Impact of Sin on Dimmmesdale, Chillingworth and He

The Scarlet Letter - Impact of Sin on Dimmmesdale, Chillingworth and Hester   Ã‚   Charles Haddon Spurgeon, a seventeenth century Baptist preacher, commented that, "Trials teach us what we are; they dig up the soil, and let us see what we are made of." An individual either faces their actions or runs from them, and Gothic Romance authors often write about the evil that emerges in people when they conceal their sins. Throughout the novel The Scarlet Letter, Nathaniel Hawthorne demonstrates this idea through the actions of his three main characters, Hester Prynne, Arthur Dimmesdale and Roger Chillingworth. In spite of the nearly equal severity of their sins, Dimmesdale, Chillingworth and Hester react to their dilemmas in varying ways such as guilt, revenge and reconciliation.    Although he portrays the pious pastor, Arthur Dimmesdale handles his sin, adultery, by hiding this fault from everyone and in turn destroys himself with his guilt. Beginning in chapter three, the townspeople constantly see Dimmesdale with his hand over his heart. He does not posses the courage to show his shame openly, so he decides to punish himself through physical pain and nightly vigils. This torture becomes evident in chapter ten when Chillingworth removes Dimmesdale's garments and rejoices at the image of a scarlet letter, along with other markings, upon the preacher's chest. His strong sense of guilt also becomes apparent when he takes a midnight walk to the scaffold, where Hester and Pearl join him. At this point, Dimmesdale still cannot truly endure the shame in front of the real crowd. Ironically, the more guilt he feels the more compelling his sermons become. He attempts many times to indirectly tell his congregation... ... differently towards sin and Hester proves reconciliation as the best response to wrongdoings. Through Hester, Hawthorne successfully conveys his theme that concealing a person's faults draws forth more evil than imaginable, but bearing the consequences leads to salvation. Indeed, life's difficult trials bring out the true essence of a person, and one must exhibit inner strength while facing their shame in order to survive these trials.    Works Cited and Consulted:    Brown, Bryan D. "Reexamining Nathaniel Hawthorne's The Scarlet Letter. http://www.usinternet.com/users/bdbournellonie.htm. July 1, 2003.    Hawthorne, Nathaniel. The Scarlet Letter. New York: Penguin Books USA Inc., 1996.    Smiles, Samuel. "The Scarlet Letter." The Power of Sin. Ed. Martin Tucker. New York City: Frederick Ungar Publishing Company, 1962. 266.   

Opening up the Alaskan Arctic National Wildlife Refuge Essay -- Enviro

Opening up the Alaskan Arctic National Wildlife Refuge Many preconceived notions exist in the realm of environmental policy. Decisions are constantly made that effect human health or environmental integrity in order to reap great economic benefits for the many. Often these choices compromise the role of human beings as environmental stewards of the planet. It is my attempt in this paper to outline the development of a very controversial part of the proposed comprehensive energy policy: the opening of the Alaskan Artic National Wildlife Refuge (ANWR) to oil drilling. I will introduce the case by offering some background of the situation followed by an analysis of pertinent economic, ethical, social, and ecological issues. I will present the actors and their respective positions and investigate how they interacted with the rules, regulations, and laws that govern the policy. I will finally discuss what the potential alternatives are and what lessons are being learned. Background The Arctic National Wildlife Refuge of Northeastern Alaska, which stretches for 20 million acres across a fragile tundra landscape, is home to over 350 (nearly extinct) musk ox and 180 bird species, which migrate from even Argentina or Chile. It is the largest Polar Bear denning area in the United States, offers calving ground for the 129,000-member herd of Porcupine Caribou, and supports among the largest populations of grizzly bears, wolves and moose (Student Pirg’s 2001). It remains one of the most pristine areas on the planet and is especially sensitive to environmental pollution due to the slow growth rate of the ecosystem. The Refuge was first established in 1952 in a joint effort between biologist Lowell Summer and National Park Servi... ...Washington. Murphy, Kim. In Alaska, the Hunt for Oil, Gas only Begins at Wildlife Refuge; Energy: High Prices, Pro-Business Government Fuel the Drive for Drilling Activists are Gearing Up. Los Angeles Times February 6, 2001. Nuclear Energy Institute. URL: http://www.nei.org/ Student PIRG’s. Save America’s Arctic. www.pirg.org/enviro/arctic/index.html Time Magazine. How Much is Under the Tundra? Time Inc. 2/19/2001, Vol. 157 Issue 7. U.S. Fish and Wildlife Service. 2001. Potential impacts of proposed oil and gas development on the Arctic Refuge’s coastal plain: Historical overview and issues of concern. Web page of the Arctic National Wildlife Refuge, Fairbanks, Alaska. 17 January 2001. http://arctic.fws.gov/issues1.html Verhovek, Sam Howe. Drill, Say Alaskans, Who Know Their Pockets Are Lined With Oil. New York Times: Anchorage. March 15, 2001.

Modernism in Two Poems by Marianne Moore

Introductionâ€Å"The most serious poetry today is still modernist. Modernism in literature is not easily  summarized, but the key elements are experimentation, anti-realism, individualism, and a stress on the cerebral rather than emotive aspects† (Wills 24). To some extent, Marianne Moore's poems The Fish and A Grave really follow the discussed modernist principles, but it is difficult to agree that Moore completely denies emotiveness and replaces it with modernist cerebral attributes. As a result, it is possible to assume that The Fish and A Grave are the two examples of non-traditional modernist writing, in which experimentation, realism, and individualism are combined with unusual writing techniques, complicated poem structure, and extreme emotiveness.To start with, The Fish and A Grave display vivid similarities in the tone of writing, and the use of similar images. â€Å"The barnacles which encrust the side of the wave† in The Fish are evidently similar and are almost parallel to â€Å"the blades of the oars / moving together like the feet of water-spiders† in A Grave: the unpleasant and almost tragic character of water in both poems is critical to understanding the modernist implications of both poetic works. However, in order to completely realize the scope and meaning of Moore's modernist verses, we should analyze each poem separately.â€Å"Repeated / evidence has proved that it can live / on what cannot revive / its youth. The sea grows old in it† (Moore 32). This is where we face the complicatedness and incomprehension of modernist poetry. What did Moore want to say with this passage? Is it that she imagined nature in its full purposefulness which was not characteristic of traditional classical poetry? It is more probable that a thirty-year-old poet was striving to express her sympathies with the nature, which she persistently viewed as deeply abused.The description of nature's violence, its wholeness, the sea as the sou rce of physical injury and actually a threat to a human life – these are the signs of modernism in Moore's writing. Having depicted nature as the threat of violence, Moore risked causing misinterpretation of the literary and sensual implications in The Fish. For many of those who have read The Fish, violence in poetry may initially seem inappropriate and confusing. Yet this is not a reader's mistake: Moore was really trying to show the nature in its power which bordered on violence against human beings. â€Å"The water drives a wedge / of iron through the iron edge / of the cliff†, and the â€Å"external marks of abuse† (Moore 32) is the combination of nature's violence and the violence against nature; it is the combination of the two incompatible elements, which is the distinguishing feature of poetic modernism.The modernism of The Fish is in that Moore was actually trying to combine the incompatible images, allusions, implications, and ideas. The initially inc ompatible conjunction of accidental and purposeful is another distinguishing feature of modernism in Moore's poem. Criticizing Moore's works, Heuving writes that â€Å"it should not be surprising that ‘the chasm side is dead', but if the chasm side is dead, ravaged as it clearly has been by the force of water it contains, how does it live on the barnacles that adhere to its surface? Why does the sea, clearly the most active and powerful force in this scene, grow old within this teeming shelter?† (29)Moore neither answers these questions, nor provides the reader with a single opportunity to find these answers anywhere else within the poem. The reader finds himself in the slow motion of the undersea world, with which he is hardly familiar, and which seems even more threatening and complicated through Moore's descriptions: â€Å"All / external / marks of abuse are present on this / defiant edifice† (Moore 32).Moore writes her poem in a way to create an image of sini ster beauty of the sea she describes. The rhythm of her poetic lines does not break the smooth and threatening movement of the undersea. The eight stanzas of the poem display the evident and easily noticeable repetition of the consonants, as if waves create a cyclic sound pattern. â€Å"Whereupon the stars, /   pink, / rice-grains, ink-/ bespattered jelly fish, crabs like green / lilies and submarine /   toadstools, slide each on the other† (Moore 32).While the sea is the central image in The Fish, A Grave is the expression of Moore's impossibility to see this sea. Some â€Å"man looking into the sea† seems to close â€Å"the view from those who have as much right to it as / you have it to yourself† (Moore 49). A Grave is frequently interpreted as the expression of Moore's feminism: â€Å"Moore calls attention to two difficulties here: the problem of seeking through a man, including a man's viewpoint, and the related problem of establishing herself as a cen tered speaker when she cannot stand ‘in the middle of this' (Wills 110). However, modernism of A Grave is not in its feminist expressions, but rather in the opacity of its meanings and the confusion of various symbolic implications similar to those in The Fish.Modernism in poetry is invariably linked to difficulties of interpretation, and these interpretation difficulties and ambiguities are evident in both The Fish and A Grave. Moore has been extremely individual in her modernist expressions, and the poetic structure of A Grave again suggests that poetic modernism may and probably should exist in the area of extreme emotions. The sense of crisis makes both poems similarly modernist: the description of nature and its scenes are central to both poems, and it is very probable that Moore seeks resolution of her crisis in those natural sceneries.â€Å"The wrinkles progress among themselves in a phalanx – beautiful / under networks of foam, / and fade breathlessly while the sea rustles in and out of the / seaweed† (Moore 49). The two poems seem to create a single line of nature's threat and power. This â€Å"violent† line of nature is developed in The Fish, where Moore emphasizes the threat of nature towards a man; this line of nature's abuse reaches its climax in A Grave, where Moore asserts that â€Å"the sea has nothing to give but a well excavated grave† (Moore 49).The rhythm of Moore's A Grave is another display of modernism in her poetry. Moore seems to treat her rhythms and stanzas with almost painful desire to keep the rhyme. The reader is frequently obsessed by an impression that the rhythm of the poem prevails over its meaning. Yet, modernist writings are traditionally characterized by unusual and often difficult rhymes. The combination of complex stanzas with complicated meanings and literary implications makes certain works of modernist writing completely incomprehensible.This is not the case with Marianne Moore. Each l ine makes the rhymes enervated, and creates an unusual combination of the sea's threat and immobility: â€Å"the birds swim through the air at top sped, emitting cat-calls [†¦] and the ocean, under the pulsation of lighthouses and noise of / bell-buoys, / advances as usual, looking as if it wee not that ocean in which / dropped things are bound to sink† (Moore 49). The heavy contrast in this passage creates the impression of a deceptive revelation: one might think that the sea and its threats were unreal and were produced by an ill mind.However, it is a surface feeling: a Man and the sea are real. The word â€Å"consciousness† with which Moore concludes her poem, is the ultimate expression of her position against the described Man and against the sea as the grave for humanity. â€Å"Moore reserves her climactic position for the quality of attentiveness to self and to ‘other' which is her highest aesthetic and moral value, while giving her sea the last word, the last hiss† (Martin 63).ConclusionPoetic modernism was traditionally viewed as the combination of several critical attributes: poetic individualism, self-expression, complicatedness of writing, and emotional indifference. Moore has completely denied these approaches: poetic modernism cannot live without emotions. On the contrary, Moore's modernism in itself stems from the climactic emotions the poet wanted to express and to deliver to her reader. Poetic modernism of Marianne Moore is something more than the self-expression and the description of individualistic regressions. In Moore's hands modernism becomes global, challenging, and almost revolutionary. For many of us the sea and its threats will look as the end of everything, A Grave for humanity; yet, in Moore's vision it is only the beginning of everything that is meaningful to a person.Works CitedHeuving, J. Omissions Are Not Accidents: Gender in the Art of Marianne Moore. Detroit,Wayne State, 1992.Martin, T. Marianne Moore: Subversive Modernist. Austin: University of Texas Press, 1986.Moore, M. â€Å"A Grave†. In M. Moore, Complete Poems, Penguin Classics, 1994, p. 49.Moore. M. â€Å"The Fish†. In M. Moore, Complete Poems, Penguin Classics, 1994, pp. 32.Wills, P. Marianne Moore: Woman and Poet. National Poetry Foundation, Inc., 1990. Modernism In Two Poems By Marianne Moore Marianne Moore was one of the eminent poetesses of the Modern times. An integral contributor to the modern American literature, Moore’s poetry is considered as a linkage between nature and the human world. She alludes to scientific and historical knowledge and tries to evade literary allusions to prevent her from being casted as a stereo-type. Her poems are full of keen observations and generally hold up the images of birds, butterflies, animals, landscapes of England and New York. She is a â€Å"literalist of the imagination† who can â€Å"present for inspection†¦imaginary gardens with real toads in them.†In A Grave, Moore begins with a meditation on the impossibility of seeing the sea, when a â€Å"Man looking into the sea† takes â€Å"the view from those who have as much right to it as you have to it yourself.† Moore calls attention to two difficulties here: the problem of seeing â€Å"through† a man, including a man's viewpoint, and the related problem of establishing herself as a centered speaker when she cannot stand â€Å"in the middle of this.† Moore's depiction of the sea correspondingly emphasizes its opacity over its translucency and its surface activities over its symbolic meanings.While Moore may well have written this poem out of a personal crisis that involved thoughts of suicide, the speaker reminds herself that to seek relief in the sea is not to be mirrored in any improved way or to be freed of her. The speaker works her way out of her crisis by establishing and confronting the actuality or literality of the sea and of death, and her difference from them. The sea interestingly, in Moore's poem is not a reflective object but a grave. Also, it is man’s careful acts, that is, his surface activities that save him and not his self- projections. Men â€Å"lowering nets† unconsciously â€Å"desecrate this grave,† â€Å"as if there were no such thing as death,† the speak er of this poem, conscious of the ultimate meaning of penetrating the depths of the sea, trains her vision to the surface:â€Å"The wrinkles progress among themselves in a phalanx—beautiful under networks of foam  the tortoise-shell scourges about the feet of the cliffs, inmotion beneath them;†The end of the poem marks its intensity. Unlike the exposition, the last lines of the lyric compel us to view the surroundings and not just concentrate on the opacity of the sea surface. A forced consciousness of the meditation on the outer scene is emphasized by the poetess. The sound of birds and bell-buoys make â€Å"noises† which break the ambience of a visual representation of the situation. The poem resolves with its initial perspective of assuming something as what it is not and an intrigue picture of the ocean’s opacity in the concluding lines:â€Å"and the ocean, under the pulsation of lighthouse and noise of  bell buoys,  advances as usual, looking as if it were not that ocean in  which dropped things are bound to sink—  in which if they turn and twist, it is neither with volition nor  consciousness.†For Moore, in A Grave, meditation on the sea becomes meditation on the limits of human power and human language, and immersion, literal or figurative, threatens dissolution. â€Å"Death† is the central theme of the poem with an under cutting allusion to Moore's own brother’s death. Many critics have tried to see the poem in the light of Moore’s feminist voice. In the poem, as many critics believe, Moore defines the male dominium and tries to break it with her strong and persuasive words. A grave is a place where dead things are put to rest, but Moore's A Grave is a locus of vital and challenging re-vision.The poems of Marianne Moore have arguments, often difficult to follow but always worth the effort. Distrustful of overt emotion, her poems rely on understatement and reserve to create it, a s in the simple What are Years? or the penetrating A Grave. What Are Years? is a stellar lyric which ends by paradoxically equating a bird's joyful song with both mortality and eternity? Both the poems have a dominating â€Å"sea imagery†. The tone of morality in both the poems is unsurpassable. The genesis of these poems can be owed to the World War II. These two poems are typical of Moore’s. These are not meant for the pleasure of reflection.They refuse to be simpler than the world is and make more sense when read again and again until one understands the perspective for which they are written. Moore exploits imagery and visuals from the nature and embeds them in her poems. The linking of morality with a bird in What are Years? is quite similar to the theme of death and survival in A Grave. The poems deal with the strong imagery of the sea-how in one poem it is â€Å"continuing† and in the other, â€Å"the sea is a collector, quick to return a rapacious look. † The imagery of bird or flying is also present in both the poems.This imagery is evident to prove the aspiration of the speaker to be free and boundless. In both the poems, Moore indicates the sea’s power to erode and destroy; strongly alluded in A Grave and subtly done in What are Years. A deep penetration of this concept might find it’s parallel to the society and humanity- the dominium of man over everything and his struggle to free himself. This idea or concept might be traced to the World War aftermath. The vulnerability of the society and the deterioration was enough to evoke the modernist flame inside Moore to conceptualize the social, political and economical conditions into a poetic expression.Many American poets see Moore as one of the monuments of modernism, up there with Robert Frost and Wallace Stevens. Vision and viewpoint, an integral quality of modernist poets is present in the poems of Moore as well. She once wrote that poems were â€Å"imagina ry gardens with real toads in them.† Her poems are conversational, yet elaborate and subtle in their syllabic versification, drawing upon extremely precise description and historical and scientific fact. A â€Å"poet's poet,† she influenced such later poets as her young friend Elizabeth Bishop. A Grave â€Å"offered Bishop, as it offers us, an example of how a woman well-versed in the literary tradition, rather than capitulating to the convention of female silence, can wield that tradition and write her own eloquent verses.†To conclude, in the words of eminent literary critic, Jeredith Merrin, â€Å"Her ocean/grave represents death, humanity's common enemy, and yet her sea as re-former of inherited poetic patterns acts too as Nature's and Woman's ally. The heavy sibilance throughout Moore's poem (in all versions) reminds us of Satan, of the serpentine and treacherous ladies of Romantic poetry, of the actual foaming ocean that advances and retreats over the shing le of land, and of mortality which menaces and circumscribes our lives.But with her insistent sound-play–e.g., â€Å"you cannot stand in the middle of this†; â€Å"repression. . . is not the most obvious characteristic of the sea†; â€Å"their bones have not lasted†Ã¢â‚¬â€œMoore also hisses back at Man, and at the arrogant male poet in particular, who arrogates to himself dominion, who is always trying â€Å"to stand in the middle of a thing.† By choosing to conclude her poem with the word â€Å"consciousness,† Moore reserves that climactic position for the quality of attentiveness to self and to â€Å"other† which is her highest aesthetic and moral value, while giving her sea (as retributive force) the last word, the last hiss.†ReferencesMarianne Moorehttp://www.poets.org/poet.php/prmPID/96On Marianne Moore's Life and Career http://www.english.uiuc.edu/maps/poets/m_r/moore/life.htmMarianne (Craig) Moore (1887-1972) http://www.k irjasto.sci.fi/mmoor.htmTHE POEMS OF MARIANNE MOORE  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  http://query.nytimes.com/gst/fullpage.html?res=9F0CE2DE1F3FF937A35752C0A9629C8B63 The Collected Essays and Criticism -By Clement Greenberg, Johnhttp://books.google.com/books?id=N5yfxzOr4j8C&pg=PA85&lpg=PA85&dq=%22what+are+years%22&source=web&ots=8EvqzAyM3v&sig=pchzURGxqaSTHBL3I-kmOagGf-g#PPA85,M1

Macroeconomics Example

Macroeconomics Example Macroeconomics – Article Example US Money Supply and the Demand for Gold Institute Summary The latest open figures for M3 show that the US money supply has stretched by 9 in the midst of the latest 12 months. As a result of the relative size of the organizations stressed, a little rate change out of budgetary assets into gold would bring about a considerable rate increase in the gold expense. Despite the current a ton of thump, the eagerness for gold stays low. Gold is assembled, not exhausted like all assorted things, consequently the figures which are routinely appropriated demonstrating that the business excitement for gold has by and large surpassed the starting late dug supply of gold for very much a while are misleading. Pretty much all gold mined in the verifiable setting of the world contains todays over the ground gold stock. The late fall in the gold cost to 12 year lows shows an accessibility of the holders of this financial gold to offer their gold at these low levels.Regardless of the demonstrated inade quacy between the supply of starting late mined gold and the business eagerness for gold, or the level of researcher short offering, or the volume of gold advances, an enormous rally in the gold expense wont happen until there is a growth in the cash related energy for gold. A honest to goodness variable in keeping the budgetary excitement for gold is the supply of US dollars. Dollars and gold are battling evidences of cash, and the current trough in the eagerness for gold can also be considered as a top in the energy for dollars. Exactly when this diminishment puts impact begins to be recollected. It is pretty much beyond any doubt that various people will attempt to secure their wealth from being taken through swelling by changing over some of their financial assets into gold. As a result of the relative size of the business divisions concerned, a little rate move out of financial assets into gold would bring about an extensive rate increase in the gold expense. Equaling is center from this location. Nonetheless, if a national bank conveys an abundance of development will uncompromisingly move as will premium rates, and fiscal activity will unavoidably be constrained by the misallocation of advantages determined by knock.OpinionThe US money supply has increased which has also increased the inflation rate. The extra inflation was inflated into goods and other assets, whereas later the money has been routed into monetary assets such as shares and bonds, creating the misconception for the many who carefully watch the CPI and PPI that inflation is under control. This was best explained by Fishers equation which is real interest rate= inflation + nominal interest rate. This can be further explained in graph below using LM model I M/P1 LM1 L4 L3 L Y1 Y2 YThe US dollar played an important part in the demand for gold as dollar is its substitute. Thismeant that the less supply of gold would increase the demand for dollar. This can be shown in graph below S1 S P D1 S P1 DP1P D GOLD Quantity US DOLLAR QuantityHence if the central bank will produce more money inflation and interest rate will rise adversely affecting business activity. If they will produce less money  the economys development also will doubtless be constrained by a lack of the necessary lubricant for transactions.ReferenceSaville, S. (1997).US Money Supply and the Demand for Gold.  Gold-eagle.com. Retrieved 17 December 2014, from gold-eagle.com/article/us-money-supply-and-demand-gold

Themis, Dike, Justitia and Lady Justice

Themis, Dike, Justitia and Lady Justice The modern image of justice is based on Greco-Roman mythology, but its not a clear one-to-one correspondence. U.S. courts argue against the placement of any version of the 10 Commandments in courtrooms because it might be a violation of the establishment of a (single) state religion, but the establishment clause is not the only problem with putting up the 10 commandments in federal buildings. There are Protestant, Catholic, and Jewish versions of the 10 Commandments, each substantially different. [See 10 Commandments.] Variability is the same problem that is faced when answering the simple question of which ancient goddess the modern version of Lady Justice represents. Theres also a question of whether or not putting up pagan-based images is a violation of the establishment clause, but thats not an issue for me to unravel. In a forum thread about Themis and Justitia, goddesses of Justice, MISSMACKENZIE asks: I mean which did they intend to portray, a Greek or Roman goddess? And BIBACULUS answers: The modern image of Justice is a conflation of various images and iconography over a period of time: the sword and the blindfold being two of the images that would have been alien to antiquity.Here is some information on the Greek and Roman goddesses and personifications of Justice.ThemisThemis was one of the Titans, the children of Uranos (Sky) and Gaia (Earth). In Homer, Themis appears three times where her role, according to Timothy Gantz in Early Greek Myth, is that of imposing some kind of order or control over gatherings.... Sometimes Themis is called the mother of the Moirai and the Horai (Dike [Justice], Eirene [Peace], and Eunomia [Lawful Government]). Themis was either first or second to deliver oracles at Delphi an office she gave over to Apollo. In this role, Themis prophesied that the son of the nymph Thetis would be greater than its father. Until the prophecy, Zeus and Poseidon had been trying to win Thetis, but afterwards, they left her to Peleus, who became the morta l father of the great Greek hero Achilles.Dike and AstraiaDike was the Greek goddess of justice. She was one of the Horai and the daughter of Themis and Zeus. Dike had a valued place in Greek literature. Passages from (www.theoi.com/Kronos/Dike.html) The Theoi Project describe her physically, holding a staff and balance:If some god had been holding level the balance of Dike (Justice).- Greek Lyric IV Bacchylides Frag 5and[Depicted on the chest of Cypselus at Olympia] A beautiful woman is punishing an ugly one, choking her with one hand and with the other striking her with a staff. It is Dike (Justice) who thus treats Adikia (Injustice).- Pausanias 5.18.2Dike is described as almost indistinguishable from Astraea (Astraia) who is depicted with a torch, wings, and Zeus thunderbolts.JustitiaIustitia or Justitia was the Roman personification of justice. She was a virgin living among humans until the wrong-doings of mortals forced her to take flight and become the constellation Virgo, acc ording to the Adkinses in Dictionary of Roman Religion.On a coin depicting Justitia from A.D. 22-23 (www.cstone.net/~jburns/gasvips.htm), she is a regal woman wearing a diadem. In another (/www.beastcoins.com/Deities/AncientDeities.htm), Justitia carries olive twig, patera, and scepter.Lady JusticeThe U.S. Supreme Court website explains some of the images of Lady Justice that adorn Washington D.C.:Lady Justice is a blend of Themis and Iustitia. The blindfold with which Justice is now associated probably started in the 16th century. In some of the Washington D.C. statues, Justice holds scales, blindfolds, and swords. In one representation she is fighting evil with her gaze, although her sword is still sheathed.Besides all the statues of Lady Justice, Themis, and Justitia in courthouses across the U.S. (and world), the much revered Statue of Liberty bears a close resemblance to the ancient goddesses of justice. Even in antiquity the personification of Justice goddesses changed to fit the times or the needs and beliefs of the writers. Is it possible to do the same with the Ten Commandments? Wouldnt it be possible to distill the essence of each commandment and arrive at an order by consensus of some ecumenical council? Or let the different versions exist side by side just as the statues of Justice do in Washington D.C.?Images of Justice