Greek Theatre: The Contribution and the Effect

Greek Theatre: The Contribution and the Effect The ancient Greeks are famous for their many contributions to the world. Among these contributions is one that has changed culture and the arts permanently. This contribution is theatre. Greek theatre is considered the beginning of theatre as we know it. Theatre began in Athens, circa 600 BC, developing out of rituals at the Dionysia. The Dionysia was a festival for followers of the cult of Dionysus, god of wine and festivities. Greek theatre really began to take shape, however, around 400 BC. The first actor was named Thespis, and it is from his name that the word thespian originated. Thespis was born in Attica, in 534 BC. He began performing speeches from epic poems and stories of the day, speaking from that characters point of view. His shows were also interactive, as he often spoke with the audience. Since no theater really existed at the time, he traveled from place to place with a handcart. He used masks, makeup, and costumes to make his monologues more realistic [Sandels]. Over time, theatre was changed and developed by forward-thinking playwrights. One such playwright, Aeschylus, introduced the concept of using a second character, so that dialogue and the interaction of the characters could be used as a plot device. Years later, another playwright, Sophocles, added another actor, steadily decreasing the importance of the chorus while increasing character interactions. Around the same time, Euripides gradually made theatre more natural and realistic, rather than the rigid, structured form of acting [History]. The theater itself was outdoors and known as an Amphitheater. It was semi-circular in shape, and terraced, allowing for each visitor to have perfect view. These seats were called the theatron, literally meaning the viewing area. On average, the Amphitheater was able to fit 1,500 viewers and was designed to have near perfect acoustics. There was usually a theater in each town, as theaters were also used for religious rituals and processions as well as entertainment. In the center was a circular platform called the orchestra. On the orchestra was an altar where sacrifices to Dionysus were performed. The stage itself was called the Proscenio. It was situated behind the orchestra, and was constructed much like stages today, although most of the acting took place in the orchestra. The back of this stage had painted backgrounds to create the settings for each scene [Englert]. These buildings were most likely brightly painted, although the paint would have faded over time [Phillips]. Behind the stage, machines used for the performances were kept. These machines were advanced technology for their day, and included the Aeorema, the Ekeclema, and the Periactoi. The Aeorema was one of the more commonly used. It was a large crane used to pull actors through the air. This was most often employed to create the illusion of gods, which led to the expression, Deus ex Machina. The Ekeclema was a wheeled platform. This sometimes ferried dead bodies across the stage, as murders and suicides were not shown on stage. This tradition stemmed from the superstition that to kill a person on stage would be foretelling of their actual death. The Periactoi consisted of two pillars, one on each side of the stage, which could turn to change the background setting without need of stagehands [Ancient]. All of these were constructed of simple machines, such as pulleys, levers, and wheels, made from wood, rope, and metal. They were put to use in many famous plays. The plays themselves were very similar to the modern musical. They had sing and dancing, sometimes accompanied by music. The cast was comprised of many actors, called hypocrites, both professional and amateur. The main character, or protagonist, was usually played by a professional and often highly-famed actor specifically chosen by the playwright, although some playwrights would portray this character themselves. Like most present musicals, there was also a chorus. The chorus provided the mood of the play by singing and dancing. Generally the lead chorus member was a professional dancer and singer, and the rest of the chorus was made up of amateurs. All the actors were men, as women were forbidden to appear on stage [Ancient]. The actors wore masks when portraying a woman or animal. These masks were built from wood, cloth, and clay, sometimes covered in animal or even human hair. The holes for the eyes were very small, but the opening for the mouth was large to allow the actors voic e to resonate more easily [Barrow]. The actors were sometimes required to wear wooden platform shoes, or kothomoi, in order to appear taller. Actors would also use optical illusions to seem taller or shorter. Vertical stripes were worn to appear taller and horizontal stripes to appear shorter [Ancient]. Greek plays generally fell into one of two categories: comedy or tragedy. Other than in satirical plays, these categories would never mix. The modern symbol of drama, a smiling comedic mask and a weeping tragic mask, stems from these categories. These different types of plays varied greatly, especially in their topic. Comedy plays included base, vulgar humor. Comedy plays were humorous representations of peasant life and values. They encouraged tradition and criticized what they considered immorality. They were generally far more popular with the lower class, as they joked about topics that the upper class would have been unable to relate to. They were considered by the Greeks to be the easiest to write and perform. Costumes for comedic plays usually depended on the characters of the play. As many of these plays were about animals, so were the costumes. The actors masks were exaggerated and grotesque, suggesting that the audience should not take them too seriously [Comic]. The most notable comedic playwright was Aristophanes, and his major plays include The Frogs and Lysistrata. Tragedy plays were not sad or depressing, but they were about more serious subjects than the comedic plays. Instead of a chaotic, meandering plot, tragic plays had a set rhythm and pattern to them. They also excluded vulgarity, tending not to offend their viewers. Tragedy plays explored the depth of human emotion and character. They were famous for their ability to cause the audience to relate to each character in a more empathetic way. They were more sophisticated and suited to the upper class than their humorous counterpart. Costumes were generally everyday clothing, if somewhat nicer and more elaborate. Notable playwrights of the genre included Sophocles, Euripides, and Aeschylus. Prometheus Bound, Oedipus the King, and Medea are prime examples of tragic plays [Ancient]. Satirical plays emerged as a compromise to the two categories. These plays dealt with the same topics and ideas of a tragic play, but presented them in a comical manner. The actors mocked the clichà ©s and styles of a tragedy, and were often exaggerated in their mannerisms. These were popular with both the upper and lower classes, and were known for being very witty, a trait the Greeks admired greatly. They were generally as amusing as comedic plays, but not as rude and offensive. Cyclops, written by the poet Euripides, and The Scouts by Sophocles are the only known existing satire plays [Ancient]. Historians know of their existence in ancient Greece from other archaeological sources. Satire plays were considered the most difficult, for both the actors and playwrights. In competitions, a playwright would often submit a satire play to prove his worth, as well as their usual comic or tragic plays. They were also mush shorter than the other plays, usually only half as long as a tragedy . Greek plays were inextricably tied to the gods. Before each play, a sacrifice would be made to Dionysus, to whom theatre really owes its beginning. Apollo was also important. As the god of music and poetry, Apollo was especially honored by actors and playwrights. Equally important to the theatre were the Muses. The muses were the 9 goddesses of the arts. Terpsichore, Euterpe, Calliope, Thalia, and Melpomene were the most significant to the theatre. Terpsichore and Euterpe personified dance and music respectively, both key elements of Greek theatre. Calliope embodied epic poetry, which was usually the basis of most plays. Thalia and Melpomene represented the two categories of theatre, comedy and tragedy [Parada]. The Greeks have given much to our modern world through theatre. Every actor, of course, owes his or her livelihood to the Greeks innovative thinking. Many Greek plays still exist today, preserving the culture and traditions of their time. The basics of many modern machines come from the Aeorema, the Ekeclema, and the Periactoi, all machines created specifically for theatre productions. The Greeks have also provided the fundamentals of theatre. We still use stages, costumes, and make-up in acting today. We still have comedy, tragedy, and satire, although often combined, in present movies, television shows, and dramatic performances. Many theaters are modeled after Greek amphitheaters, in order to achieve their nearly flawless acoustics. No doubt exists, however, that Greek theatre has affected our society in deeper ways as well. Since the beginning of history, stories have been used to pass on values, such as integrity, bravery, and respect. Theatre continues today to bring life to these stories, forever imprinting itself into the minds and consciences of its audience. Each person can empathize with and relate to the characters, gaining insight to their own plights and personalities. Theatre also probes deep inside the heart of humanity, for the actors as well as the audience, as if through becoming another person, you learn more about yourself. Without theatre, culture as we know it could not exist. It has been changed permanently through theatre. A simple tradition of the Greeks has become a vital part of our identity as human beings. References Ancient Greek Theatre. Ancient Greek Theatre. Sept. 2008. Web. 15 Oct. 2010. . Comic Costumes. TheatreHistory.com. 2002. Web. 15 Oct. 2010. . Englert, Walter. Greek Theater. Reed College. Web. 15 Oct. 2010. . Barrow, Mandy. The Greek Theatre Ancient Greece for Kids.Woodlands Junior School, Tonbridge, Kent UK. 14 Oct. 2010. Web. 15 Oct. 2010. . Sandels, VEK, and George Synodinos. Thespis, Greece, Ancient History.Greece Travel History Mythology Greek Islands and Maps. 14 Apr. 2010. Web. 15 Oct. 2010. . Greek Masks and Their Rich History. Mask and More Masks Information for Collectors and Buyers. Web. 03 Nov. 2010. . History of Ancient Theatre. Tupelo Community Theatre. Web. 03 Nov. 2010. . Phillips, K. ANCIENT GREEK THEATRE. 29 Mar. 2000. Web. 03 Nov. 2010. Parada, Carlos. MUSES Greek Mythology Link. Entrance Greek Mythology Link. 1997. Web. 03 Nov. 2010. .

The Importance Of Fire Safe Shelter Environmental Sciences Essay

1.0 IntroductionPresents, high rise edifice has become the icon of the metropolis. Many tall edifice are constructed to carry through the increasing demand of commercial and residential development. Millions of people stay and work in tower block edifice due to population and economic has been increased. Fire safety has been concern to protect their life and belongings. To guarantee the safety of the edifices and their users, the safety system and equipment should parallel with the criterion of demands and has a good execution of safety direction. Although high-rise edifices are provided with the most sophisticated safety characteristics, confidence of safety to constructing users is still questionable. Therefore, fire safe shelter has been introduced to supply better fire safety design in tower block edifice. This survey has been developed with the purpose to reexamine the importance of fire safe shelter design in tower block edifice and to overview the current fire safety design on tower block edifice, and giving recommendation to better the pattern. The methodological analysis is conducted the survey included literature reappraisal, analysis of consequences and informations aggregation. The procedure of informations aggregation is collected toward the primary informations by carry oning questionnaire studies to the respondents at the selected edifices instance surveies and from the writer & A ; acirc ; ˆâ„ ¢s observation. From the survey, it was found that how the fire safety shelter integrates in fire safety design to protect the civilian in the edifices.2.0 Issue Statement:In recent old ages, fire onslaught in high rise edifice has become the common issue which cause many civilian deceases and injured. Civilians are remaining in high rise edifice unable to get away because they are excessively high from the land. The fright of the civilian besides caused the job which makes them unable to get away. Although fire exigency issue are provided, it is ex cessively slow for civilian stayed in high top of the edifice to get away. The opportunity of them to get away is low. Another job is hard for fire combatants to make the upper floors. For illustration, the highest fire truck ladder can be reached in many metropoliss merely can widen to the eight floors. In order to snuff out fire above that point, fire combatants must mount up many of stepss which carry along fire hosieries and other heavy equipment. High-rise edifices are designed to be safe. When come to many civilian stay at tall edifice, exigency response is become more hard to evacuate civilians out of the edifice. What tallness is considered tower block? A tower block is defined as any edifice above 15 m or four floors in tallness or whichever is more. All tower blocks are required to supply fire protection agreements prescribed by the National Building Code ( NBC ) and the National Electricity Code ( NEC ) . These include a fire flight, fire pump and storage armored combat vehicle at the land degree, lift, lightning protection device, fire dismay, asphyxiators, etc. There are many instances related to fire incident. For illustration, the incident go on on Twin Towers of the World Trade Center in New York City wholly collapsed merely over one hr after fires raged in them upon the clang of two aeroplanes into them on 11 September 2001. This entire incident caused 2795 dead. The causes of edifices prostration was the terrible weakening of the supporting strength of the towers ‘ steel-based supporting construction under utmost heat. Besides, the high-rise flat fire in Shanghai on15 November 2010 has become attending for people around the universe. This incident has taken 53 people and injured 70 casualties. This incident happen cause by the flicker during welding work. Furthermore, there is another fire incident happen in Busan on October 2010. Based on the study, there are no casualties were reported as most occupants were dispersed after the fire broke out. Fire combatants rescued 31 occupants, four of casualties were sent to the infirmary f or intervention. Based on the probe, people suspect the cause happen from the fire started at the refuse room on the 4th floor which is extremely flammable wall stuff and strong air currents seemingly fuelled the fire. Based on incidents have been highlighted, the fire safety design needs to be considered more critically for all the high rise edifice.3.0 Research Question:1 ) What is the shelter design demand for high rise edifice? 2 ) The consciousness of residents about fire safe shelter.4.0 Purposes:The purpose of this research is to entree the demand for fire safety means in high rise edifices.5.0 Aim:1 ) To detect how best to better fire safety by utilizing fire safe shelter. 2 ) To suggest solution on how to incorporate the fire safety design in high rise edifice.6.0 Scope:This research will discourse the design of shelters to protect against fire onslaught. The design of such shelters requires attending to jobs such as the figure of residents remaining or working in such edifice and besides the high of the edifice will impact the design of shelter. The introducing of this fire safety system can take to better protection in order to cut down hazard of danger from residents. Besides, the counter steps for high rise edifice fire besides need to be considered to cover with big hazard as follow, 1. Protection against fire and fume 2. Emptying 3. Fire-fighting 4. Protection against prostration7.0 Proposed MethodologyIn order to accomplish the aims have been stated, the research will be carried out in measure by stairss. First of all, place the aims and range needed for this research. Second follow by carry oning literature reappraisal about issue on fire incident happen in high rise edifice and the map of fire safety shelter presently utilizing on tower block edifice. This procedure will assist in better apprehension on the research subject and incorporate the cognition to the proposed topic. Besides, professional interviews with the designer and applied scientist besides will be conducted related to the fire safety shelter in safety design. Question checklist will be provided in item to forestall any missing inquiry during interview. Furthermore, questionnaire study besides will be conducted towards the respondents remaining in tower block edifice. The consequence will be collected and proceed to roll up the consequence and behavior analy sis. Final will be provided a presentation based on the analyzed information and besides the concluding study include the decision and recommendation.

Spirit Bound Chapter Nine

ROBERT DORU WAS EASY TO SPOT. It wasn't because he looked like Victor. It wasn't even because of any dramatic running-toward-each-other reunion type thing between him and his brother. Rather, it was Lissa's mind that tipped me off. I saw Robert through her eyes, the golden aura of a spirit user lighting up his corner of the restaurant like a star. It caught her by surprise, and she stumbled briefly. Spirit users were too rare a sight for her to be fully used to them. Seeing auras was something she could tune in or out, and just before â€Å"turning his off,† she noted that even though his had the brilliant gold she saw in Adrian, there was also a feel of instability to it. Sparks of other colors flashed there too, but they trembled and flickered. She wondered if it was a mark of spirit's insanity setting in. His eyes lit up as Victor approached the table, but the two didn't hug or touch. Victor simply sat down beside his brother. The rest of us stood there awkwardly for a moment. The whole situation was too weird. But it was the reason we'd come, and after several more seconds, my friends and I joined the brothers at the table. â€Å"Victor†¦Ã¢â‚¬  breathed Robert, eyes wide. Robert might have had some of the Dashkov facial features, but his eyes were brown, not green. His hands toyed with a napkin. â€Å"I can't believe it†¦. I've wanted to see you for so long†¦.† Victor's voice was gentle, as it had been on the phone, as if he were talking to a child. â€Å"I know, Robert. I missed you too.† â€Å"Are you staying? Can you come back and stay with me?† Part of me wanted to snap that that was a ridiculous idea, but the desperation in Robert's voice sparked a tiny bit of pity in me. I remained silent, simply watching the drama before me unfold. â€Å"I'd hide you. It'd be great. Just the two of us.† Victor hesitated. He wasn't stupid. Despite my vague claims on the plane, he knew the odds of me letting him go were nonexistent. â€Å"I don't know,† he said quietly. â€Å"I don't know.† The waiter's arrival jolted us out of our haze, and we all ordered drinks. Adrian ordered a gin and tonic and wasn't even carded. I wasn't sure if it was because he looked twenty-one or was convincing enough with spirit. Regardless, I wasn't thrilled about it. Alcohol muted spirit. We were in a precarious situation, and I would have liked him at full strength. Of course, considering he'd been drinking earlier, it probably didn't matter now. After the waiter left, Robert seemed to notice the rest of us. His eyes passed over Eddie quickly, sharpened at Lissa and Adrian, and lingered on me for a long time. I stiffened, not liking the scrutiny. He finally turned back to his brother. â€Å"Who have you brought, Victor?† Robert still had that oblivious, scattered air to him but it was lit with suspicion now. Fear and paranoia. â€Å"Who are these children? Two spirit users and†¦Ã¢â‚¬  His gaze fell on me again. He was reading my aura. â€Å"One of the shadow-kissed?† For a moment, I was astonished at his use of the term. Then I remembered what Mark, Oksana's husband, had told me. Robert had once been bonded to a dhampir–and that dhampir had died, drastically speeding up the deterioration of Robert's mind. â€Å"They're friends,† said Victor smoothly. â€Å"Friends who'd like to talk to you and ask you some questions.† Robert frowned. â€Å"You're lying. I can tell. And they don't consider you a friend. They're tense. They keep their distance from you.† Victor didn't deny the friend claim. â€Å"Nonetheless, they need your help, and I promised it to them. It was the price for me being allowed to visit you.† â€Å"You shouldn't have made promises for me.† Robert's napkin was now in shreds. I kind of wanted to give him mine. â€Å"But didn't you want to see me?† asked Victor winningly. His tone was warm, his smile almost genuine. Robert looked troubled. Confused. I was again reminded of a child and was starting to have my doubts that this guy had ever transformed a Strigoi. He was spared an answer yet again when our drinks arrived. None of us had even picked up our menus, much to the waiter's obvious annoyance. He left, and I opened mine without really seeing it. Victor then introduced us to Robert, as formally as he might at any diplomatic function. Prison hadn't dulled his sense of royal etiquette. Victor gave first names only. Robert turned back to me, that frown still on his face, and glanced between Lissa and me. Adrian had said that whenever we were together, our auras showed that we were linked. â€Å"A bond†¦ I've almost forgotten what it was like†¦ but Alden. I've never forgotten Alden†¦Ã¢â‚¬  His eyes grew dreamy and almost vacant. He was reliving a memory. â€Å"I'm sorry,† I said, surprised to hear the sympathy in my words. This was hardly the harsh interrogation I'd envisioned. â€Å"I can only imagine what it must have been like†¦ losing him†¦.† The dreamy eyes grew sharp and hard. â€Å"No. You cannot. It's like nothing you can imagine. Nothing. Right now†¦ right now†¦ you have the world. A universe of senses beyond those of others, an understanding of another person that no one can have. To lose that†¦ to have that ripped away†¦ it would make you wish for death.† Wow. Robert was pretty good at killing conversation, and we all kind of sat there hoping the waiter would return this time. When he did, we all made halfhearted attempts at ordering food–except Robert–most of us deciding on the spot. The restaurant served Asian cuisine, and I ordered the first thing I saw on the menu: an egg roll sampler. With food ordered, Victor continued taking the firm hand with Robert that I seemed incapable of managing. â€Å"Will you help them? Will you answer their questions?† I had a feeling that Victor was pushing Robert on this not so much as a way to pay back us rescuing him, but rather because Victor's scheming nature was dying to know everyone's secrets and motivations. Robert sighed. Whenever he looked at Victor, there was such a strong expression of devotion and even idol worship. Robert probably couldn't refuse his brother anything. He was the perfect type to play into Victor's plans, and I realized I should possibly be grateful that Robert had grown unstable. If he'd been in full control of his powers, Victor would never have bothered with Lissa last time. He would have already had his own private spirit wielder to use however he wanted. â€Å"What do you want to know?† asked Robert blearily. He addressed me, apparently recognizing my leadership. I glanced at my friends for moral support and received none. Neither Lissa nor Adrian approved of this mission in the first place, and Eddie still didn't know its purpose. I swallowed, steeling myself, and directed my full attention to Robert. â€Å"We heard you freed a Strigoi once. That you were able to convert him–or her–back to their original state.† Surprise flashed on Victor's usually composed face. He certainly hadn't expected this. â€Å"Where did you hear this?† demanded Robert. â€Å"From a couple I met in Russia. Their names are Mark and Oksana.† â€Å"Mark and Oksana†¦Ã¢â‚¬  Again, Robert's gaze slipped away for a moment. I had a feeling this happened a lot, that he didn't spend much time in reality. â€Å"I didn't know they were still together.† â€Å"They are. They're doing really great.† I needed him back in the present. â€Å"Is it true? Did you do what they said? Is it possible?† Robert's responses were always preceded by a pause. â€Å"Her.† â€Å"Huh?† â€Å"It was a woman. I freed her.† I gasped in spite of myself, hardly daring to process his words. â€Å"You're lying.† It was Adrian who spoke, his tone harsh. Robert glanced at him with an expression amused and scornful. â€Å"And who are you to say that? How can you tell? You've bruised and abused your powers so much, it's a wonder you can even touch the magic anymore. And all these things you do to yourself†¦ it doesn't truly help, does it? Spirit's punishment still affects you†¦ soon you won't be able to tell reality from dream†¦.† The words stunned Adrian for a moment, but he kept going. â€Å"I don't need any physical signs to see that you're lying. I know you are because what you're describing is impossible. There's no way to save a Strigoi. When they're gone, they're gone. They're dead. Undead. Forever .† â€Å"That which is dead doesn't always stay dead†¦.† Robert's words weren't directed at Adrian. They were spoken to me. I shivered. â€Å"How? How did you do it?† â€Å"With a stake. She was killed with a stake, and in doing so, was brought back to life.† â€Å"Okay,† I said. â€Å"That is a lie. I've killed plenty of Strigoi with stakes, and believe me, they stay dead.† â€Å"Not just any stake.† Robert's fingers danced along the edge of his glass. â€Å"A special stake.† â€Å"A stake charmed with spirit,† said Lissa suddenly. He lifted his eyes to her and smiled. It was a creepy smile. â€Å"Yes. You are a clever, clever girl. A clever, gentle girl. Gentle and kind. I can see it in your aura.† I stared off at the table, my mind in overdrive. A stake charmed with spirit. Silver stakes were charmed with the four main Moroi elements: earth, air, water, and fire. It was that infusion of life that destroyed the undead force within a Strigoi. With our recent discovery of how to charm objects with spirit, infusing a stake had never even occurred to us. Spirit healed. Spirit had brought me back from the dead. In joining with the other elements within a stake, was it truly possible that the twisted darkness that gripped Strigoi could be obliterated, thus restoring that person to their rightful state? I was grateful for the food's arrival because my brain was still moving sluggishly. The egg rolls provided a welcome opportunity to think. â€Å"Is it really that easy?† I asked at last. Robert scoffed. â€Å"It's not easy at all.† â€Å"But you just said†¦ you just said we need a spirit-charmed stake. And then I kill a Strigoi with it.† Or well, not kill. The technicalities were irrelevant. His smile returned. â€Å"Not you. You can't do it.† â€Å"Then who†¦Ã¢â‚¬  I stopped, the rest of my words dying on my lips. â€Å"No. No.† â€Å"The shadow-kissed don't have the gift of life. Only the spirit-blessed,† he explained. â€Å"The question is: Who's capable of doing it? Gentle Girl or Drunken Sod?† His eyes flicked between Lissa and Adrian. â€Å"My wager would be on Gentle Girl.† Those words were what snapped me out of my stunned state. In fact, they were what shattered this whole thing, this far-fetched dream of saving Dimitri. â€Å"No,† I repeated. â€Å"Even if it was possible–and I'm not sure if I believe you–she can't do it. I won't let her.† And in a turn of events almost as astonishing as Robert's revelation, Lissa spun toward me, anger flooding our bond. â€Å"And since when can you tell me what I can or can't do?† â€Å"Since I don't recall you ever taking guardian training and learning to stake a Strigoi,† I returned evenly, trying to keep my voice calm. â€Å"You only punched Reed, and that was hard enough.† When Avery Lazar had tried to take over Lissa's mind, she'd sent her shadow-kissed brother to do some dirty work. With my help, Lissa had punched him and kept him away. It had been beautifully executed, but she'd hated it. â€Å"I did it, didn't I?† she exclaimed. â€Å"Liss, throwing a punch is nothing like staking a Strigoi. And that's not even counting the fact that you have to get near one in the first place. You think you could get in range before one bit you or snapped your neck? No.† â€Å"I'll learn.† The determination in her voice and mind was admirable, but it took guardians decades to learn what we did–and plenty still got killed. Adrian and Eddie looked uncomfortable in the midst of our bickering, but Victor and Robert seemed both intrigued and amused. I didn't like that. We weren't here for their entertainment. I tried to deflect the dangerous topic by turning back to Robert. â€Å"If a spirit user brought back a Strigoi, then that person would become shadow-kissed.† I didn't point out the obvious conclusion to Lissa. Part of what had driven Avery crazy (aside from normal spirit usage) had been bonding with more than one person. Doing so created a very unstable situation that rapidly led all people involved into darkness and insanity. Robert's eyes grew dreamy as he stared beyond me. â€Å"Bonds form when someone dies–when their soul has actually left and moved onto the world of the dead. Bringing it back is what makes them shadow-kissed. Death's mark is upon them.† His gaze suddenly snapped onto me. â€Å"Just as it is on you.† I refused to avoid his eyes, despite the chill his words sent through me. â€Å"Strigoi are dead. Saving one would mean its soul was brought back from the world of the dead too.† â€Å"No,† he argued. â€Å"Their souls do not move on. Their souls linger†¦ neither in this world nor the next. It's wrong and unnatural. It's what makes them what they are. Killing or saving a Strigoi sends the soul back to a normal state. There is no bond.† â€Å"Then there's no danger,† Lissa said to me. â€Å"Aside from a Strigoi killing you,† I pointed out. â€Å"Rose–â€Å" â€Å"We'll finish this conversation later.† I gave her a hard look. We held each other's gazes a moment, and then she turned to Robert. There was still an obstinacy in the bond I didn't like. â€Å"How do you charm the stake?† she asked him. â€Å"I'm still learning.† I again started to chastise her and then thought better of it. Maybe Robert was wrong. Maybe all it actually took to convert a Strigoi was a spirit-infused stake. He only thought a spirit user had to do it because he had done it. Allegedly. Besides, I'd much rather Lissa preoccupy herself with charming than fighting. If the charm part sounded too hard, she might have to give up altogether. Robert glanced at me and then Eddie. â€Å"One of you must have a stake on you. I'll show you.† â€Å"You can't take a stake out in public,† exclaimed Adrian, in what was a remarkably wise observation. â€Å"It might be weird for humans, but it's still obvious that it's a weapon.† â€Å"He's right,† Eddie said. â€Å"We could go back to the room after dinner,† said Victor. He had that perfectly pleasant and bland look on his face. I studied him, hoping my expression showed my distrust. Even with her zeal, I could sense the hesitation in Lissa too. She wasn't keen on following any suggestion of Victor's. We'd seen in the past how desperately far Victor would go in attempting to fulfill his plans. He'd convinced his own daughter to turn Strigoi and help him escape jail. For all we knew, he was planning the same for– â€Å"That's it,† I gasped, feeling my eyes go wide as I stared at him. â€Å"That's what?† Victor asked. â€Å"That's why you had Natalie turn. You thought†¦ you knew about this. What Robert had done. You were going to use her Strigoi strength and then have him turn her back.† Victor's already pale face went paler, and he seemed to age before our eyes. His smug look disappeared, and he looked away. â€Å"Natalie is dead and long gone,† he said stiffly. â€Å"There's no point in discussing her.† Some of us made an attempt to eat after that, but my egg roll seemed tasteless now. Lissa and I were thinking the same thing. Among all of Victor's sins, I'd always considered him convincing his own daughter to turn Strigoi to be the most awful. It was what had really sealed the deal for me about him being a monster. Suddenly, I was forced to reevaluate things–forced to reevaluate him. If he'd known he could bring her back, it made what he had done terrible–but not as terrible. He was still evil in my mind, no question. But if he had believed he could bring Natalie back, then that meant he believed in Robert's power. There was still no way I was letting Lissa near a Strigoi, but this incredible tale had become slightly more credible. I couldn't let it go without further investigation. â€Å"We can go up to the room after this,† I said at last. â€Å"But not for long.† My words were to Victor and Robert. Robert seemed to have faded into his own world again, but Victor nodded. I gave Eddie a quick glance and got a curt nod of a different sort from him. He understood the risk in taking the brothers to a private place. Eddie was telling me he would be extravigilant–not that he wasn't already. By the time we finished dinner, Eddie and I were both rigid and tense. He walked near Robert, and I stayed by Victor. We kept Lissa and Adrian between the brothers. Yet, even keeping close, it was hard as we cut through the crowded casino. People stopped in our path, walked around us, through us†¦ it was chaos. Twice, our group got split by oblivious tourists. We weren't too far from the elevators, but I was getting uneasy about the possibility of Victor or Robert running off through the mob of people â€Å"We need to get out of this crowd,† I shouted over to Eddie. He gave me another of his quick nods and took an abrupt left that caught me by surprise. I steered Victor in that same direction, and Lissa and Adrian sidestepped to keep up with us. I was puzzled until I saw that we were approaching a hall with an EMERGENCY EXIT sign on it. Away from the busy casino, the noise level dimmed. â€Å"Figure there are probably stairs here,† Eddie explained. â€Å"Crafty guardian.† I flashed him a smile. Another turn showed us a janitorial closet on our right and ahead of us: a door with a symbol for stairs. The door appeared to lead both outside and to upper floors. â€Å"Brilliant,† I said. â€Å"You're, like, on the tenth floor,† pointed out Adrian. It was the first time he'd spoken in a while. â€Å"Nothing like a little exercise to–damn.† I came to an abrupt halt in front of the door. It had a small warning sign saying that an alarm would go off if the door was opened. â€Å"Figures.† â€Å"Sorry,† said Eddie, like he was personally responsible. â€Å"Not your fault,† I said, turning. â€Å"Back we go.† We'd have to take our chances in the crowd. Maybe the roundabout detour had tired Victor and Robert out enough to make escape unappealing. Neither of them was that young anymore, and Victor was still in bad shape. Lissa was too tense to think much about being led around, but Adrian gave me a look that clearly said he thought this traipsing was a waste of his time. Of course, he thought this whole Robert thing was a waste of time. I was honestly surprised he was coming with us at all back to the room. I would have expected him to stay in the casino with his cigarettes and another drink. Eddie, leading our group, took a few steps back toward the casino down the hallway. And then it hit me. â€Å"Stop!† I screamed. He responded instantly, coming to a halt in the narrow space. A bit of confusion followed. Victor stumbled into Eddie in surprise, and then Lissa stumbled into Victor. Instinct made Eddie reach for his stake, but mine was already out. I'd grabbed it as soon as the nausea had swept me. There were Strigoi between us and the casino.

The Medias Influence on Adolescent Women - 1392 Words

Every day adolescent women are being influenced and affected by the media. The media includes anything from magazines, television shows, billboards, radio advertisements, commercials, newspapers and more. Through the media, women are being exposed to all forms of advertisements, including images that display misleading figures of women. These advertisements do not feature women with large hips, wide shoulders, lengthy arms or fuller figures. Instead, the women found on the front pages of magazines and advertisements are usually cookie-cutter cropped and photo shopped models with thigh gaps, perfect curves, high cheek bones and all the features of a deceivingly perfect looking woman. The media neglects to show the average woman, who comes†¦show more content†¦This study also found that 3 out of 100 females are bulimic and 1 out of 100 females is anorexic. Another study on the negative effects of body dissatisfaction was completed in 2013 by Quick and Bryd-Bredbenner, which involved College students in the United States of America. They found that 25% of women engaged in dietary limitations, 1 out of 7 regularly engage in bing eating and one third use certain behaviors, such as intentional vomiting, over exercising or mistreatment of medicine, to offset the effects of eating and to control weight. This verifies that the media is influencing a large number of women negatively, resulting in harmful actions both mentally and physically. These behaviors commonly emerge when young women are transitioning between different phases in life. Other health risks include eating practices such as restraint, emotional eating, night eating, extreme dieting and more. When women partake in these practices, they often do not reach the recommended daily intake of certain nutrients such as folic acid, calcium, potassium, fiber and iron (Quick Bryd-Bredbenner, 2013). Failing to meet the daily-recommended dosage of these nutrients can cause more serious illness and long-t erm health problems for these young women. In general, women commonly overestimate the size of their bodies (Birttchnell, Dolan, Lacy, 1987), however women affected by anorexia nervosa and bulimia nervosa overestimate their body weight to excessive degree. This can cause anShow MoreRelatedA Culture Of Perfection : Media s Influence On Adolescents1362 Words   |  6 PagesCulture of Perfection: Media’s Influence on Adolescents Comparison. It is one of the most dangerous and detrimental habits within our society. We fall into a routine of â€Å"self-checking† ourselves against others; mentally taking notes of what we can improve and what we are doing better. 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In this essay the three ways I will describe as to why the media can negatively affect a teenage girls body im age is by showing unrealistic bodies and women, women whose bodies are desirableRead MoreEssay about The Media’s Effect on Adolescent Bodies 1725 Words   |  7 PagesThe Media’s Effect on Adolescent Bodies The stringent standard Barbie-doll proportions of body image and what is considered beautiful in today’s media has resulted in devastating effects on adolescent women. The images displayed of women who have long beautiful legs, thin waist lines and smooth flawless skin are very hard to ignore. Throughout history the female body has been on display as a selling tool to coerce people into buying that new fancy car or the latest new appliance that can makeRead More Enjoyment of Being a Girl: Overcoming Industry Standards Essay1489 Words   |  6 Pagesthat you felt depressed? 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He also comments that the exaggerated hourglass shape of 36-23-36 as bust, waistRead MoreSocial Media has Unhealthy Effect on Young Women647 Words   |  3 Pagesover excessive forms of media. Adolescents spend a typical day of about 7.5 hours or more on some sort of media. (Media, Body Image, and Eating Disorders1) Although men are affected by the downfall of media usage, young women bea r the cross. Not only do women have to face the expectations of perfection, but also the discrimination from themselves and others. Media usage has become an everyday part of life; however, it has an unhealthy effect on young women. Media’s example of perfection has beenRead MoreMoney Makes The World Go Round1532 Words   |  7 Pagesfrankly, I believe it to the outmost extent. People are not going to resort back to trading commodities. This country has gone through time periods of different influences like wars and industrialization, but perhaps the biggest of all time would be the era of The Media. We as consumers, provide the monetary power that provides that influence to the world. Most of the environment of almost every child 10 and above, growing up in the United States or any industrialized country, is the everyday use of