Christianity and Poverty Essay Example for Free

Christianity and Poverty Essay Christian Aid was founded in 1945. In 1945 the members of the British and Irish churches were very shocked to see how hard life was for European refugees who had lost everything in the Second World War. In response to this, they new that something had to done about it. By making this decision, they managed to raise one million pounds to help these people. This group became known as Christian Aid. Everywhere in the world there are people whose lifes are hardly worth living, people who are in a desperate struggle for the basic needs of life. This is why Christian Aid was founded, to help try and give people a better state of living. Christian Aid helps out in emergencies around the world whenever it can, when people are plunged into terrible situations, as families were in Afghanistan during the war in 2001. Christian Aid usually sends money to local organisations who can then buy food or provide shelter for other communities. Also Christian Aid works on issues from healthcare to human rights, from support to landless peasants in Brazil to ending child labour in India. A project which I think is important is the BBC project. This is a very important project because it enables young people like Bumeh to piece together their lives and start having fun again. Every year, the Burmese Border Consortium brings food and basic education to around 120,000 refugees in 14 different camps along the border and campaigns on their behalf. I find this project very important because it helps a lot of people have a better way of living. This also is a big help for the future generation because more people are being educated and in this way, more people will continue to be educated. Christian Aid does this work in order for Christians who want to put their faith and beliefs into action to do so. Christian Aid is the main relief and development agency in the UK and Ireland. Although it was inspired by the gospel, it is not the case that it is solely for Christians. Christian Aid works with partners and supporters of many different faiths. The most important thing is that Aid is distributed on the basis of need, and regardless of religion, race, faith, creed or nationality. Some of these quotes explain why Christian Aid came into being in the first place, James 2:14-26 Christians believe that faith and beliefs should be demonstrated in practical ways to help people in need. and John 3:23 Christians believe that God loves everyone in the world and that they should show this love too. They believe that Jesus is the role model for living your faith. In all, I think that Christian Aid is a very sucessful organisation which benefits a lot of people all over the world. Christian Aid gives many people the opportunity to live life in a much better way of living. It gives people a chance, who would otherwise have never got the chance to improve their life. Also it allows people like us to help raise money for Christian Aid and lets us feel good about ourselves because we have done something for a very good cause. Therefore, I think Christian Aid is for a very good cause because they believe that we all have the power to make changes and they help to make many peoples lives much happier. After all what may seem to us as not a lot of money, can come out with life changing results for some people in the world. http://www.freebietown.co.uk/ukfreebiessamples.html http://62.169.139.99/eucerin/index.asp# eucerin http://www.freebiesiteuk.co.uk/health.htm

Strategies To Improve Student Achievement And Performance Education Essay

Strategies To Improve Student Achievement And Performance Education Essay In relation to teaching, assessment is the judgement made by a teacher of each individual pupils, with the inclusion of homework or independent learning. This is matched to educational criteria to assess how the pupils are progressing. According to Dymoke and Harrison (2008) one of the main functions within secondary school is to make these judgements in relation to grades, knowledge, skills and attitudes of each and every pupil, continually pushing each and everyone to perform their personal best. Assessment appears to saturate the educational world for this very reason, with the emphasis on identifying strengths and areas of weakness. Within science there is much to assess, areas include: homework, class work, practical skills as with Individual knowledge and understanding within the scientific domain. Literacy, numeracy, and ICT skills, all of which are required to do well in science, should be included in the assessment process. Behaviour and relationships with peers may also be judged, such as attitude to learning and attitude to behaviour. There are many reasons behind assessment, as expressed by Tanner and Jones (2006) assessment can form the accountability of schools and LEAs (local educational authorities) for the progress of pupils and possible selection for university and or placement in the work force. However assessment is primarily a government requirement in the sense of tests and GCSE examinations or equivalent. Assessment also offers the teacher the ability to monitor each child and their progress. The teacher must be accountable for the progress within their classroom, for this reason assessment can provide key information to be utilised in forward planning of subsequent lessons, so pupils can engage and gain access to learning that not only challenges their ability but provides room for improvement. As a trainee teacher, prior to placement, my view was in contrast to that of (Dymoke and Harrison (2008) whereby assessment was an area which was tacked on to the end of a unit or as part of formal assessment such as examinations, thus providing evidence of understanding and learning taking place in a given subject. However as Shilvock and Pope (2008) point out assessment has become an integral part of pedagogy. In practice it is a tool used throughout the lesson as an important role in being able to recognise both achievement and progression. Pupils are the centre of the learning process, being fully aware of their own abilities and targets to reach. This ultimately paves the way forward in their thinking and learning, through discussion, as assessment becomes part of the daily process. Assessment is not a new activity or requirement, but has more recently been the focus for teachers who are seeking to improve their teaching ability and the outcome of their pupils, thus helping to raise the standards of pedagogy and indeed the school. The introduction of APP (assessing pupils progress) has simply brought the area to the forefront. As ofsted (2003) point out assessment training in higher education is both informative and central to practice. However the importance of finding out what pupils already know, and utilising this information to influence the planning and implementation of each lesson has not always been the main emphasis during observation of already established teachers. The focus is, however, on learning objectives and outcomes, which are differentiated to suit pupil requirements. However, from observation these are rarely linked to individual pupils, but more so to the scheme of work that is being taught and the level descriptors associated, or so it wou ld seem. Summative assessment comes under the umbrella of assessment of learning, for example the summing up at the end of a unit in the format of a test. The result of which is fed back to the pupil and these results are used to make judgement on the pupils performance with regard to national standards. The results of which are invariably used to find out where pupils are in their learning. According to Fautley and Savage (2008) this type of assessment is instructive and generally follows a pattern of block teaching then testing. Fautley and Savage (2008) go on to explain that this is typical of summative assessment and has been utilised within the education system for a long time. At first glance this may look like what was being taught within a specific unit is being tested, however another glance may draw attention to the teaching of the unit itself that is being tested. Formative assessment comes under the umbrella of assessment for learning. This type of testing is not dissimilar to sum mative assessment but the results are used to plan the way forward. From here individual targets can be set based around pupil performance. This can be used as a guide in decisions made on where pupils are in their learning, along with the ability to get where they need to go to improve, as laid out by Tanner and Jones (2006) Assessment for learning helps to improve assessment of learning by being the centre of pedagogy which enables pupils to actively take part in their own learning and mapping of progression. Sue Hackman, chief advisor on school standards, states APP is all about knowing enough to make rational judgements about where to target resources and when to offer pupils assistance. With the implementation of APP both pupil and teacher can, ultimately work together to implement strategies for learning through scaffolding and target setting. According to Shivock and Pope (2008 p55) assessment, if implemented correctly, can help pupils to not only meet, but exceed expectations through setting high standards and motivational lessons that provide responsive teaching. As a trainee teacher development of assessment strategies has become a vital role in being able to track learning and progression, whilst getting to know individuals. APP can be seen as the linking of formative and summative assessment, to be used instead of rather than running in conjunction with each other. Throughout the placement experience it has become apparent that assessment strategies and criteria are fully connected to learning objectives and outcomes, as with the national curriculum and their generic objectives. The latter often requiring some adjustment to match the learning needs of individual pupils. Opportunity for assessment clearly needs to be pinpointed throughout sort term, medium and long term planning to encompass a range of achievements. Assessment strategies used have also included wall displays such as level ladders and laminated assessment criteria, which have been directly linked to blooms taxonomy promoting stems of lesson objectives in the form of being able to describe, analyse, explain and link ideas. This of course is only useful if used in conjunction with the lesson objective and attention is drawn to them in terms of what is expected to progress to a specific level. A copy of this can be seen in the appendix and is provided by Grevatt (2007) APP is just beginning to appear as a new structured approach to pupil assessment. As discussed previously, this is not just about assessment for learning but the whole package where evidence of pupils attainment is required both written and orally. Recorded evidence is reviewed, on a regular basis, and judgements made accordingly. Evidence will also be used to consider if performance is higher, lower or secure in meeting requirements. Where APP has begun to be integrated into the classroom, levels are cited in assessment frames which include: thinking scientifically; effects of society on science; communicating and collaborating in science; scientific investigations and finally evaluating scientific investigations. This creates a language which allows for a dialogue with pupils about their strengths and weaknesses. So far these have proved quite difficult to implement, primarily due to the quantity of information which needs to be absorbed, but more importantly the lack of individual training within this area. At present the criteria has been broken down and reformatted into pupil speak, being able to be accessed by both pupil and teacher accordingly. (Copies of these can be seen in the appendix) Problems encountered have mainly been a direct result of running both types of assessment together. Criteria is often varied or not connected and so presents a time consuming exercise. Once APP has been fully integrated to the whole school, teachers will be able to focus on one area for the purpose of recording evidence. This in turn will ensure the mapping of progression whereby pupils, and their teachers, know what they can do and what their next steps are. This is of course only useful if marking is also done regularly, with a set target for the assessment process to be educative. Consistent with Tanner and Jones (2006) I have found marking of pupils books a challenging area, primarily due to inconsistencies within the department on how and when books are marked. On many occasions it has been seen that books are quite often not marked for long periods of time thus proving difficult to track the progress of an individual. This has certainly been prevalent in reports for good assessment in secondary schools as provided by ofsted (2003). Ultimately this has an impact on school reports and parents evening where generic, insipid descriptions of pupil achievement have often been given. As a trainee this has had a strong effect on my own learning and understanding of how assessment is used in school, other than through testing at the end of a particular unit. I have seen little evidence of tracking other than baseline data from previous key stages and the use of CATs, (cognitive ability tests) or for the purpose of EAL, SEN and those that are gifted and talented. For this reason the implementation of full tracking, as in the tools of APP, would prove invaluable. This not only helps to build a picture of the whole person, but can instantly show the progress of each pupil, providing an insight into areas of strengths or weakness. Other areas for concern have shown that assessment can often hinder effective learning, due to the encouragement of learning by repetition or without depth. Black Wiliam (1998) suggest that continual assessment can have a negative impact or create a competitive environment which in turn can de-motivate some pupils. This in turn can have the effect of labelling certain pupils into categories or abilities that may differ outside the assessment field. This was prevalent during placement, whereby many pupils seemed only too interested in the level or grade they got for the test, not actually what they had learnt. Occasionally this was used as a means to decide who was top or bottom of the class. For this reason it is imperative that pupils understand that the levels given are not a reflection of how clever they are, more so the stage they are at, and the speed at which they are learning. Everyone learns at a different pace and therefore some subjects may need revisiting or looking at fr om a different angle or method to gain full understanding. It by no means has any reflection on a pupils ability to learn. Assessment should not just involve testing of a given topic or unit, but more so incorporate observation, written, oral and practical skills within science. Although this is not always obvious, as a trainee, when observing qualified teachers, it soon becomes an important and key role to gaining valuable information as to how teaching practice is progressing. Probing and questioning, especially target and rich questioning, has become topical, being beneficial for the learning process of an individual or the class as a whole. Using inverted or open ended questioning is more favourable, as through discussion can show a deeper understanding and reasoning rather than just recalling facts. Questioning in the format of pose, pause, pounce and bounce has provided an arena to learn from each other. Subsequently all pupils can be involved, whilst misconceptions can be corrected through the guidance of the teacher. This has also provided immediate feedback enabling pupils to feel confident to m ove forward in their thinking and ability, contributing to deeper learning and understanding taking place. Liversidge et al (2009) point out that above all, assessment needs to be valid. For example if a pupil has achieved a defined outcome, which has been linked to the learning objectives, this then forms the first part of assessment within the class. As a trainee teacher this has proved invaluable as the first step to observing learning taking place. For this to be effective, it is a requirement to link questions to the objectives to draw out deeper understanding. Constant referral to learning objectives has proven to be a key aspect of assessing the whole class. This has also shown to be of great use when linked with target questioning to fit the appropriate level of a particular pupil. Furthermore predetermined questions often lead onto additional open ended questioning to cover the basis of the objectives. An example of this, used in class, can be seen as power-point slides the appendix. This has been very successful, as pointed out by Petty (2009) in assessing knowledge on what you are doing at the time. Although competence in this type of questioning comes with plenty of practice, knowing your pupils, confidence in subject knowledge and keeping the pace of the lesson on track, enables this type of assessment to flow systematically. Alternatively there can be a danger of trying to fit too much into a lesson, resulting in the loss of objectives, meaning or relevance behind what was actually done. In accordance with Dymoke and Harrison (2008), whilst on placement, this has been an area which is repeatedly reviewed, continually taking into account the necessary three part lesson plan, with constant reflection of tasks set for a particular objective to be met. The use of peer and self assessment can encourage reflection and ownership of work, where necessary improvements can be seen with immediate effect. More importantly, Petty (2009) suggests that grades can often be remarkably improved when used in the right context. In theory Black and Wiliam (1998) agree with this concept, albeit their research advises that teachers do not always use these simple but powerful strategies. On the other hand repercussions can involve pupils not wanting to swap work with each other. Generally pupils are honest, although critical, when pointing out strengths and areas of weakness, as in two stars and a wish, of their peers and so tend to enjoy this type of feedback. Formative assessment can be fun and engaging, as in the use of mini whiteboards, without pupils even realising they are being assessed. Both can provide immediate feedback of the class as a rule and an indication of who understands and has met the learning objectives. A range of assessment for learning tools to enhance lessons can be seen in the appendix. Many of which can be used to inform the basic structure of the following lesson, for example: recapping areas of difficulty, thus bringing everyone up to speed and at the same stage in progress prior to moving forward to more difficult concepts. In conclusion targets need to be explicit, focusing on the positive and including areas for improvement. Judgments should be transparent so pupils are able to recognise quickly how to move forward. The implementation of SMART targets in conjunction with the objectives set, advising I think you are able to do this and to improve you must be able to. these are clear and concise. Whilst this sounds relatively simple it is clear through teacher training that assessment is a process of making judgements, through the aid of national criteria. Evidence of which is to be used by pupils and teachers to make decisions on where learners are, how to progress in their knowledge and learning, whilst giving the best option and advice on how to do this. It is also worth remembering none of this will make a difference if the evidence from assessment is not used in the correct manner. To make learning meaningful, assessment of any format needs to convey progress to pupils. In agreement with Dymoke and Harrison (2008) assessment is at the heart of pedagogy, and should be the focus of every lesson to enable future lessons to be relevant and learning to take place. Formative assessment should play an essential part in determining the nature and structure of activities which clearly support the lesson objectives. Summative assessment is more prevalent when considering performance of the school, class sets and individual pupil performance in terms of levels when completing official assessment periods as in end of term or unit testing. All teachers need to be involved in the in-service training on assessment as an everyday tool with the focus on formative assessment, how to implement it and what to do with the information. The only way for this to make an impact is to keep evidence and records of assessment on a constant and consistent basis. This information can be ass essed using national criteria which in turn can be used to show how pupils are progressing and what is a requirement for them to move forward. Without this record of individual pupil progress the core of the classroom tends to become invisible and therefore cannot improve within their ability level and the system will simply not work. DCSF (2009)

The Samurais, The Ultimate Stoics :: essays research papers

The Samurais, The Ultimate Stoics   Ã‚  Ã‚  Ã‚  Ã‚  For seven centuries, the Samurai were Japan's warrior class. As a class of warriors and knights, they dominated society in feudal Japan. Their code or â€Å" Way of the warrior†, bushido(History of the Samurai-www),called for a life of duty, discipline and self control, on and as well as off the battlefield (History of the World-Houghton Mifflin Company- Boston288). His loyalty and bravery to his lord was much more important than his loyalty to his friends, family and even their emperor. Their philosophy was one of freedom from fear(World Surfari-www), and for these reasons, The Samurai were the ultimate stoic warriors.   Ã‚  Ã‚  Ã‚  Ã‚  The word samurai was derived from the Japanese word for service, saburau(Grolier Electronic Publishing, 1993), for they served their masters faithfully. They would die if necessary for them. The Daimyo or feudal landowners used the samurai to protect their land and to expand their rights to more land. The Samurai would transcend their fear of death, this made them the stoic warriors that they were.   Ã‚  Ã‚  Ã‚  Ã‚  As experts in fighting on horseback as well as on the ground they wore two swords. This was called Daisho(World Surfari-www). The long sword was called the daito-katena(Ibid.). It was more than twenty four inches long. The shorter sword was called shoto wakizashi. It was between twelve to twenty four inches(Ibid.). Their swords were the â€Å"soul's† of the worship. A good sword was tougher and sharper. The swords were tested before they were used by the samurai. The sword tester used the new blades to cut through corpses and bodies of condemned criminals.(World Surfari-www) The test results were put on the nakago, the small metal piece on the sword blade or handle(Ibid.). Another weapon, the nagita, was used by a foot soldier on a horseman. The foot soldier would cut. the tendons of the horse and disembowel them.   Ã‚  Ã‚  Ã‚  Ã‚  The samurai went from military retainers, to military aristocrats, to military rulers(Japan, Richard Storry18) The medieval samurai were often illiterate, rural, landowners who farmed in-between battles. They were assassins of the night and at the same time keepers of peace. The samurai would spend his life perfecting his military skills.   Ã‚  Ã‚  Ã‚  Ã‚  Honor was one of the most important things to a samurai. If a samurai felt dishonored in any way he would commit seppuku. Seppuku means ritual suicide (Japan, Cultures of the World- Rex Shelley104). It is also called hara-kiri which means belly-slitting. This method of self-disembowelment was the only honorable form of death for a disgraced noble or a samurai.

The Sweetheart of the Song Tra Bong Essay -- Literary Analysis, OBrie

â€Å"And then one morning, all alone, Mary Anne walked off into the mountains and did not come back† (110). Tim O’Brien’s short story â€Å"The Sweetheart of the Song Tra Bong† presents an all-American girl who has been held back by social and behavioral norms – grasping for an identity she has been deprived the ability to develop. The water of the Song Tra Bong removes Mary Anne’s former notion of being as she, â€Å"stopped for a swim† (92). With her roles being erased Mary Anne becomes obsessed with the land and mystery of Vietnam and is allowed to discover herself. Through the lenses of Mark Fossie and the men in the Alpha Company, Mary Anne becomes an animal and is completely unrecognizable by the end of the story. Mary Anne, however, states she is happy and self-aware. The men of the Alpha Company argue for virtue in that Mary Anne was â€Å"gone† (107) and that what she was becoming â€Å"was dangerous†¦ ready for the kill† (112). They did not want to accept a woman becoming something different from what women always were. In â€Å"How Tell to a True War Story† we are told that a true war story â€Å"does not instruct, nor encourage virtue, nor suggest models of proper human behavior† (65). Mary Anne did not truly become ‘dark’, because to her this is not a story about war; this is a story about a woman attempting to overcome gender roles and the inability of men to accept it. When Mary Anne begins interacting with the land and the material culture of war we are introduced to her curious nature. She would â€Å"listen carefully† (91) and was intrigued by the land and its mystery. Vietnam was like Elroy Berdahl to her in the beginning in that it did not speak, it did not judge, it was simply there. Vietnam saved Mary Anne’s life. Like Elroy, â€Å"[Vietnam] was the t... ...eauty, law into anarchy, civility into savagery†¦ the only certainty is overwhelming ambiguity† (78). According to story truth Mary Anne gave into darkness and became cold, but story truth does not matter. The absolute truth is much more dark and sad than that. Mary Anne struggled to define herself in a place that gave her the opportunity. Fossie’s stubbornness and inability to accept Mary Anne’s journey, however, led to her being consumed by ambiguous darkness. Is the final truth for Mary Anne similar to Curt Lemon’s? If â€Å"[a] thing [can] happen and be a total lie; [and] another thing may not happen and be truer than the truth† (80), then maybe the final truth for Mary Anne was that she really did â€Å"know exactly who [she was]† (106). The ending of Mary Anne’s story could have been beautiful and civil to her, but ugly and chaotic to you, and that was her liberation. The Sweetheart of the Song Tra Bong Essay -- Literary Analysis, O'Brie â€Å"And then one morning, all alone, Mary Anne walked off into the mountains and did not come back† (110). Tim O’Brien’s short story â€Å"The Sweetheart of the Song Tra Bong† presents an all-American girl who has been held back by social and behavioral norms – grasping for an identity she has been deprived the ability to develop. The water of the Song Tra Bong removes Mary Anne’s former notion of being as she, â€Å"stopped for a swim† (92). With her roles being erased Mary Anne becomes obsessed with the land and mystery of Vietnam and is allowed to discover herself. Through the lenses of Mark Fossie and the men in the Alpha Company, Mary Anne becomes an animal and is completely unrecognizable by the end of the story. Mary Anne, however, states she is happy and self-aware. The men of the Alpha Company argue for virtue in that Mary Anne was â€Å"gone† (107) and that what she was becoming â€Å"was dangerous†¦ ready for the kill† (112). They did not want to accept a woman becoming something different from what women always were. In â€Å"How Tell to a True War Story† we are told that a true war story â€Å"does not instruct, nor encourage virtue, nor suggest models of proper human behavior† (65). Mary Anne did not truly become ‘dark’, because to her this is not a story about war; this is a story about a woman attempting to overcome gender roles and the inability of men to accept it. When Mary Anne begins interacting with the land and the material culture of war we are introduced to her curious nature. She would â€Å"listen carefully† (91) and was intrigued by the land and its mystery. Vietnam was like Elroy Berdahl to her in the beginning in that it did not speak, it did not judge, it was simply there. Vietnam saved Mary Anne’s life. Like Elroy, â€Å"[Vietnam] was the t... ...eauty, law into anarchy, civility into savagery†¦ the only certainty is overwhelming ambiguity† (78). According to story truth Mary Anne gave into darkness and became cold, but story truth does not matter. The absolute truth is much more dark and sad than that. Mary Anne struggled to define herself in a place that gave her the opportunity. Fossie’s stubbornness and inability to accept Mary Anne’s journey, however, led to her being consumed by ambiguous darkness. Is the final truth for Mary Anne similar to Curt Lemon’s? If â€Å"[a] thing [can] happen and be a total lie; [and] another thing may not happen and be truer than the truth† (80), then maybe the final truth for Mary Anne was that she really did â€Å"know exactly who [she was]† (106). The ending of Mary Anne’s story could have been beautiful and civil to her, but ugly and chaotic to you, and that was her liberation.

Fashion, Gender and Identity

‘Gender is a meaning that a culture assigns to sexual differences' and within gender, ‘masculinity and femininity are the divisions that a culture creates between behavior and ‘characteristics considered to be appropriate to men and women' (Bernard, 2007, 185- 186). Fashion aids in the social construction of gender through separating male and female fashion and promoting the stereotypical feminine figure. From the days of stays and petticoats to corsets and crinolines and now with padded bras and ‘Spans', fashion has seen centuries of shrinking and augmentation of the body to achieve the sexualities, feminine' shape.The communicative function' of the body and they way in which it is McCollum is like a ‘language' – a ‘cultural communication' (Descanters, 1997, 11). Being ‘feminine' is Just one of many ‘performances' that people can choose to present and a person's choice to follow more typically feminine or masculine styles can pr ovide an insight into who they are (Gauntlet, 2008, 11). Although certain guidelines may be socially expected, in the western world, we are largely in control of what we wear and thus are perpetually communicating some element of personal identity every time we get dressed, whether it is intentional or subconscious.Using the visual examples of Marie Antoinette, Queen of France and a fashion icon in the late 18th century and Lady Gaga, a current fashion and pop icon, this essay demonstrates how, even though centuries have passed, the practice of augmenting and shrinking the figure through fashion garments to achieve a feminine' shape has continued to perpetuate social constructions of femininity. Then, the example of Andre] Pelvic is used to demonstrate how appearance can communicate identity, in particular gender identity.Beginning in the 16th century in Europe, Women's bodies were universally forced onto bizarre, unnatural shapes' (Smith, 1998, 5). Stays, petticoats, corsets and cr inolines with stiff fabric, boning and wire were used to force the body into the desirable feminine' silhouette of the time. Constant dissatisfaction and change with the idealized shape of the body reinforced the idea that the natural body needed to be ‘improved and restricted' to be considered attractive (Smith, 1998, 5).We see this trend continue into modern day clothing and undergarments. This constant restriction and augmentation, which occurs almost solely to the female body, aids in the social construction and communication of gender. Illustration of Marie Antoinette by Panderer-Login, from Encyclopedia Figure 1 Britannica Image Quest A royal exemplar existed in the form of Marie Antoinette, Queen of France from 1774 until 1792 – a time when all of Europe was ‘culturally and stylistically influenced' by France, during the Rococo era (Coving, 2006, 56.Descanters, 1997, 35-36). The desired feminine physical ideal at this time was the ‘hourglass female fi gure: a tiny waist, ample bosom and large hips which enhanced femininity (Tallahatchie-Villas, 2007, 36-37). Marie Antoinette had to ‘learn to be a woman (or at least how to perform indemnity)' through the molding of her body with fashion garments (Goodman, 2003, 6). In Figure 1 (above) the Queen is depicted with her hand resting on her commodious and voluminous skirt, serenely gazing into the palace.It can be seen that her body is distinctly shaped to the ‘hourglass' figure that Tallahatchie-Villas (2007) refers to as an image of ‘enhanced femininity – the tightly laced corset has shrunk her waist and her bosom is being flattened and pushed upwards to have an overflowing effect. At the same time her hips have been augmented by a large pannier shaped undergarment and gathers and ruffles of fabric add to the luminous result. Corsets had been present since the beginning of the 17th century, initially made with an iron structure, which was replaced by whalebone in the 18th century.At the beginning of the 18th century, the farthing' – a framework of hoops' that aristocratic women had previously worn to provide volume under their skirts – was replaced by the crinoline (Charles & Carl, 2010, 30). The crinoline augmented the size of the hips and changed shape to follow changing fashions in the desired feminine physique. In the early 18th century the shape of the crinoline was round, it then came oval and then ‘conical' (Charles & Carl, 2010, 30).By the mid 18th century they had become a ‘pannier' shape meaning ‘side hoops' or false hips' – a shape that was flat on front and back and extended on the wearer's left and right, giving her exceedingly wide hips (Cumming, Conjunction & Conjunction, 2010, 148). This is the shape we see in Panderer-Aligns illustration of Marie Antoinette in Figure 1 . In this illustration there are a number of elements of composition and execution that support the conclusion that the molding the Queen underwent were both expected and desirable at this time.There is the artist's decision to place her in a standing position in which the full scale of her skirt can be realized, the addition of shading to emphasize her bust, and dark shadowing around the waist that functions to reduce its size. The enormity of the Queen's gown in relation to her head and the background of the portrait ensure that her curvaceous feminine shape instantly draws the viewer's eye. The artist's decision to contrast the rich, dark objects in the background with pale colors to illustrate her in the foreground again draws attention to this almost ethereal feminine form.One wonders how widely this image as distributed, given our knowledge of Marie Antoinette influence on fashion. Queen Marie Antoinette was known as the ‘Queen of Fashion' and her choices in clothing were closely documented, publicized and duplicated by women throughout the whole of Europe (Weber, 2007, 1). Her wardr obe has even provided inspiration for current designers such as Much Dulcet for her millinery collection at the Autumn/ Winter 2012/13 London Fashion Week and John Gilligan for his Spring 2010 Couture collection for Dior in Paris (Clearing, 2012. Maida, 2010).The consequence of her choice to conform to the notion of molding her body, restricting and augmenting – wrought undergarments and fashion garments – to achieve the hourglass shape ensured this practice remained in fashion and in turn contributed to the social constructions of the feminine physical ideal. After the fall of the monarchy at the turn of the century this fashion of restricting and augmenting the body, molding it to achieve the ideal feminine' physique, persisted. The use of the waist- shrinking, bust- raising corset was continued into the nineteenth century, although steel boning began to be used instead of whalebone.By the mid sass, ‘cheap, mass-produced' corsets were developed and became a tab le of nearly every woman's wardrobe (Gag & Steele, 2005, 291). At this time, flexible sprung-steel rings suspended from cloth tapes' known as ‘Hopkins' were in fashion and augmented the size of the wearer's hips (Gag & Steele, 2005, 317). The corset remained in fashion into the early twentieth century, when it had become a ‘straight front' corset that ‘pushed the pelvis back and the bosom forward,' forming the desired feminine physique at the time – the ‘S' silhouette (Gag & Steele, 2005, 293).The fashionable body in this period was augmented towards the back with use of a bustle skirt. In the sass, the fashionable female figure was ‘boyish and flat- cheesed,' so the waist shrinking corset and wired underskirts became largely obsolete, but the practice of restriction remained in fashion as the breasts still had to be tightly bound, this time to conceal rather than enhance' (Smith, 1998, 5).In 1939, and then after World War II, Tallahatchie-Villas ' image of ‘enhanced femininity with a tiny waist, ample bosom and large hips' returned to fashion again and brought with it the return of the corset and fuller skirts (Tallahatchie-Villas, 2007, 36-37. Gag & Steele, 2005, 293). From the sass onwards the process of restriction and augmentation to achieve the desired feminine physique dictated by fashion at the time has continued. A review of more recent trends and products and fashion exemplars appears below.Currently there is no singular feminine' silhouette that is being dictated by fashion. In some areas of fashion media we are seeing the same boyish thinness as in the twenties and in others there is a push for the ‘real', curvaceous shape (Abraham, 2012). There are still some ‘corset enthusiasts' and elements of these undergarments such as boning and full skirts are still being used in many women's garments as well as in haute couture fashion. There is a myriad of other new garments encouraged by fashion for wo men to restrict, augment and mold their bodies into any desired shape.A few products currently on the market include the Wastepaper' – a tubular piece of Lacy worn to slim the waist and flatten the stomach; the ‘High-waist Long Leg Brief which is designed to provide ‘under-bust and tummy support, hip and thigh contouring, and a nice boost for your butt'; as well as ‘Padded Shaper Panties' which have two round foam pads to give you a ‘perfectly rounded derriere' and padded bras to increase bust size (Morgan, 2012). Compared to the days of corsets and crinolines, he variety of ways in which fashion encourages women to squeeze, expand and mold their bodies have grown.Figure 2 – Photograph of Lady Gaga at the 2009 MET Music awards. Photo courtesy of Getty Images, 2009 Lady Gaga, is Without question, the world's biggest pop star' and a current fashion icon (Robinson, 2010, 280). She famously morphs her body into the sexualities feminine hourglass sha pe with boning, padding and structured garments – often designed specifically for her by current avian garden fashion designers such as Giorgio Airman and Nicola Fortieth for Thither Mugger (Fleming 2012.Nick, 2011). In the above photograph (Figure 2) Lady Gaga is wearing a Jean Paul Guiltier padded and boned body suit, which drastically shapes her figure into the curvaceous, hourglass silhouette of ‘enhanced femininity that Tallahatchie-Villas refers to (2007). The boning restricts the size of her waist while the undermine and padding on the cups over her breasts raise and shape the bust and the padding on her hips augment their size.Although this is an exaggerated example and would not be considered a ready- to- wear garment that women would be seen in on the street, Lady Saga's style choices are influential on how women choose to dress in mainstream culture. More than four hundred years after the first corsets and petticoats came into fashion, we see that the process of restricting and augmenting the female body to achieve a look considered to be feminine is still widespread.Through encouraging this practice and promoting a desired feminine physique that is difficult to attain naturally, fashion aids in the social construction of gender. An individual's choices about the clothes, make-up, accessories and styling that they adorn before venturing into public can communicate a lot about who they are. At the name time, the changeable and impermanent nature of these external applications meaner that no definite assumptions of a person's identity can be made and these variables can easily be manipulated by the individual, allowing them to become who they would like to be.An individual's unique interpretations of, and resistances to conventional fashions is known as ‘appearance style' and is a medium through which individuals can ‘announce' who they are or who they want to become (Gag & Steele, 2005, 34). There are some elements of appeara nce that we are accustomed to observing and processing almost immediately when we look at a person. For example when you see a stranger, it is highly likely that you will be able to tell if their gender is male or female almost instantly and their appearance style aids in this immediate recognition.When you observe the combination of their choice of hair cut, cosmetics, clothing, accessories, shoes and mannerisms; you can draw a conclusion about what gender that person is ‘announcing that they are. This shows that the individual has the power to manipulate these components of their appearance to communicate their understanding of their personal gender identity. An example of how successfully appearance can provide an insight into gender identity and also how easily it can be manipulated can be seen through examining performances of Andre] Epic.Pelvic is biologically a man but models as both a male and a female. At his first fashion week – New York Fashion week Fall/Wint er 2011/12 – he walked in five menswear shows and four homeowners shows and this number has since grown (Morris, 2011). Pelvic explains how he began to mold himself into the typically feminine aesthetic, creating an appearance style that would be read as female – he grew and dyed his hair, ‘started wearing skinny Sears†¦ Hopping in the women's aisle and putting on make-up' (Morris, 2011). Pelvic was voted the ninety- eighth sexiest woman in the world in Fem. ‘One Hundred Sexiest Women' list last year (Peck, 2011, 24). Figure 3 – Andre] Pelvic in ‘Hem' ad campaign. Photo courtesy of Hem from Hollywood Planet, 2011 In the above ad for the Dutch department store ‘Hem', Andre] Pelvic is pictured wearing their ‘mega push up bra' underneath a close-fitted top and a figure hugging dress (Freeman- Greene, 2011).The bra is claimed to ‘add two cup sizes' to its wearer's bust, which it has achieved successfully with Epic's originall y flat chest (Quicker, 2011). His body has been manipulated so that his appearance style masticates his gender as female. His hair is long and blow-dried in a typically feminine style, he is wearing make-up and a necklace, his arms are void of hair and his body has been manipulated to augment the bust with padding. He attempts to channel the poses that female models often make by moving and looking at the camera in a fluid and dramatic' manner (Morris, 2011).The close up angle of the photos and the choice of shots where Pelvic is making direct eye contact with the camera enforces the believability of Epic's feminine appearance. The success of the communication of Epic's gender identity as female in this advertisement monstrance the extent to which an individual can communicate who they are or would like to be through their appearance. As an audience we almost automatically assume Pelvic to be a ‘beautiful, Victorians Secret queue bombshell' (Abraham, 2011).This mutual communic ation and interpretation that can be achieved through manipulating the variables of appearance style allows for an individual's look to say much about who they are. Fashion aids in the social construction of gender through separating male and female fashion and promoting the stereotypical feminine figure. In numerous entities past and continuing into the present, the practice of women using wire, steel, elastic and padding to McCollum their bodies to the fashionable shape of the time has been common, even expected.We have examined how Queen Marie Antoinette encouraged this practice in the 18th Century by wearing a corset to nip her waist and enhance her bust as well as hoop pannier skirts to widen her hips. In the 21st Century it has been demonstrated that this body distortion is still common with pop icon Lady Gaga wearing a boned and padded body suit that provides her with that feminine, hourglass shape. We then saw how this practice is so typically expected to be feminine that th e biologically male model Andre] Pelvic can display his female gender identity by donning a padded bra. Fashion, Gender and Identity gender is a meaning that a culture assigns to sexual differences' and within gender, ‘masculinity and ‘femininity are the divisions that a culture creates between behavior and ‘characteristics considered to be appropriate to men and women' (Bernard, 2007, 185- 186). Fashion aids In the social construction of gender through separating male and female fashion and promoting the stereotypical feminine figure. From the days of stays and petticoats to corsets and crinolines and now with padded bras and Spans, fashion has seen centuries of shrinking and augmentation of the body to achieve the sexualities, feminine' shape.The communicative function' of the body and they way in which it is molded is like a ‘language' – a ‘cultural communication' (Descanters, 1997, 11). Being ‘feminine' is Just one of many ‘performances' that people can choose to present and a person's choice to follow more typically feminine or masculine styles can provide an i nsight into who they are (Gauntlet, 2008, 11). Although certain guidelines may be socially expected, in the western world, we are largely in control of what we wear and thus are perpetually communicating some element of personal Identity every time we get dressed, whether It Is Intentional or subconscious.Using the visual examples of Merle Antoinette, Queen of France and a fashion Icon In the late 1 8th century and Lady Gaga, a current fashion and pop Icon, this essay demonstrates how, even though centuries have passed, the practice of augmenting and shrinking the figure through fashion garments to achieve a ‘feminine' shape has continued to perpetuate social constructions of femininity. Then, the example of Andrea Pelvic is used to demonstrate how appearance can communicate identity, In particular gender identity.Beginning in the 16th century in Europe, Women's bodies were universally forced onto bizarre, unnatural shapes' (Smith, 1998, 5). Stays, petticoats, corsets and crin olines with staff fabric, boning and wire were used to force the body Into the desirable friendly' silhouette of the time. Constant dissatisfaction and change with the Idealized shape of the body reinforced the Idea that the natural body needed to be ‘improved and restricted' to be considered attractive (Smith, 1 998, 5). We see this trend continue into modern day clothing and undergarments.This constant restriction and augmentation, which occurs almost solely to the female body, aids in he social construction and communication of gender. Britannica Image Quest A royal exemplar existed in the form of Marie Antoinette, Queen of France from 1774 until 1792 – a time when all of Europe was ‘culturally and stylistically influenced' by France, during the Rococo era (Coving, 2006, 56. Descanters, 1997, 35-36). The desired feminine physical ideal at this time was the ‘hourglass female figure: a tiny waist, ample bosom and large hips which enhanced femininity (Tallah atchie-Villas, 2007, 36-37).Marie Antoinette had to ‘learn to be a woman (or at least how to perform indemnity)' through the molding of her body with fashion garments (Goodman, 2003, 6). In Figure 1 (above) the Queen is depicted with her hand resting on her commodious and voluminous skirt, serenely gazing into the palace. It can be seen that her body is distinctly shaped to the ‘hourglass' figure that Tallahatchie-Villas (2007) refers to as an image of ‘enhanced femininity – the tightly laced corset has shrunk her waist and her bosom is being flattened and pushed upwards to have an overflowing effect.At the same time her hips have been augmented by a large pannier shaped undergarment and gathers and ruffles of fabric add to the luminous result. Corsets had been present since the beginning of the 17th century, initially made with an iron structure, which was replaced by whalebone in the 18th century. At the beginning of the 18th century, the farthing'  œ a framework of hoops' that aristocratic women had previously worn to provide volume under their skirts – was replaced by the crinoline (Charles & Carl, 2010, 30).The crinoline augmented the size of the hips and changed shape to follow changing fashions in the desired feminine physique. In the early 18th century the shape of the crinoline was round, it then came oval and then ‘conical' (Charles & Carl, 2010, 30). By the mid 18th century they had become a ‘pannier' shape meaning ‘side hoops' or false hips' – a shape that was flat on front and back and extended on the wearer's left and right, giving her exceedingly wide hips (Cumming, Cunning & Cunning, 2010, 148). This is the shape we see in Pannier-Aligns illustration of Marie Antoinette in Figure 1 .In this illustration there are a number of elements of composition and execution that support the conclusion that the molding the Queen underwent were both expected and desirable at this time. There is t he artist's decision to place her in a standing position in which the full scale of her skirt can be realized, the addition of shading to its size. The enormity of the Queen's gown in relation to her head and the background of the portrait ensure that her curvaceous feminine shape instantly draws the viewer's eye.The artist's decision to contrast the rich, dark objects in the background with pale colors to illustrate her in the foreground again draws attention to this almost ethereal feminine form. One wonders how widely this image was distributed, given our knowledge of Marie Antoinette influence on fashion. Queen Marie Antoinette was known as the ‘Queen of Fashion' and her choices in clothing were closely documented, publicized and duplicated by women throughout the whole of Europe (Weber, 2007, 1).Her wardrobe has even provided inspiration for current designers such as Much Dulcet for her millennia collection at the Autumn/ Winter 2012/13 London Fashion Week and John Gillig an for his Spring 2010 Couture collection for Dior in Paris (Clarinda, 2012. Maida, 2010). The consequence of her choice to conform to the notion of molding her body, restricting and augmenting – wrought undergarments and fashion garments – to achieve the hourglass shape ensured this practice remained in fashion and in turn contributed to the social constructions of the feminine physical ideal.After the fall of the monarchy at the turn of the century this fashion of restricting and augmenting the body, molding it to achieve the ideal feminine' physique, persisted. The use of the waist- shrinking, bust- raising corset was continued into the nineteenth century, although steel boning began to be used instead of whalebone. By the mid sass, ‘cheap, mass-produced' corsets were developed and became a table of nearly every woman's wardrobe (Gag & Steele, 2005, 291).At this time, flexible sprung-steel rings suspended from cloth tapes' known as ‘Hopkins' were in fash ion and augmented the size of the wearer's hips (Gag & Steele, 2005, 317). The corset remained in fashion into the early twentieth century, when it had become a ‘straight front' corset that ‘pushed the pelvis back and the bosom forward,' forming the desired feminine physique at the time – the ‘S' silhouette (Gag & Steele, 2005, 293). The fashionable body in this period was augmented towards the back with use of a bustle skirt.In the sass, the fashionable female figure was ‘boyish and flat- cheated,' so the waist shrinking corset and wired underskirts became largely obsolete, but the practice of restriction remained in fashion as the breasts still had to be tightly bound, this time to conceal rather than enhance' (Smith, 1998, 5). In 1939, and then after World War II, Tallahatchie-Villas' image of ‘enhanced femininity with a tiny waist, ample bosom and large hips' returned to fashion again and brought with it the return of the corset and fuller sk irts (Tallahatchie-Villas, 2007, 36-37. Gag & Steele, 2005, 293).From the sass onwards the process of restriction and augmentation to achieve the desired feminine physique dictated by fashion at the time has continued. A review of more recent trends and products and fashion exemplars appears below. Currently there is no singular feminine' silhouette that is being dictated by fashion. In some areas of fashion media we are seeing the same boyish thinness as in the 2012). There are still some ‘corset enthusiasts' and elements of these undergarments such as boning and full skirts are still being used in many women's garments as well as in haute couture fashion.There is a myriad of other new garments encouraged by fashion for women to restrict, augment and mold their bodies into any desired shape. A few products currently on the market include the Wastepaper' – a tubular piece of Lascar worn to slim the waist and flatten the stomach; the ‘High-waist Long Leg Brief whic h is designed to provide ‘under-bust and tummy support, hip and thigh contouring, and a nice boost for your butt'; as well as ‘Padded Shaper Panties' which have two round foam pads to give you a ‘perfectly rounded derriere' and padded bras to increase bust size (Morgan, 2012).Compared to the days of corsets and crinolines, the variety of ways in which fashion encourages women to squeeze, expand and mold their bodies have grown. Figure 2 – Photograph of Lady Gaga at the 2009 MET Music awards. Photo courtesy of Getty Images, 2009 Lady Gaga, is Without question, the world's biggest pop star' and a current fashion icon (Robinson, 2010, 280). She famously morphs her body into the sexualities feminine hourglass shape with boning, padding and structured garments – often designed specifically for her by current avian garden fashion designers such asIn the above photograph (Figure 2) Lady Gaga is wearing a Jean Paul Guiltier padded and boned body suit, which d rastically shapes her figure into the curvaceous, hourglass silhouette of ‘enhanced femininity that Tallahatchie-Villas refers to (2007). The boning restricts the size of her waist while the underwear and padding on the cups over her breasts raise and shape the bust and the padding on her hips augment their size.Although this is an exaggerated example and would not be considered a ready- to- wear garment that women would be seen in on the street, Lady Saga's style choices are influential on how women choose to dress in mainstream culture. More than four hundred years after the first corsets and petticoats came into fashion, we see that the process of restricting and augmenting the female body to achieve a look considered to be feminine is still widespread.Through encouraging this practice and promoting a desired feminine physique that is difficult to attain naturally, fashion aids in the social construction of gender. An individual's choices about the clothes, make-up, accesso ries and styling that they adorn before venturing into public can communicate a lot about who they are. At the same time, the changeable and impermanent nature of these external applications means that no definite assumptions of a person's identity can be made and these variables can easily be manipulated by the individual, allowing them to become who they would like to be.An individual's unique interpretations of, and resistances to conventional fashions is known as ‘appearance style' and is a medium through which individuals can ‘announce' who they are or who they want to become (Gag & Steele, 2005, 34). There are some elements of appearance that we are accustomed to observing and processing almost immediately when we look at a person. For example when you see a stranger, it is highly likely that you will be able to tell if their gender is male or female almost instantly and their appearance style aids in this immediate recognition.When you observe the combination of t heir choice of hair cut, cosmetics, clothing, accessories, shoes and mannerisms; you can draw a conclusion about what gender that person is ‘announcing that they are. This shows that the individual has the power to manipulate these components of their appearance to communicate heir understanding of their personal gender identity. An example of how successfully appearance can provide an insight into gender identity and also how easily it can be manipulated can be seen through examining performances of Andre] Epic. Pelvic is biologically a man but models as both a male and a female.At his first fashion week – New York Fashion week Fall/Winter 2011/12 – he walked in five menswear shows and four womanlier shows and this number has since grown (Morris, 2011). Pelvic explains how he began to mold himself into the typically feminine aesthetic, creating an appearance style that would be read as male – he grew and dyed his hair, ‘started wearing skinny Jeansà ¢â‚¬ ¦ Shopping in the women's aisle and putting on make-up' (Morris, 2011). Pelvic was voted the ninety- eighth sexiest woman in the world in Fem.. ‘One Hundred Sexiest Women' list last year (Peck, 2011, 24). Figure 3 – Andre] Pelvic in ‘Hem' ad campaign.Photo courtesy of Hem from Hollywood Planet, 2011 wearing their ‘mega push up bra' underneath a close-fitted top and a figure hugging dress (Freeman- Greene, 2011). The bra is claimed to ‘add two cup sizes' to its wearer's bust, which it has achieved successfully with Epic's originally flat chest Quicker, 2011). His body has been manipulated so that his appearance style communicates his gender as female. His hair is long and blow-dried in a typically feminine style, he is wearing make-up and a necklace, his arms are void of hair and his body has been manipulated to augment the bust with padding.He attempts to channel the poses that female models often make by moving and looking at the camera in a flui d and dramatic' manner (Morris, 2011). The close up angle of the photos and the choice of shots where Pelvic is making direct eye contact with the camera enforces the believability of Epic's feminine appearance. The success of the communication of Epic's gender identity as female in this advertisement demonstrates the extent to which an individual can communicate who they are or would like to be through their appearance.As an audience we almost automatically assume Pelvic to be a ‘beautiful, Victorians Secret issue bombshell' (Abraham, 2011). This mutual communication and interpretation that can be achieved through manipulating the variables of appearance style allows for an individual's look to say much about who they are. Fashion aids in the social construction of gender through separating male and male fashion and promoting the stereotypical feminine figure.In numerous centuries past and continuing into the present, the practice of women using wire, steel, elastic and paddi ng to mould their bodies to the fashionable shape of the time has been common, even expected. We have examined how Queen Marie Antoinette encouraged this practice in the 18th Century by wearing a corset to nip her waist and enhance her bust as well as hoop pannier skirts to widen her hips. In the 21st Century it has been demonstrated that this body distortion is still common with pop con Lady Gaga wearing a boned and padded body suit that provides her with that feminine, hourglass shape.We then saw how this practice is so typically expected to be feminine that the biologically male model Andre] Pelvic can display his female gender identity by donning a padded bra. When examining these three examples, it becomes clear that the molding of the body into the feminine physical ideal through restriction and augmentation is communicative of the wearer's gender, whether intentional or projected by society, and provides an insight into who they are.

Money in Marriage Essay

Money is a vital component for a sustainable and harmony life. Knowing the main function of money in marriage is important for a successful marriage. According to (Loh,2012) a research by Smart Money magazine, cited by shows that 70% of spouses surveyed discuss about money no less than one weekly while 36% of men and 40% of women confess that they lied to their couple about their spending. Many couples do not aware about the importance of money. The ability to pay household and utility bills, the tendency to ensure the children get their rights as well as the chance to have a comfortable and sustainable living are therefore, the importance of money in marriage. One of the reasons why money is important in marriage is to pay household and utility bills. Just like how organizations have their organization’s financial details each year to trace how they spend their money to pay for things married couples also need to record their expenditure and examined them monthly. (Eugene, 2009). A couples need to distribute their money to pay the energy, electrical and telecommunication bills. Electricity is necessary to run all home utilities such as refrigerator, television, radio, including hot water heaters and water pump that allow toilet to work. Besides electrical bills a telecommunication bills also need to be managed well so that we can ensure smooth communication between a family members. The example of communication utilities is such as encompass telephone, satellite television service and Internet service. For instance communication utilities such as internet can be used by the family members especially children who are still study to find information, communicate with their friend, and sharing their opinion. A married couple also need to allocate their money for the household food budget. The monthly budget for the food and groceries of the house should be managed accurately. â€Å"It is significant to give them with a healthy-balanced diet and encourage them to work out frequently† (Vijaindren, 2012). Parents should aware that your child needs a variety of food to fuel his growth, strengthen his immune system and support his brain and nervous system. So it can be conclude that money is important in marriage to have a healthy lifestyle because an apple a day can keep a doctor away. Another importance of money in marriage is to ensure children get their rights. A beneficial education is a necessary for children (Rosmah, 2010). Every child should have an adequate education to secure their future. Money can be used to pay necessary fees regarding the education or study. For example, money can be used to pay an education fees for children who studying at primary, secondary or even children at the college. As an example, money is useful for buying a basic need for children education such as school uniform, stationeries, and of course a books. Every child deserved an additional education such as home tutor or tuition. With money, tuition fees and additional books can be paid consistently. According to Rosmah (2010, as cited in Lim (2010) a marriage that has consistency in money should give their children a well-nourished life. Every parent can make their children more valuable and comfortable with money. For example provide a comfortable shelter such as personal room for their uses. Furthermore with money parents will have the tendency to ensure that children get their rights. As an example, children nowadays will request for an up-to-date gadgets, such as smart phone, tablet, or even an android phone. This can be fulfilled with money. Thus, money is important not only for an adult, but can be very useful for a sustainable in children’s life. One of the other reasons why money is important in marriage is to have comfortable and sustainable life. Najib(2012, as cited in Shuman, 2012) â€Å"My feverent wish is to ensure that each and every one of our young productive adults and, indeed the future generation of Malaysian will have enough savings and financial assets to enjoy their retirement to the fullest†. This pension scheme is one of the ways to have a sustainable life. Many of young married couple do not aware about the importance of this pension scheme it is to persuade and influence people to set aside money for the upcoming and urgent situation. For instance one of the family members having any major health problem such as cancer or heart problem that need to spend a lot of money to heal at least this scheme can support it. Another importance of money is to keep away the future cohort to cope with difficulty and struggle to have a sustainable and comfortable life. Life insurance gives a person chance to propose a consistent financial for his or her family in the event of disaster or poor health problem happen to the family members (Morris, 2010). With the power of money a couple can buy a life insurance for their house, vehicle and family member. For example when a giant Tsunami hits Japan on 2012 many facilities and infrastructure has been demolished, at the same time many victim had lost their family members. So the reason why you need to take out an insurance policy is to look after who’s left behind you especially the ones that you loved. In a nutshell, the importance of money in marriage include chance to have a comfortable and sustainable life, the tendency to ensure the children get their rights as well as the ability to pay household and utility bills. Money is vital asset that are useful for a long time, and can secure the future. Thus, money must be managed well to ensure that the flow of money will run smoothly and can lead to a sustainable life and harmony marriage. Everyone must have their own budget so we can prepare for the unpredictable thing that may occur. Tracking your money expenses, create a monthly budget, prepare for unexpected emergencies, and plan for big expenses are few steps that can be made to managed money well. This can educate a person to become a discipline and independent in his life.

Reasons Why Mayella Ewell is a Dichotomous Character Essay

Mayella Ewell is a dichotomous person because she is like any other girl that wants to fit in. The one that wants to be something she’s not. She wants to be beautiful, accepted, have friends. She is tired of people thinking she’s dirty or feeling unwanted, like an outsider. She’s alone in a big room of people and cannot take it anymore. The first reason why she is a dichotomous character is she wanted to be accepted, but she can’t because she is unwanted by many people in Maycomb because of her last name, Ewell. The last name, Ewell is known by the people of Maycomb because the Ewell’s are sloppy and dirty and do not care about anything. So just because she’s a Ewell people judge her as dirty and poor, when really she tries to fit in with everyone by cleaning up her appearance and growing flowers. Then, here she goes not know what the word, â€Å"friend† even means. She only had one friend which was Tom Robinson, but she betrays him by lying to everyone in Maycomb saying he beat her up, when really it was her dad. She does this because she would rather save her abusive father than saving an innocent black man’s life, even if he was nicer than her father. Just these two comparisons do not tell you why she is a dichotomous character, the last one is very important because she pretty much shows you the main reason why she brayed Tom Robinson. She has this big, careless family that everyone in Maycomb doesn’t care for and her she is alone in her own family of nine people. They do not care for her, but she cares for her dad and younger siblings by giving them money for ice cream. No one feels her pain except her, and with that pain what makes you think she wouldn’t have two different personalities.