Pollution Essay Example for Free

Pollution Essay Chapter I (AIR POLLUTION) I. Background of the study: * According to the study Metro Manila including Quezon City is much polluted because of the particles emitted by thousand of motor vehicles plying the streets/roads of whole Metro Manila and everyday they contribute to a large extent to the large smoky haze of the metropolis. Commuters like us students that are using jeeps, motorcycles, and other non-air-conditioned mode of transport have taken or prone to the harmful particles in the air. Polycyclic Aromatic Hydrocarbons (PAHs) are cancer causing pollutants chemicals that are release by the combustion process in the motor vehicles. Other studies shows commuters, residents and including like us are exposing to the harmful toxins in the air that can cause health risks including cancer. Other cause of Air pollution that can cause to our health is smoking and the second-hand smoke around the campus area, all we know smoking is very dangerous to our health but many of us are still smoking, the smoke from their cigarettes are also can harm the health of the non-smokers around health because the smoke from their cigarettes are containing chemicals like hydrogen cyanide, Benzene, formaldehyde and etc. that can harm to the health of others. * As we know STI COLLEGE FAIRVIEW is located REGALADO Ave. and regalado avenue is one of the busy roads of Quezon City and a lot of public and private vehicle travel around our campus/ area that’s why we are prone to AIR POLLUTION and the addition of the heavy smokers. Here are the some effects of air pollution according to DOH Fine particulate matter (PM 2.5 ) and ozone are pollutants of serious health concern in Metro Manila; â™ ¦Motor vehicles are the major sources of particulate pollution in Metro Manila; â™ ¦Considerable morbidity and mortality due to respiratory and cardiovascular diseases could have been prevented with better air quality in Metro Manila in 2002; â™ ¦For every 10ÃŽ ¼g/m3 increases in PM10, incidence rates for respiratory and natural mortality increase by 2.6% and 3.9%, respectively; â™ ¦Indoor PM10 increases as outdoor PM10 increases with cigarette smoking as significant contributor to indoor PM10 levels; â™ ¦ Better cooking fuel quality reduces occurrence of hospital admissions. Household using LPG as fuel for cooking has the lowest hospital admissions of 19.3% compared with those using wood (27.3%) and kerosene (25.3%). â™ ¦ Child Health: Incidence of respiratory symptoms and diseases increases as level of exposure to particulate matter pollution increases; Asthma incidence rate is 14.9 per 1,000 population in high PM10 exposure area, 11.5 in medium exposure area and 8.2 in low exposure area. Significant risk factors for respiratory symptoms are age, indoor NO2 level, cooking fuel and educational attainment of mothers; There is a significant improvement in blood lead levels among children in Metro Manila. In 2003, only 34.6% of study children exceeded the US Centre for Disease Control guideline value of 10 ÃŽ ¼g/dl, an improvement from the 90.3% value in 2000. â™ ¦Adult Health: The type of household cooking fuel and number of smokers in the household are significant predictors of respiratory symptoms among adults; Fine particulate pollution contributes to events of respiratory symptoms and diseases The same study estimated the deaths in Metro Manila attributable to PM10 level above 50ÃŽ ¼g/m3 were from 230 to 390 persons II. STATEMENT OF THE PROBLEM III. SCOPE LIMITATION * The scope of this study is the students of STI COLLEGE FAIRVIEW and other students of OLFU that are prone to air pollution and the students that having health problems like asthma and etc. * The limitation of smoking area for the smokers is atlease 10 meters away from the campus area.

Integrating Technology in Education Essay -- School Education Technolo

Integrating Technology in Education Educational technologies are being utilized in every facet of school education. Increasingly, teachers are asking students to access information from technological sources. Methods of instruction must change in order to keep up with the ever-changing world and we, as teachers must cease the technological movement. There are many factors and activities that can help teachers develop an attitude that is intrepid in the use of technology, encourages them to take risks, and inspires them to involve technology in the classroom environment. In the technological society of today, is it possible that the integration of computers will change the traditional methods of the classroom? Will the introduction of computers as a learning tool better prepare our students for their future and increase student achievement? How does professional development play in this technological movement? Literature in this review will investigate these questions and teaching practices that may lead to better student achievement. Several themes and definitions are prevalent in the current articles I reviewed. These themes explore the thinking that technology integration may affect the learning environment, student roles, teacher roles, and staff development. Before I jump into these issues, a technological plan must be in place. Districts must "ensure a sound infrastructure" (Barnett, 2001). In order for technology to impact student learning, the technology plan must ensure the appropriate resources are in place to support and maintain networks and equipment. Teacher training, technical support, and maintenance are key resources ... ...Technology professional development: Successful strategies for teacher change. (Report No. EDD00131). Washington D.C.: Institute of Education Sciences. (ERIC Document Reproduction Service No. Ed 477616) Blume, J; Garcia, K; Mullinax, K; Vogel, K. (2001). Integrating math and science with technology. ERIC Clearinghouse on Information Technology. Syracuse, NY. (Eric Document Reproduction Service No. ED454088) Burdette, K., McGraw T. & Ross, J. (2001). Toward an effective use of technology in education. A summary of research. (p.3) Charleston, WV: AEL Kelley, L & Ringstaff C. (2002). The learning return on our educational investment. A review of findings from research. WestED RTEC, San Francisco, CA Thorpe, R. (1999, October 20). Can computers change the system? Education Week. Retrieved April 17, 2006, from http://www.edweek.org/ew/ewstory.cfm Integrating Technology in Education Essay -- School Education Technolo Integrating Technology in Education Educational technologies are being utilized in every facet of school education. Increasingly, teachers are asking students to access information from technological sources. Methods of instruction must change in order to keep up with the ever-changing world and we, as teachers must cease the technological movement. There are many factors and activities that can help teachers develop an attitude that is intrepid in the use of technology, encourages them to take risks, and inspires them to involve technology in the classroom environment. In the technological society of today, is it possible that the integration of computers will change the traditional methods of the classroom? Will the introduction of computers as a learning tool better prepare our students for their future and increase student achievement? How does professional development play in this technological movement? Literature in this review will investigate these questions and teaching practices that may lead to better student achievement. Several themes and definitions are prevalent in the current articles I reviewed. These themes explore the thinking that technology integration may affect the learning environment, student roles, teacher roles, and staff development. Before I jump into these issues, a technological plan must be in place. Districts must "ensure a sound infrastructure" (Barnett, 2001). In order for technology to impact student learning, the technology plan must ensure the appropriate resources are in place to support and maintain networks and equipment. Teacher training, technical support, and maintenance are key resources ... ...Technology professional development: Successful strategies for teacher change. (Report No. EDD00131). Washington D.C.: Institute of Education Sciences. (ERIC Document Reproduction Service No. Ed 477616) Blume, J; Garcia, K; Mullinax, K; Vogel, K. (2001). Integrating math and science with technology. ERIC Clearinghouse on Information Technology. Syracuse, NY. (Eric Document Reproduction Service No. ED454088) Burdette, K., McGraw T. & Ross, J. (2001). Toward an effective use of technology in education. A summary of research. (p.3) Charleston, WV: AEL Kelley, L & Ringstaff C. (2002). The learning return on our educational investment. A review of findings from research. WestED RTEC, San Francisco, CA Thorpe, R. (1999, October 20). Can computers change the system? Education Week. Retrieved April 17, 2006, from http://www.edweek.org/ew/ewstory.cfm

Reviewing Martin Scorsese

More than just a filmmaker, Martin Scorsese is the self-appointed guardian of American cinema history. For him, the cinema of the present is always and necessarily influenced by the past. Scorsese commands immense critical respect; whether juggling big budgets and mainstream connections with large studios, delivering star vehicles and box-office successes, or indulging in more personal projects, Scorsese has retained his reputation as â€Å"the quintessential maverick auteur† (Andrew 21).An independently minded cinephile, his relationship to popular cinema has been an extremely productive one. While best known for the savage but complex exploration of masculinity and violence in films such as the New York-based Taxi Driver (1976), the scorching biographical boxing picture Raging Bull (1980), the epic gangster narrative Goodfellas (1990), or the controversial The Last Temptation of Christ (1988), Scorsese’s output has been extremely varied. This paper reviews three of hi s films: Taxi Driver, The Last Temptation of Christ, and Gangs of New York (2002).Religion is a consistent theme in Scorsese’s films: almost all of his major male characters voice a fascination with religion in some form. Mean Streets’ (1973) Charlie is obsessed with the idea of his own spiritual purpose. The archetypal selective devotee, his desire to do penance is at odds with his actions: â€Å"he acts like he's doing it for the others, but it's a matter of his own pride† (Scorsese 48). Taxi Driver's Travis Bickle believes himself to be acting out God's rage against the lowlife of New York city; Cape Fear's (1991) Max Cady is likewise fixated; while Raging Bull's Jake LaMotta punishes his body both in training and in the boxing ring in an attempt to atone for his sins.These earlier films seem to be leading towards Last Temptation of Christ’s explicit wrestling with Christianity. Attracting intense reactions from some religious groups, the film, based o n Nikos Kazantzakis' novel, presents a non-biblical Jesus beset by doubts and fears about his identity and mission, constantly, oppressively tempted by evil. A human being much more than the incarnate Word of God, this Jesus is strongly tempted also sexually, and only by a superhuman effort of the will is he able to achieve a final victory. Scorsese argued that it was his intention to show Christ as a real man rather than as a faultless spiritual being.Thus, Christ's (Willem Dafoe) inner emotional struggle and the consistently female image of sin converge, if one is to accept Scorsese's interviews, in making the film as much a working through of his own identity as the story of Christ: â€Å"Jesus has to put up with everything we go through, all the doubts and fears and anger†¦he has to deal with all this double, triple guilt on the cross. That's the way I directed it, and that's what I wanted, because my own religious feelings are the same.† (Corliss 36)It is clear that the major objection of the protesters to this film had to do with its long final sequence, in which Jesus comes down from the cross and walks into an earthly paradise, where he marries first Mary Magdalene and then, as a widower, Mary, the sister of Lazarus. By her and her sister Martha, he has a number of children.The problem is that people who had not seen the film, or who had seen it but not very perceptibly, had no idea that these events happen in a fantasy sequence, a daydream-like temptation to the domestic life carefully formulated by Satan to discourage the crucified Jesus from living fully his mission of salvation. Moreover, it is a temptation sequence represented by Scorsese as a fantasy, something evident in the film language of the sequence, and as a temptation-fantasy that Scorsese has Jesus overcome: he returns to the cross and dies victorious.The Last Temptation of Christ can be interpreted in two distinct ways; either it posits Christ as a human being, or it raises Scorsese's vision of masculine identity to an omnipotent spiritual level. Notions of masculinity, a sense of community and the influence of religion on personal identity are all themes common to Scorsese films. In fact, the film suggests an attempt to universalize masculine experience by having these themes transported from the usual urban, late twentieth-century setting to biblical times.Objections to the film's depiction of Jesus as sexual perhaps served to divert attention away from another more uncomfortable theme; that masculine identity is defined in terms of existential conflict and growing self-awareness, while women remain confined to earth, sexuality and Original Sin. Though Scorsese cannot be simply cast as a misogynist, his personal perspective and belief systems are unashamedly patriarchal, grounded in Catholicism. Women feature mainly on a symbolic level, serving as projections of male spiritual conflicts (even, it might be argued, in The Age of Innocence).Whether nove l, romance, myth, epic, or film, narratives have relied on the presence of the â€Å"hero† as a sign of the human’s search of an ideal. Scorsese's Taxi Driver portrays a character, Travis Bickle, who is alternately an inversion, a corruption, and a variation of the idea of the hero. The film constructs a â€Å"literary city†, an archetypical topos in a story of the mass and the individual, where the â€Å"mass† creates â€Å"a peculiar kind of anti-community within the dissociated culture† (Pike 100).A chain of ironies defines Bickle placed into this setting and defines a new universal truth: anonymity and isolation amid a dense population, an instantaneous repugnance with and attraction for the magnified extravagance and corruption of the city, an estrangement from others which grows with increasing closeness, and an anti-social behavior and a pathological psychology absurdly born of the quest for ideals.In Taxi Driver, Bickle sees metropolitan so cial order as a material hell in a period of a dying God (or already dead God). He places himself in an adversarial connection with the world in general, and he pursues the ideals of self-realization and spiritual reconciliation in ironically repulsive actions. In addition, Bickle maintains a wicked sense for the sacred, and this distorted piety or holiness is manifest in his discourse suggestive of the confession genre, in his wrath for an immoral society, and in his sympathy for the oppressed and browbeaten (archetypically rendered in the form of a prostitute). Bickle recognizes his status as God’s lonely man. He writes in his confessional mode: â€Å"Loneliness has followed me all my life. The life of loneliness pursues me wherever I go: in bars, cars, coffee shops, theaters, stores, sidewalks. There is no escape. I am God's lonely man.†The opening montage of Scorsese’s Taxi Driver launches a series of optical themes, and the images of eyes, mirrors, and glas s symbolize Bickle’s perception of this spiritually bankrupt and spiritually bereft environment. The director manages his editing and camera angles to highlight the protagonist seeing the world through mirrors or glass, particularly the rear-view mirror and the windshield of the taxi, through which all important characters enter: Sport and Iris in a brief glance in his mirror; Palantine in his rear-view mirror; and Betsy through the sheets of an all-glass office. In general, the film mirrors French Existentialist the influence, and the setting, lighting, and mise-en-scene – especially in the darkness of the film – owe a debt to film noir, contributing to the understanding of the struggle of the protagonist.Overall, Bickle represents something more than alienation and social disenfranchisement, since God’s lonely man suffers in metaphysical misery because of the materialization of a world where the True, the Good, and the Beautiful have lost their meaning. In effect, Bickle is a prophet attacking Babylon, but without any assurance of liberation; he is also Theseus in the maze of the city but with no Olympus and no Ariadne. In this state of spiritual bleakness and spiritual poverty, Bickle retains an intuitive longing for the ideal â€Å"but no longer possesses the capacity for identifying, exemplifying or realizing it† (Swensen 267).While isolation and crises of identity are key themes that permeate many of Scorsese's films, they necessarily include explorations of community, or brotherhood against which the isolation, or level of identification for an individual can be measured. This is one of the major themes of one his most recent films, Gangs of New York.Obviously, the director’s explorations of community and brotherhood stem partly from his commentary on his personal experiences, his sense of his home community and of the people he has known. In most cases this sense of docu-realism extends only so far as setting. This film is concerned not only with political, social, and economic conflicts, but also spiritual conflict. In one of his interviews about Gangs of New York, Scorsese states:[During the Civil War] the North and South were fighting for causes. The nativists [whose slogan was â€Å"America for Americans†] and the Irish were fighting for the right to live and the right to live together, but they were dying for it, too. If people believe in something strongly enough they're going to die for it, and that's a major problem in the world today. In the film – as in today's world – religion is used in a militant way. (Scorsese 1)This film is also a characteristic of violence in many of Scorsese’s films: â€Å"The 20th century was arguably the most violent in human history, but the most violent century in American history was the 19th. Poor people, political parties, and gangs would demonstrate, and there was violence constantly.† (Scorsese 2) Alongside the romance of the gangster and of male ritual that is so much in evidence in this film, Amsterdam Vallon and Bill â€Å"the Butcher† Cutting can both be understood in terms of a journey towards salvation through self-knowledge.The themes in Taxi Driver, The Last Temptations of Christ, and Gangs of New York are dominated by the search for self-awareness: â€Å"the individual is trapped in solitude morale and can escape from it†¦if he or she comes to see their condition and then extend themselves to others and then to God† (Hess 20). Scorsese's preoccupations are evident in his work and in his many interviews. Shortly after the opening of his film The Last Temptation of Christ, Scorsese, commented, â€Å"I made it as a prayer, an act of worship. I wanted to be a priest. My whole life has been movies and religion. That's it. Nothing else.† (Kelly 6)Works CitedAndrew, Geoff, Stranger than Paradise: Maverick Film-makers in Recent American Cinema. London: Prion, 199 8.Corliss, Richard, â€Å"Body†¦and Blood†, Film Comment 24.5 (1988): 36-42.Hess, John, â€Å"La Politique des auteurs: Part I World View as Aesthetic†. Jump Cut, 1 May/June (1974): 20-22.Kelly, Mary Pat, Martin Scorsese: A   Journey. New York: Thunder's Mouth, 1991.Scorsese, Martin, Scorsese on Scorsese, David Thompson and Ian Christie (Eds.). London: Faber and Faber, 1996.Scorsese, Martin, Gangs of New York – Martin Scorsese – Interview. (December 2002). Retrieved December 5, 2007 from http://findarticles.com/?noadc=1Swensen, Andrew J.   â€Å"The Anguish of God's Lonely Men: Dostoevsky's Underground Man and Scorsese's Travis Bickle†. Renascence: Essays on Values in Literature 53.4 (2001): 267.

Definition of the Preterite Tense in Spanish