Survival Of The Fittest Essays - Herbert Spencer,

Survival Of The Fittest Survival of the Fittest Alas, Babylon, by Pat Frank, illustrates genuine examples of how superior creatures survive and the weaker perish. Those who sufficiently responded to this difficult challenge set before them were Randy Bragg, Dan Gunn, Alice Cooksey, and Florence Wechek. Those individuals who were unsuccessful with this devastating feat were Edgar Quisenberry, Bubba Offenhaus, Pete Hernandez, and Porky Logan. During this period those animals that become savage beasts and would do anything for food survived, while the animals that were controlled by humans did not. Randy Bragg is a natural leader and a quick thinker and he had his mind set that he was going to live even if he had to fight for his life. "We're going to have to be tough, we are going to have to be catfish" (Ch.7). The community's doctors had either been killed or vanished and Dan Gunn, now the only physician in Fort Repose, tried to help everyone who was sick and this made him survive because he knew the people of the community needed is capabilities. After being beaten by the highwaymen he shows how strong and how much will power to survive he had by walking miles to the Bragg household. Fort Repose's librarian, Alice Cooksey, had the strength to keep on living because she knew that the library was the only source of learning for the people and especially the children. "She felt fulfilled, even important" (Ch.8). Florence Wechek, "a guppy, a nice, drab little guppy " in the eyes of her pier Randy Bragg (Ch.7). The analysis made by Randy Bragg was correct in the sense that Florence relating to the guppy was willing to do what she had to serve the community and survive. The President of the Fort Repose Bank became a massive position after The Day. Edgar Quisenberry was a coward because he couldn't face the facts; he couldn't bare a world that didn't use any type of currency and he wouldn't allow himself to be humiliated so he committed suicide. " He had been a banker all his life and that was the way he was going to die, a banker" (Ch.5). Bubba Offenhaus, an egotistical man, was the Deputy Director of Civil Defense in the town. He gave all the Civil Defense pamphlets to the librarian because they took up to much space in his office and if they people could have seen these pamphlets they might have had a better chance to support themselves longer. Even though he didn't die he was a failure because he sat at home and did nothing but wait to die. After everything was sold in his grocery store Pete Hernandez had stored some supplies for him and his sister but, he was so greedy that he was happy about making ten dollars a pound for salt. " Ten dollars a pound for salt!?.. Ain't that something!" (Ch.7). Stupidity and greediness was Pete's downfall and wearing contaminated watches and other jewelry killed him. Porky Logan took everything he could out of a demolished jewelry store and sold some of the items to the Hernandez' for food and other items. His greediness killed him because he should have just sold all the jewelry, but he liked it so much he had to keep it. Animals and humans evolved at the same time during this time. The dogs of Fort Repose had become wolves and found and caught their prey any way conceivable. The cats are one of the few animals that did survive. "The house cat turns hunter" (Ch.7). The controlled animals put up less of a fight to survive. Anthony the pet bird failed to survive because the cat over powered the little bird. The evolutionary theory that only the strong survive stated in Darwin's Origin of Species is well focused throughout the novel. Those who survived knew they had to find the joy in this disaster, whereas the ones who did not survive wanted to give up and die. Many found their place in life and those who could not find it in life instead found it in death.

aggregate

Modeling Money For Question 1/and The Aggregate-demand/aggregate Modeling Money For Question 1/and The Aggregate Economic models al Affiliation) Sensitivity in demand for money to changes in nominal Interest rates In US data, changesof money supply in the economy have been expected to affect the nominal rates of interest in the reverse direction. Changes experienced in interest rates may be attributed to changes that are in the supply schedule, changes in demand or changes in both demand and supply schedules (Basu & Kronsjo, 2009). An increase in rates that results from an upward shift in demand of money has a different implication for the cause of economic activity as compared to an equal rise that is attainable to a downward shift in the supply of money. Consequences of an increase in the money supply on output and the price levelShort-run and long-run effects of changes in supply of money are well understood through analysis of aggregate demand. Increase in money demand in an economy reduces the interest rates since there is an increase in investment and further increase in consumer spending . An increase in supply of money in an economy also increases the demand in goods and services shifting aggregate demand to the right (Basu & Kronsjo, 2009). This result to increase in aggregate price levels but the aggregate output is back at potential output. In short-run, the economy moves to a new equilibrium where price level aggregate and aggregate output level increases in the short run. In this situation, the level of aggregate is above potential output. When there is a change in money supply, it leads to relative change in the aggregate level of price in the long run. When there is failure in money supply by 25%, there occurs a similar fall in aggregate price level in the long run. Percentage rise in money supply results to rise in aggregate price level in the long run.Dependence of the answerA consequence of increases in the money supply on output and the price level that has been discussed above depends on both short-term and long term equilibrium. The consequences that a re obtained however come in the long-term. Reference Basu, D., & Kronsjo, T. (2009). Economic models. Hackensack, NJ: World Scientific.

Administration and Stakeholders of Health Plans Essay

Administration and Stakeholders of Health Plans - Essay Example The impact of the Act will be felt once its dots and crosses are assessed and also the citizens of the United States begin in a large measure to adopt preventive measures to accelerate good health conditions. The stakeholders of the health plans comprise health insurers, medical product manufacturers, health care providers, consumers, most businesses, and organized labor. Health insurance companies offering wide range of health care plans the customers can choose from are hurriedly incorporating the new changes. One has to wait and see what changes the manufacturers might effect since development on the manufacturers’ side are implemented on the basis of new development in the science field more than in legislations. The target group of customers for the health insurance companies in the United States are those in the middle age groups and professionally independent. The present reforms calls for increased private share in the health related expenditure. Thus, the markets for the health insurance are expected to further open up. The ideal governing structure should have an efficient Chief Executive Officer and Managing Director (CEO and MD) at the top level. The CEO and MD are followed by executive directors for the marketing, finance, sales, risk management, human resources, legal and operations departments. The executive directors, in turn, will have regional managers based on geographical locations. The mission statement of the organization basically covers the long term goals of the organization. The mission statement primarily comprises the ways that will be instrumental in achieving the vision of the company. The mission of the health insurance company includes that of: In the modern world, the customer is the king. The success of the company lies in allowing the customers to have greater access to alternatives. This helps in empowerment of the customers and they find themselves to be the integral part of the organization. The company should have

Scientology Essay Example | Topics and Well Written Essays - 1250 words

Scientology - Essay Example (Hubbarb, Miscavage, 2006). L. Ron Hubbarb is the founder of Scientology he defines it as"the study and handling of the spirit in relationship to itself, others and all of life." Base on Hubbarb's book there is no indication that it may cause problem and conflict with other religions. Below are some of it's believes and principles. Scientology is not a religion who asks you to believe on something but what you observed to be true is the truth. Believers discover that Scientology works personally by applying its principles and observing or experiencing results. This paper will show some facts that religion should not be banned no matter what their principles are as long as they not affect any important matter in a person's life. The goal of the Scientology religion as stated in the book written by Hubbarb (2007) is to achieve complete certainty of one's spiritual existence, one's relationship to the Supreme Being, and his role in eternity. Scientologist aims to have "A civilization without insanity, without criminals and without war, where the able can prosper and honest beings can have rights, and where man is free to rise to greater heights." This is why the number of Scientologist increases faster because of its aims. If one religion aims for peace and prosperity how can it promote war and disparity Religions differ only on their patron but they all aim for peace and happiness. Like any religion Scientology has its own "scripture" only in the form of principles written by Hubbarb. Scientology Scripture recognizes that there is an entire dynamic (urge or motivation in life) devoted to the Supreme Being (the eighth dynamic) and another dynamic that deals solely with one's urge toward existence as a spirit (the seventh dynamic). Principles of Scientology Looking at the principles of Scientology we will be able to foresee what will happen if this religion becomes the religion of choice in the future. Below are the principles based on the book written by the founder L.Ron Hubbard. 1. The Bridge to Total Freedom - Scientology practices (called "Technology" or "Tech" in Scientology jargon) are structured in sequential levels, reflecting Hubbard's belief that rehabilitation takes place on a "gradient", that is, easier steps are taken first and only then greater complexities are handled. 2. Dianetics - One principle in scientology is solving problems using your self. In Dianetics there is only one source of all your problems, stress, unhappiness and self-doubt. It's called the reactive mind - the hidden part of your mind that stores all painful experiences and then uses them against you. 3. The ARC and KRC triangles - ARC stands for Affinity (emotional responses), Reality ( an agreement on what is real), Communication. KRC stands for Knowledge, Responsibility, and Control. Scientologists believe that improving one aspect of the triangle increases the level of the other two. ARC and KRC triangles can be found in the Scientology symbol. 4. The Dynamics - Scientology and Dianetics state that the dynamic principle of existence is to survive and that man survives across the "eight dynamics of Self, Family and Sex, Group, Humanity, the Animal and Vegetable Kingdoms, the Physical

Toyotas Decision to Undertake FDI in Australia Case Study - 25

Toyotas Decision to Undertake FDI in Australia - Case Study Example ll also face challenges in the future, they will not affect the FDI that Toyota Company made since it is able to deal with competitiveness and financial crises that may arise. Japan’s economy is the second largest in the world but this would still not favor the hybrid of Toyota since its growth rate is slow. On the other hand, Australian’s economy is smaller compared to that of Japan but it experiences rapid growth. In addition, Japan’s purchasing power is high and thus building hybrids in Japan would have cost more than undertaking FDI in Australia. Australia has a framework that supports foreign direct investment and thus it will be possible for Toyota to monitor and analyze how the investment grows (Ghemawat, 2012). The FDI in Australia has several liabilities that ensure reinvestment. Carrying out a hybrid in Japan would have been a poor decision since Japan is facing a critical issue because of its allocative efficiency. There is very high competition among manufacturers who are well distributed and highly productive. Â  I think Toyota decided to adapt the existing plant in Melbourne instead of building a new one from the ground for several reasons. One of the reasons is because using the already existing plant was going to cut down on the cost of establishing themselves in Australia. Whenever a company is entering a new market, it is easier to use an existing plant than when it starts from the ground. Starting from the ground will mean that time for building has to be allocated whereas in an already existing plant the sales start immediately (Dadzie, 2012). By using an already existing plant, the production is higher than starting from the ground. In taking the already existing plant the Toyota Company is able to be in an area where the economy is already diversified opposed to setting up a new plant in an area where the economy is not yet diversified.

Django Unchained (2012) Film Analysis Postmodernism

Django Unchained (2012) Film Analysis Postmodernism Django Unchained (Tarantino, 2012) set in Texas in 1858, deals with a variety of issues such as race, slavery, revenge and violence. The film sparked controversy worldwide and amongst critics. Filmmaker Spike Lee talks about the film during an interview with Vibe magazine: All Im going to say is that its disrespectful to my ancestors. Thats just me. Im not speaking on behalf of anybody else (2012). Tarantino argues that although the film is indeed graphic and brutal, it does not compare to the real-life discoveries and findings from the research into this topic. The film sugar coats the violent happenings, as it leaves out factual gory details: We all intellectually know the brutality and inhumanity of slavery, but after you do the research its no longer intellectual any more, no longer just historical record you feel it in your bones. It makes you angry, and want to do something Im here to tell you, that however bad things get in the movie, a lot worse shit happened (Child, 2013). Django Unchained is a gruesome depiction of what life as a slave was like during 1858 pre-civil war Texas, as well as a glimpse of existence outside the slave industry such as in Dr. King Schultzs (Christoph Waltz) case or the wealthy Calvin Candie (Leonardo DiCaprio). It is a highly entertaining film which simultaneously disturbs and thrills, while also incorporating a healthy dose of humour throughout. The purpose of textual analysis is simply to critically analyse a piece of cinema. As a research method, it can be used to deconstruct the aim or overall meaning of the film. Focusing on elements such as narrative structure, exposition, narrative voice and editing is important when using textual analysis. Mise-en-scene, setting, colour, tone, costume, props and lighting all play important roles in the examination process. A textual analysis approach allows the text to be thoroughly studied, for example, looking for patterns/relationships, finding the key/central themes and symbolic significance, as well as the ways in which the audience engage with the text, for instance, if an audience feel sympathy or pleasure towards a certain part of the film. Monaco discusses the importance of visuals, describing that it is useful, even vital, to learn to read images well so that the observer can seize some of the power of the medium (2000, p.159). I intend to examine the ways in which Django Unchained can be viewed as a postmodern text. Postmodernism is a critique of modernism, the idea that there is no set genre or structure; no absolute truth: Post-Modernism is fundamentally the eclectic mixture of any tradition with that of its immediate past: it is both the continuation of Modernism and its transcendence (Jenks,1996). Jean Baudrillard talks about simulation, simulacra and hyperreality. Baudrillard argues that the audience live in an artificial world, drawn in by images and media; this is not reality and leads to hyperreality: Images are no longer the mirror of reality, they have invested the heart of reality and transformed it into hyperreality, where from screen to screen, the only aim of the image is the image. The image can no longer imagine the real because it is the real; it can no longer transcend reality, transfigure it or dream it, since images are virtual reality. In virtual reality, it is as if things had swallowed their mirror (Zurbrugg, 1997, p.12). Disneyland is an example of this as the fine line between reality and fantasy is unclear. Postmodern cinema contains a variety of features such as intertextuality, non-linear narratives, referentiality and pastiche. Frederic Jameson talks about the importance of pastiche in postmodern films: Pastiche is, like parody, the imitation of a peculiar or unique, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language. But it is a neutral practice of such mimicry, without any of parodys ulterior motives, amputated of the satiric impulse, devoid of laughter (Jameson, 1991). Django Unchained demonstrates features of postmodern theory and this is often the case with Tarantinos work, as described by Rehling: Tarantino is generally considered the postmodern filmmaker par excellence due to his penchant for intertextual allusions (2010, p.203). The film follows the story of a bounty hunter (previously employed as dentist) Dr. King Schultz, who is searching for a trio of men named The Brittle Brothers. Schultz understands that Django (Jamie Foxx) is familiar with the brothers as he was once a slave to them, and realizes he must free Django for him to assist Schultz on the journey. Schultz mentors Django, and offers to pay him for his services while helping Django to live as a free man. The pair begin finding and killing various wanted men. Django explains he wishes to rescue his wife Broomhilda Von Shaft (Kerry Washington), and is determined to find her. Schultz agrees to help Django on his mission to release Broomhilda, who they later discover is a slave of Calvin Candie at his plantation CandieLand. The two men begin their journey to CandieLand and adopt a strategy in the hope to free Djangos wife. The film has been described as a spaghetti western due to the amount of violence involved as well as a Blaxploitation film. The main hero of the film is Django, a black character, and this contrasts with other 19th century Western movies where the central hero is often white, such as John Waynes character in The Searchers. It is also uncommon for a German character to be shown as the hero in this film genre. Djangos main goal is to locate and save Broomhilda from the slave trade. Although the film is violent in nature, comic relief is used throughout, for example, when Broomhilda faints at the sight of Django after he says Hey little troublemaker, to which Schultz replies you silver tongued devil, you. Pastiche is apparent when the Klansmen are preparing for a raid. The men bicker over the quality of the masks provided for them and this allows the spectator to laugh or poke fun at the characters. Humour is used as a tool to help the audience cope with gory imagery and the overall neg ative themes. Hyperreality is evident in Django Unchained as the film mimics a fictional world. Schultz tells Django about the famous German myth concerning a princess named Broomhilda who is held in captivity by a fierce dragon, until she is finally saved by her hero. This relates to Djangos main objective to free his wife and adds to the fairy-tale notion. Calvin Candies estate is referred to as CandieLand which has rather positive connotations however the harsh reality is that CandieLand is where Broomhilda and other slaves are kept as prisoners. Another aspect of postmodernity within Django is the intertextuality used, such as the reference to other films. The 1966 film Django is referenced firstly with the films title and actor Franco Nero (1966 Django) plays a cameo role. During Django and Schultzs time within the Candie mansion, Nero asks Django how he spells his name. Django replies that the letter d is silent, to which Nero replies, I know. It then becomes evident why Neros character is i mportant and his presence may spark curiosity in the viewer. In addition, Broomhilda Von Shaft is a reference to the Blaxploitation film Shaft. The soundtrack within the film is somewhat mismatched, combining a variety of different genres, and this seems unusual due to the historical period when Django is set. Costume design stands out greatly, especially during the scene were Schultz encourages Django to pick his own clothes. His first freedom outfit is extravagant and the blue suit imitates to the famous painting The Blue Boy (Gainsborough, 1770). This mimicking effect encourages a postmodern feel, and the notion of bricolage or that nothing is infinite; everything in existence is a copy of itself. Gender in cinema is significant and Django Unchained represents gender in different ways. Laura Mulvey (1975) talks about the male gaze: The determining male gaze projects its phantasy on to the female figure which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness (Mulvey, 1975, p.62). Mulveys theory can be applied to Django Unchained as the female characters do not have demanding roles or are depicted as damsels in distress. Mulvey talks about woman as image, man as bearer of the look (1975, p.62) implying the notion that female characters are admired by a male audience solely down to their physical appearance. The male characters keep the film moving forward as Django and Schultz lead the story, while supporting males are crucial to the plot such as Calvin Candie and Stephen (Samuel L. Jackson). The viewer may appreciate the visuals provided by the female however can relate more to the male characters: Voyeuristic visual pleasure is produced by looking at another (character, figure, situation) as our object, whereas narcissistic visual pleasure can be derived from identification with the (figure in the) image (Smelik, 2001, p.9). Throughout Django, the female image is displayed in soft lighting, encouraging a sense of beauty and romanticism. During these moments, for example, the hallucinations Django has of Broomhilda, the viewer appreciates the imagery and momentarily shifts away from the narrative, as the female characters appearance tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation (Mulvey, 1975, p.62). Although Broomhilda is incredibly important to Django, her character alone is not of importance. We witness Broomhilda being whipped and beaten however it seems we are not so concerned about her wellbeing but more so the way in which this affects Djangos actions. There is an underlying notion that the women in the film are the property of the male characters (Broomhilda belongs to Django, Lara Lee (Laura Cayouette) belongs to Calvin Candie, etc.). The female characters have little dialogue compared to the male characters, implying the idea that they should be seen and not heard. It can however be argued that Broomhilda is strong and independent, due to the fact she has endured endless torture and suffering since Django has been apart from her. In addition, she has attempted to escape CandieLand without the help of Django. Mulvey describes female objectification: Woman displayed as sexual object is the leit-motif of erotic spectacle: from pin-ups to strip-tease, from Ziegfeld to Busby Berkeley, she holds the look, plays to and signifies male desire (1975, p.62). At CandieLand, Schultz asks for alone time with Broomhilda due the fact she is fluent in German. Django had predicted earlier that she was being used as a comfort girl (a slave for sex). There is the suggestion that Schultz is expecting a sexual encounter with Broomhilda and this view is held by everyone at CandieLand aside from Django. It becomes apparent that the women are sexual objects for men and this should not be questioned but rather expected. Schultz realises that if he does not pretend this is indeed his intention with Broomhilda, there may be suspicions about him and Djangos presence. We see Broomhilda being removed from the hot box, as she is naked and continues to scream. This contrasts with the next time Broomhilda is seen; she has been dressed up to appear beautiful and presentable for Schultz emphasising the idea that her purpose is only to be looked at and her performance from earlier is unacceptable. Lara Lee is shown in a similar way, as she often appears doll-lik e and attractive, wearing elaborate dresses. She acts elegant and polite around the male characters, as though to impress them. Laura Lees behaviour relates to the idea of fetishism and the notion of these women being hyper-polished: Fetishizing the woman deflects attention from female lack and changes her from a dangerous figure into a reassuring object of flawless beauty (Smelik, 2001, p.11). Sadism is introduced in the film; this is the belief that the woman should be punished or forced to seek forgiveness within the narrative. An example of this is during the scene when Broomhilda is asked to undress and reveal her scars to the group of men in the room. Candie is determined to remind Broomhilda of her place at CandieLand, ensuring she and those in the room understand that Broomhilda belongs to him. He has branded her physically with these scars, and she has evidently been punished through such torture. She is also continuously being punished through the fact she must show herself to these men. Once Djangos identity is discovered, he wakes up to realise he has been tied upside down. A man enters, explaining he is to be castrated using a hot knife. This scene stands out as the man reveals he has received these orders from Lara Lee. This highlights male fears around the female presence; the woman is viewed as a danger or threat as well as male anxiety regarding castration. Classic cinema solves the threat of castration in one of two ways: in the narrative structure or through fetishism (Cook Bernink, 1999, p.354). The black male characters are objectified in Django Unchained, for example, during the Mandingo fighting scene. Candie demands these black slaves to fight one another, for his own pleasure. The men are dressed with little clothing and like the females, do not have any dialogue in the film nor are they given names. They are simply there to be looked at; for Candie to witness them fighting. The men often grunt throughout, implying the notion that they are animals or beasts used only to fight, as though they are being trained like dogs, which also dehumanizes them. The audience observe the fight from Candies objectifying point of view with minimal flashes of Django or Schultzs reactions, to restore the understanding of how cruel this act is. Within Candies dining room, a marble statue of two naked men fighting can be seen. Once Schultz meets Broomhilda and explains the escape plan to her, Django appears at the door however he is filmed in a seductive manner. The camera begins at Djangos feet and slowly moves upwards, scanning over his entire body. This allows the viewer to look at Django and examine him closely before dialogue is heard, and technique is unusual as it would normally be used for a female character: There is, in other words, a specific and even ritualized form of male objectification and eroticization in Hollywood cinema (Weems et al., 2010, p.83). There may be a somewhat homoerotic relationship between Candie and his loyal and oldest house slave Stephen. Stephen always supports Candie and appears desperate to please him or win his respect. Stephen is not afraid to disagree or argue with Candie, which is evident when Django arrives and Stephen is appalled that he has the same rights as a white man. Candie states that he grew up in a house full of niggers, which portrays that Stephen has perhaps raised Calvin and a further reason behind their closeness. Within CandieLand, Stephen has not suffered or been tortured in the same way other slaves have, and thus sees Django as a threat to his position. It can be argued that Stephen may be suffering from Stockholm Syndrome or has simply become brainwashed as his life at CandieLand is all he has ever known. To conclude, Django Unchained is a well written film which deals with an array of issues throughout. The film is evidently postmodern in nature, as it presents aspects of postmodern theory such as intertextuality. It can be argued that Mulveys argument relating to the male gaze is apparent due to the representation of female characters in Django, and the way in which they differ from the male characters, for example, having little dialogue or action/purpose within the films narrative. Male objectification however also manifests itself in Django, and thus the sexualisation of both genders is noticeable. References Bealer, T. (2013) Did Quentin Tarantinos Feminism Take a Step Backwards in Django Unchained? [Online] Available: http://www.genderfocus.com/2013/01/07/did-quentin-tarantinos-feminism-take-a-step-backwards-in-django-unchained/ [Accessed: 9 March 2017]. Child, B. (2012) Django Unchained Wins Over Black Audience Despite Spike Lee Criticism. The Guardian. 3 January. Available: https://www.theguardian.com/film/2013/jan/03/django-unchained-spike-lee [Accessed: 8 March 2017]. Cook, P. and Bernink, M. (1999) The Cinema Book. 1st ed. London: British Film Institute. Doyle, H. (2010) Gender, Sadism, and Masochism in the Works of Wilkie Collins. [Online] Available: http://vc.bridgew.edu/undergrad_rev/vol6/iss1/34 [Accessed: 7 March 2017]. Gainsborough, T. (1770) The Blue Boy. [Oil on Canvas 178 x 112cm] Henry E. Huntington Art Gallery, San Marino. Haastrup, H. (2014) Storytelling Intertextuality. Film International. Vol.12(1), pp.85-97. Jameson, F. (1991) Postmodernism, Or, The Cultural Logic of Late Capitalism. 1st ed. Durham: Duke University Press. Jencks, C. (1996) What Is Post-modernism? 4th ed. Michigan: Academy Editions. Monaco, J. (2000) How to Read A Film. 1st ed. New York: Oxford University Press. Mulvey, L. (1975) Visual Pleasure and Narrative Cinema. Screen. [Online] Vol.16(3), p.62. Available: https://www.asu.edu/courses/fms504/total-readings/mulvey-visualpleasure.pdf [Accessed: 9 March 2017]. Rehling, N. (2010) Extra-Ordinary Men. 1st ed. Lanham: Lexington Books. Smelik, P. (2001) And the Mirror Cracked. 1st ed. Basingstoke: Palgrave Macmillan. Tarantino, Q. (dir.) (2012) Django Unchained. [DVD] The Weinstein Company. 166 mins Weems, C., Berger, M., Wallis, B. and Watson, S. (2010) Constructing Masculinity. 1st ed. New York: Routledge, p.83. Zurbrugg, N. (1997) Jean Baudrillard, Art and Artefact. 1st ed. London: Sage.

Essay --

Disasters are sudden and tragic which experiences huge loss, damage, destruction, waste of land and life. Most times it becomes difficult measure the damage resulted through disasters. It harms the complete living status of the dwellers of the affected and neighboring area by interfering in their socio-economic growth. The impacts of a disaster includes ridiculous disturbance in the usual living condition as the basic necessities like food, health, home, etc becomes inaccessible. Classification and characteristics of disasters: Natural and Manmade are the two basic categories of the disaster and as per their destruction, these are further classified into major or minor disasters. The 21st century feels to be the worst victim of both natural and manmade disasters. Equally major and minor natural disasters already started to hit the prosperity of the humanity and the manmade disasters are ready to fire. Yes, the current recorded impacts of deforestation, pollution, epidemics, road accidents, inhumanity, etc like manmade disasters are evident of upcoming tragedies. Natural disasters h...