Milk and Ice Cream Essay Example for Free

Milk and Ice Cream Essay Don’t you think you should get kids to try more fruits and vegetables, especially since the new MyPlate guidelines say that half of their plate should be fruits and vegetables? Child obesity is a huge problem today and one of the best ways to counter this is to make vegetables more attractive to kids. That is why we developed a way to tempt fussy children: vegetable ice cream. Can you use the fact that people will eat just about anything if it is in ice cream form? The Ice Greens come in broccoli, lettuce, and malunggay flavors. This may sound unappetizing, but once you taste it, you might change your mind especially if you’re health conscious. This would even fit in the summer season because of the chills it brings on the summer breeze. OBJECTIVE —This Investigatory project aims to find ways to encourage children to eat bland vegetables by blending it into one of their favorite desserts: the ice cream. It is known that children naturally dislikes vegetables but by imbuing the nutritional value of vegetables into their favorable dessert, the researchers conducted experiments on how effective it is. —This is also to make vegetables appetizing and appealing to the eyes of the children. Basic Ingredients: concentrated soymilk malunggay fresh leaves banana fruit (any table-type) sugar (condensed milk or honey) soybean oil or virgin coconut oil So with the above ingredients, let’s all experiment. Go, go, go! 2 cups milk 2 cups heavy cream 2 eggs, beaten 1 1/4 cup sugar 1/4 teaspoon salt 1 cup puree bananas 1/2 teaspoon vanilla extract 1/8 teaspoon nutmeg In a saucepan, combine the milk, cream, eggs, sugar and salt. Cook and stir over low heat until mixture thickens slightly and coats the back of a spoon. Refrigerate the mixture until cool. Combine the cooled custard with the bananas, vanilla and nutmeg. Pour into freezer container. Freeze according to manufacturer’s instructions.

Post-WWII History Essay Example for Free

Post-WWII History Essay After World War II, the United States focused on putting an end to Communism. The economic climate of the immediate postwar years was conducive to the rise of the political left. The detrimental effects of depression and global war generated popular demands for widespread social, political and economic reforms. Furthermore, wartime controls made ordinary citizens believe that economic planning was the best way to restore economic growth and equity (Painter, 1999). The United States, however, underwent a shift to the right. Republican domination of both houses of Congress after the 1946 midterm elections led to the strengthening of conservative opposition to the New Deal. Despite this accomplishment, the Republicans were unable to contain the main achievements of the New Deal – unionization of heavy industry, Social Security, agricultural subsidies and civil rights militancy. Throughout Europe and in parts of the Third World, meanwhile, chaotic social, political and economic conditions resulted in the emergence of Communist parties and other leftist groups (Painter, 1999). The aforementioned developments prompted Washington to assume that a new foe was in its midst – Communism. McCarthyism: The Great American Red Scare The period from the late 1940s to the mid-1950s was characterized with the rise of Communism in China and several nations in Eastern Europe. As a result, the US became fearful that it was losing the power struggle against the Soviet Union – a battle that was later known as the Cold War. This apprehension was exacerbated by suspicions that traitors within the American government were aiding the spread of Communism (Fitzgerald 2006). Such paranoia on the part of the US eventually resulted in the era of McCarthyism, a chapter in American history that was synonymous with state-sponsored Communist witch-hunts and anticommunist hysteria among the populace. Red Alert On the night of February 9, 1950, a senator from Wisconsin named Joseph McCarthy gave a Lincoln Day speech to the Republican Women’s Club of Wheeling, West Virginia. His speech on that particular evening, however, had absolutely nothing to do with Abraham Lincoln’s birthday. McCarthy’s address instead focused on the hostile relations between the US and the Soviet Union. He warned the audience that the Soviet Union intended to spread Communism throughout the US by sending spies to infiltrate the US government (Fitzgerald 2006). To prove this claim of his, McCarthy held up a piece of paper and reportedly stated: I have here in my hand a list of 205 (men) that were known to the secretary of state as being members of the Communist Party and who, nevertheless, are still working and shaping the policy of the State Department. (p. 10) This was a very grave allegation. The State Department is the government institution responsible for the establishment of foreign policy. The presence of Communists in such an important organization would therefore cripple the US in its fight against Communism worldwide. They would most likely work as spies, providing the Soviet Union with sensitive information about atomic weapons and US military and political strategy (Fitzgerald 2006).

Contemporary Indian Theatre And Habib Tanvirs

Contemporary Indian Theatre And Habib Tanvirs Habib Tanvir and Naya Theatre are two inseparable names which will always be remembered in the modern theatrical scenario in India. Its been a year since the death of Habib Tanvir, one of the most popular Indian Hindi, Urdu playwrights, a poet, a theatre director, and an actor, but still the majority of theatergoers in India remember his famous artworks like Agra Bazar and Charandas Chor. The country will always recall this man as the founding father of contemporary theatre of India. But before we go into his life and work details we will have a quick understanding of the evolution of contemporary theatre in India. The traditional theatre, The classical or Sanskrit theatre and The Modern theatre. Contemporary Indian theatre, as we know it today, has been widely influenced by the change in the political scenario in India. During the 200 years of British rule Indian theatre came in direct contact with western theatre. With the union of power by the British Raj in Maharashtra, Tamil Nadu and Bengal, it was in the metropolises of Bombay, Madras and Calcutta that they first introduced their style of theatre, primarily based on London concept. This genre of theatre began to expand in the 1850s as more enthusiasts started to perform their own play on different languages based on western style. Due to the growth of this new form of the theatre the other conventional form of theatre felt the heat. Theatre started being ticketed from the 1870s. By the 20th century and First World War, it became a product for sale and was restricted into the auditorium. As the Indian freedom movement picked momentum, the creative side of the theatre took a setback. In 1922, the Indian Communist Party was founded and along with it came the Indian People`s Theatre Association (IPTA), which worked as its cultural wing. They took the initiative of portable theatre and these were based on various political agenda primarily against the British Rule. Indian theatre was turning out as a medium of social and political change that would be more concerned about reaching out to the common people. Post-Independence, Indian theatre got a fresh and broader outlook from appropriate mixing of various styles from medieval, Sanskrit, and western theatre. This newly found entity was further enhanced by the formation of Sangeet Natak Academy in Jan 1953 and the National School of Drama, New Delhi under Ebrahim Alkazi in 1959. This dramatic revival brought many pioneers in the theatrical front among which Habib Tanvir was one of the most popular theatre playwright-director in Hindi and Urdu. Along with B.V. Karanth (1928-2002), Ibrahim Alkazi (born 1923), Utpal Dutt (1929-1993) Satyadev Dubey (born 1936), Tanvir shaped the structure of modern theatre in India. The individuality in Tanvirs form of theatre was that it showed how Indian theatre could be simultaneously blended with traditional and contemporary aspects. His theater was not fixed to any one form as a whole. His works reaped the skills, energies of folk performance and made them relevant to the secular and democratic perspective. The effect was that his artwork was as challenging as it was entertaining. During the five decades of his stint in theatre, Tanvir gave such memorable productions as Agra Bazar[1954], Mitti ki Gari[1958], Gaon ka Naam Sasural Mor Naam Damaad[1973], Charandas Chor[1975], Jis Lahore Ni Dekhya[1990], and Rajrakt[2006], of which many are renowned as classics of the contemporary Indian stage. In popular culture, the name of Habib Tanvir is closely related to the concept of the folk theatre. However, Habib Tanvirs appeal with the folk was motivated by the folk performers who brought their own styles along with them. Habib Tanvir plays involved actors who can sing and dance. His project from the start had been to utilize elements of folk as an instrument to produce theater to appeal general masses. Habib Ahmed Khan was born in Raipur, Chhattisgarh to Hafiz Ahmed Khan, who belonged to Peshawar. Tanvir was a pen-name he took later when he started writing poetry. Raipur, during that time was a small town surrounded by villages. As a child, Tanvir too had many opportunities to visit villages, interact with the residents and listen to the songs of the locals. He was so attracted by those melodies that he even memorized some of them. Tanvir completed his schooling from Laurie Municipal High School in Raipur and his BA from Morris College Nagpur in 1944. After pursuing his Masters for 1 year at Aligarh Muslim University (AMU), Tanvir moved to Bombay in 1945 and joined All India Radio (AIR). He also joined the PWA (Progressive Writers Association) and became an essential part of IPTA (Indian Peoples Theatre Association) as an actor. When the Communist Party of India was banned many IPTA members were jailed or went underground. From 1948-50, Habib solely handled the responsibility of running the organization. In 1954, Tanvir moved to Delhi, and worked with Hindustani Theatre formed by Qudsia Zaidi and authored many plays. It was in this period he met Moneeka Mishra, also an actor-director, whom he later married. In the same year, he produced Agra Bazar, based on the times of the 18-th-century Urdu poet, Nazir Akbarabadi, an older poet in the generation of Mirza Ghalib. He used students of Jamia Millia Islamia and local residents and folk artists from Okhla village and created an ambience never seen before in Indian theatre. The play was not staged in a restricted space, but in a bazaar, a marketplace. Later, On a Govt of India scholarship, Tanvir went to England in 1956. He received training at the Royal Academy of Dramatic Art, and the British Drama League, and having exposure to Western drama and production styles. He traveled extensively throughout Europe, watching theatre. In 1956 he spent about 8 months in Berlin and saw numerous productions by Bertolt Brecht. Being Tanvirs first experience with the German playwright-directors work he was quickly influenced by it. Simplicity and directness were the benchmark of Berliner Ensemble productions, and Tanvir was reminded of Sanskrit drama, about its simplicity in technique and presentation. By the time he got back to India, he was determined to unlearn much of what he had learnt at RADA. Thus following a path of development opposite to that followed by other Indian directors trained in Britain. Soon after returning from Europe, he worked with some folk artists of Chhattisgarh and tried to understand their forms and techniques. His first production, Mitti ki Gadi, included 6 folk actors from Chhattisgarh in the cast. Besides, to give a distinct Indian form and style, he used the conventions and techniques of folk stage. This play though is now performed entirely by village artists, but it is still considered as one of the best modern portrayal of the classic. Tanvir and his wife Moneeka Misra founded Naya Theatre in 1959. During this stage of career, Tanvirs interest in the folk traditions and performers continued to grow. But, it was not until the early 1970s that this association reached a new and more sustained phase. Tanvir wasnt entirely satisfied with the working of folk actors. He identified two faults in his approach to tackle them. Firstly, the problem with the rural artists was they not only could read or write but couldnt even remember what way they needed to move in the stage. So, it wasnt wise enough to pre-define their movements in advance. Secondly, making these people speak standard Hindi in Hindustani plays created a severe handicap for them and restricted their freedom of expression and creativity in performance. To improvise on these faults, the folk actors were allowed to speak in their native Chhattisgarhi dialect. He also worked intensively with rural performers in their language delivery and style of performance. Also, to make them feel stage worthy, he allowed them their own portion of delivery in their own traditional way. The second breakthrough came when Tanvir conducted a nacha workshop in Raipur in 1972 where more than a hundred folk participants were involved in a month-long exercise. During this workshop, three different traditional comedies were selected and combined to form a full length play. Further improvisations linked them up to a full story, leading to a stage play called Gaon ka Naam Sasural, Mor Naam Damaad. This play marked a turning point in Tanvirs career, not only because the play was a grand success in Delhi but that he finally found the form and style he was searching since his directorial debut. Since then, he continued his construction and casting of play through improvisations. Through this method, at that time he produced his best work Charandas Chor(1975). This play is still the evergreen favorite for most theatre goers. Tanvirs Naya Theatre worked almost entirely with folk actors. But, his occasional productions with other theatre groups were also marked by the style he developed through his work with folk artists. But, this newly developed style was not folk theatre by any sense. He was still an urban artist with sensibility, modern outlook and strong sense of history and politics. His unique style and content in theatre always reflected his commitment to common people and their causes, primarily due to his involvement with the leftist cultural movement in early years. Tanvirs fascination with the folk was motivated by the fact that he believed there is a huge artistic and creative energy inherent in these traditions. He always borrowed techniques, music and themes from these traditions as and when required. His theatre never belonged to any one form or tradition wholly. His plays, from the beginning, have been utilizing elements of folk traditions as a tool and make them give new, contemporary meanings, and to create an art form which has that touch of soil in it. The performance styles of the actors were always in their conventional nacha background, but the plays were not original nacha productions. While the number of actors in a nacha play is usually 2 or 3, the rest being background dancers and singers, Tanvirs plays used to involve a whole casting of actors, some of whom could sing and dance. His productions always had a structure which one doesnt associate with the original form of the nacha. Another significant difference is that while the nacha songs are mostly used as intermediate musical delays, in Tanvirs plays they were closely embedded as an important part of the theme of the play. This is best displayed in some his adaptations like The Good Woman of Szechwan (Shaajapur ki Shantibai) and A Midsummers Night Dream (Kamdeo Ka Apna, Basant Ritu Ka Sapna). Tanvir not only gave his poetic compositions the freshness of the original but has also used his words to fit native tunes with ease and skill. However, Tanvir was always conscious not to create a difference between his own educated minds over the uneducated creative mind of his actors. An example of this approach is the way Tanvir mixed his poetry to the traditional tribal and folk music, retaining its own imaginative power without in any way less valuing the latter. Another example is the way he allowed his actors and their skills to be projected by less complicating the lighting stage design. Therefore in contrast to the stylish genre of drama on one side and the traditional theatre on the other, Habib Tanvir, with his own blend of tradition, folk creativity and critical consciousness, offered a fresh and innovative model of field of dramatics. It is this rich blend which made his art so memorable. Even after Tanvirs death, his innovative art form and style is still being carried forward through newer productions of Naya Theatre. Seeing recent performance of Naya Theatre actors in movie Peepli Live we can probably comment that Tanvirs art form is gradually crossing the barriers of contemporary theatre and exploring newer towards mainstream cinema.

Analysis of What Are Years? by Marianne Moore :: Poems, Poetry Analysis

In the poem â€Å"What Are Years,† written by Marianne Moore there are two poetic devices being used in order to convey the meaning of the poem. Through the use of different figures of speech and unique forms, she discusses the different life stages a person experiences. The entire poem is based on powerful metaphors used to discuss the emotions and feelings through each of the stages. For example, she states â€Å"The very bird/grown taller as he sings, steels/ his form straight up. Though he is captive (20-22).† These lines demonstrate the stage of adulthood and the daily challenges that a person is faced with. The allusions in the poem enrich the meaning of the poem and force the reader to become more familiar with all of the meaning hidden behind the words. For example, she uses words such as innocence, imprisonment and captive to capture the feelings experienced in each of the stages. The form of the poem is open because there are no specific instances where the lines are similar. The words in each stanza are divided into each of the three growth stages or personal experiences. Each stanza is composed of words that present a logical flow of growth through the entire poem. The words in the poem do not rhyme and the lines are different lengths.

Essay on the Dilemma of Billy Budd -- Billy Budd Essays

The Dilemma of Billy Budd    Herman Mellville's Billy Budd is and extremely divisive novel when one considers the dissension it has generated. The criticism has essentially focused around the argument of acceptance vs. resistance. On the one hand we can read the story as accepting the hanging of Billy Budd as the necessary ends of justice. We can read Vere's condemnation as a necessary military action performed in the name of preserving order aboard the Indomitable. On the other hand, we can argue that Billy's execution as the greatest example of injustice.    The question has been asked if Vere's conduct is right or wrong. In either case, since Billy Budd is an ethical text, it is very odd that there is an absence of the emotion guilt.   Billy Budd is a story about two murders. Billy kills Claggart and Vere (although indirectly, the decision is ultimately his) kills Budd. Neither of the murderers demonstrate guilt in the form of remorse. For a narrative that tries to put the reader in a moral and ethical position, it is ironic that the characters themselves don't exhibit what would seem most ethical.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  ... ... To read the story as either accepting or resisting an ethical dilemma is perhaps debatable. The point of the story may be to state man's need to punish and retaliate with injury through means that may be befogged. The reader may be upset with the death of Billy Budd not for the seemingly unjust killing of a sympathetic character, but for its illustration of a society coming apart at the seams; one which doesn't necessarily make sense considering human nature, but one that is so closely linked to social systems, it is doubtful that it could ever be changed.  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  

Vampires and Vampirism Essay -- exploratory essay research paper

Vampires and Vampirism Missing Works Cited    The vampire of today is most commonly associated with the type that was created by Bram Stoker when Dracula was published in 1897 (Florescu and McNally 221). This popular cultural icon is described by Stoker in his novel: "The teeth were strong and white, and the canine teeth protruded over the lower lip when the mouth was closed. The [vampire's] hands were large and powerful, the nails black and pointed like a bird's talons" (qtd. in Florescu and McNally 227). However popular, the vampire-as-monster theme has not always been the primary way of employing this motif. The vampire of the English Romantics served more as symbol or as a metaphor rather than an actual character that haunted the night, plunging his fangs into the neck of unsuspecting victims to drain them of their life's blood (South 251). Indeed, the use of vampirism symbolically could actually be considered a "stock literary motif" in the nineteenth century (Grudin 52). The themes of sex and violence that are the essence of the vampire serve to expose the sexual and psychological uneasiness that reside deep inside human beings through interaction with these creatures (South 251). This creature is used as an element in nineteenth-century literature as a combination of all of the classic elements that distinguish the vampire from other creatures and to examine human experience. The vampire's English literary life began in 1819, when The Vampyre was published. The author of this novel was John Polidori, Lord Byron's doctor and companion, who finished the idea that Byron had started but never completed. The popularity of this novel resulted in what could be called a "vampire craze" in the 1820s in both English and F... ...e alive by moonlight while others will perish from the light of the sun. Some central similarities that span cultures are the importance of blood, the sexual connotation associated with the relationship between vampire and victim, the rancid odor they emit, the fact that they eat little, if any, food, and perhaps the most disheartening to humans, their inability to die. The central themes of vampire folklore seem to be violence and sexuality (South 246). It is not difficult to relate the penetration of the (usually male) vampire's long fangs into its (usually female) victim and the ensuing ecstasy that results from the consumption of blood with the act of penetration. The vampire/victim relationship may also be seen as one of domination/submission because vampires were seen as power-seeking beings who will seek relationships that satisfy this need (Auerbach 6).

Pip’s family Essay

In chapter one of the story we discover that Pip’s family is deceased, well apart from his sister. They all died from common diseases like flu and measles and other illnesses which some were treatable but, medicine was not affordable for the poor. The social conditions in the nineteenth century were unfortunate. There wasn’t much medicine and there were no cure for common diseases and there was a lot of poverty, poor people had to work which includes children working in factories, there wasn’t in the least of education for the poor. This all tells us that life was hard to live in Britain in the nineteenth century if you were poor. Today in Britain it is greatly different, there is less poverty, more education, affordable prices for medicine, children don’t need to work to support there family, also there is the NHS health service and there is child benefit along with income support. Pip encounters an escaped convict when he goes to see his mother’s grave. Pip was petrified when he saw this convict; he was an enormous man and was chained up to his legs. In those days all convicts were known as murders so when Pip met him he was horrified. Then the convict forces Pip to bring food to eat and a filer to break lose from the chains on his hands and legs. In Pip’s village the standard of education was important but the poor often couldn’t afford it. Only the rich and wealthy families were able to afford education. Poor people weren’t expected to get educated in Pip’s village. Pip was expected to work and support his family when he was older. Pip wanted to become a black smith like Joe. Charles Dickens wants to create a miserable impression about education among the working classes. He wants to show how unfortunate children were in the working classes as they can not get any education and had to support there families. The children of wealthier families received different standard of education from the poorer families. They weren’t amongst the working classes, they didn’t need to work to support there families they could afford education as well as medicine, which means that life wasn’t bad for rich and wealthy families. Joe and Pip are extraordinarily good friends Because Joe is a fully grown man and Pip is a youngster and there relationship is very secure and close, they can talk to each other in confidence, can keep secrets from each other and support each other in any way. Joe had an extremely dreadful childhood he suffered from a lot of violence from his dad as he gave a great deal of pain to Joe and his mother by beating them. Joe’s dad was constantly drunk also, they were suffering from poverty. Joe explains his father and childhood to Pip. He tells him about the violence he suffered from his father this makes Pip feel uncomfortable and sorry about Joe. â€Å"†¦I was not at all at my ease†¦Ã¢â‚¬  this is how Pip felt, he felt anxious and confused when the time was up to go to Miss Havisham’s house for the arrangement. At the gates of the Satis house Pip met Estella. Estella treated Pip awfully bad. She kept on calling him â€Å"†¦boy†¦Ã¢â‚¬  at the end of her every sentence, this was very impolite and rude. By Estella’s words and actions it made Pip feel like someone not to be complimented at even for this Pip had feelings for Estella. Estella knows that pip comes from a poor social background. She feels that he is someone that has no education and manners so she speaks to him very rudely by calling him not by his name but by â€Å"†¦boy†¦Ã¢â‚¬  at the end of every sentence. When Pip left the Satis house he felt like a â€Å"†¦common labouring-boy†¦Ã¢â‚¬  and felt more ignorant because he cried in front of Estella at the gates of the Satis. Pip was very irritated by the way Joe was dressed, which it was in his Sunday clothes and he also was irritated when Joe’s behaviour was very embarrassing during their meeting with Miss Havisham. Joe was trying to act smart and act like a gentleman but he made things worse by tying to say big words like â€Å"Astonishing† but he said it all wrong he said it like â€Å"†¦as-TON-ishing†¦Ã¢â‚¬  this made Pip feel more irritated and Nervous. When Joe was speaking to Miss Havisham he was addressing to Pip, Pip was trying to give him a clue to stop Joe from looking at him and to look at Miss Havisham when speaking to her but Joe was to dense to notice. This all is showing us that Pip’s attitude changes towards Joe; he starts feeling ashamed about Joe because he showed out Pip’s social and financial life at the meeting with Miss Havisham by the way he speaks and dresses. I don’t think Pip should have felt this way because Joe is his close friend and he should not change his feelings and actions towards Joe just because he gets irritated at him. Now we can see that Pip’s social life and poverty is affecting his own character.