Federal Guards Indicted for Abusing Prisoners Essay - 1

Federal Guards Indicted for Abusing Prisoners - Essay Example The issue at hand needs to be clarified and all allegations evaluated. The first step towards doing this is gathering information. The information to gather relates to the issue at hand. The primary decision maker should be identified in the process. Both parties bound to the issue should be interviewed independently in order to ensure that the information at hand is actually the one held by both parties (Reid, 2011). All the views of the parties should be accounted for before and after the abuse occurred. The second step involves deciding the specific ethical issue and determining the conflict therein. This is tailored towards determining the liable party, legally and ethically. After that, the pertinent issue is addressed. Decisions on the pragmatic issues that make the case complex should be addressed. In this case, the entire prison system seems to be implicated in the matter. The complexity of the matter should be weighed against justice, rights, and freedoms of each party, and the right actions were taken prior to the provisions of the law (Reid, 2011). The conclusion arrived at in this case is solely based on the ethics code of conduct for a prison system. The officers’ general standard of conduct should be evaluated ethically and legally. Secondly, applicable laws in this context should be assessed. Compliance with these laws is the principle point of consideration here. Thirdly, personal rights and freedoms should be highlighted for both all the parties involved in order to alleviate occurrences of conflict of interest. The restriction of each party should constitute the conclusion herein, focusing on both ethical and legal issues. Once all that has been done, the unethical conduct is manifested.

Taking a Stand Essay Example | Topics and Well Written Essays - 500 words

Taking a Stand - Essay Example This is subsequently presented to masses by professionals rather than academics while focusing on the economic effects (Minogue). Minogue named this new specie as the for-profit universities and educational institutes. However, the practice of for-profit education was first criticized by Plato and Aristotle in ancient Greece. Fee-based education was actually an idea presented by Sophists who were immigrant professional teachers in Athens. They started offering higher education services in return of some fees. Researchers argue that three prominent Sophists including Hippias, Protagoras and Isocrates had a clear idea about competition. Since their approach was significantly innovative therefore they faced immense criticism from Plato and his student Aristotle. Both of them argued that such educational activities which are based upon earning profit and commercialization will have negative impact on the Greek society (Stabile). Plato in particular was against the for-profit education because he believed that there is absolutely no connection between truth and profit, money and education. Moreover, Plato viewed profit based teachings as predicted on an extreme pride regarding what represents knowledge. Plato also argued that for-profit education gives rise to false class divisions depending upon the odd stru ctures which have value but no truth (Bartlett). Aristotle focused more towards the liberal education which actually reflects the basic conditions and assumptions of the Athenian society. Here, liberal was used in two different meanings. Firstly, education should not be aimed at generating profits neither it should be expressed in form of end-utility. Secondly, liberal education means a balance between moral and intellectual excellence (Yu). He rejected the idea of fee-based education in the same way as his teacher Plato did. Contrary to this, Sophists used to charge fees for

Hume and his contemporaries Essay Example for Free

Hume and his contemporaries Essay Live art performances, marked by an overture of spirituality, consciousness, physical introductions to pain, drawn further on to include specific rituals, symbolisms, varied states of emotions brought by self-inflicted hurt and eventually, culminating in a wild display of frenzy and shocking images, are less likely to please the uninitiated audience than it will provoke a sense of awe and wonderment among performance art critics. In a similar situation, Marina Abramovic’s attempts to upend the static discourses of physicality, mental states of mind and art that pervade current Western hegemony, understandably, can only be regarded in the extremes by people steeped firmly into formal traditions. Either her method of performance will elevate its spectators to a heightened degree of appreciation, therefore merit a thunderous welcome to a novel brand, sui generis, of art of our time at the end of each scene; or her gruesome didactics on the body’s threshold for pain, simply fails to pass muster. Her performance practice, a risk more than anything else, certainly inspire debates on whether or not to set moral, perhaps even social limits to art in order to determine, in precise and concrete terms, at which point creativity and imaginative art themes and performances become either delightful to the senses or noxious to the sensitivities of the general public. The idea of drawing the line along and between different shades of extremes, although already evinced clearly in the works of Marina Abramovic, seems to fit the consensus on the idea of censuring the bold and burlesque, stripping it off its material enunciation and expression to mitigate the horror and revulsion inherent in the exposition, or in the worst case, totally ignore it until the novel yet misunderstood facade fades from inattention. However, thanks mainly to Marina Abramovic’s unwavering desire to reach her audience, despite the sometimes hostile reception during her performances itself, in ways that continually push the envelope of spectator tolerance, did she carry her work from the esoteric art circles to mainstream. To wit, in one of her collaborative performances with Ulay, entitled Incision (1978), while purposively eliciting reaction, probably direct participation, from their audience, one of the spectators primed the climactic resonance of the work by jumping into the stage to kick Marina Abramovic as she was lying prostate right in the middle of the act. In her biographical work, she writes that although she expected the attack to happen any moment during the performance, she did not realize the immediacy and steeled resolution of that man who assailed her (Abramovic, 1998). Photographs of the show caught the man with a leg lifted, jumping into the air. â€Å"The next photograph shows Abramovic lying on the floor, and the man seems to be landing from a kicking action [†¦] the audiences interrogation manifested in a spontaneous physical attack (Tang, 2005). Ethical and moral questions, as well as aesthetic controversies have been discussed quite animatedly as early as the 18th century. Philosophers, like David Hume, have started to addressed the tough issues about morality, art and taste—the chief concerns that pervaded his era. Cynthia Freeland, introducing the notions of Taste and Beauty, in a book about defining the slippery strands of art, writes that Hume and his contemporaries â€Å"would not have approved of blasphemy, immorality, sex, or the use of body fluids as appropriate in art† (Freeland 2001). As a caveat to this general statement, it must be understood that even though 18th century consciousness all the way up to the present have not been too open in giving cognizance to art that smack of Marina Abramovic’s own brand of carnal art expressions, there are already extant cultural and social systems which places importance into shamanistic and ritualistic gestures. Among art critics and historians, some pursue a theory of art as ritual: â€Å"ordinary objects or acts acquire symbolic significance through incorporation into a shared belief system† (Freeland, 2001). In the same vein, Freeland further digs deep in history to provide evidence in varied cultural rituals that depict blood and physical pain. She avers that â€Å"when a Mayan king shed blood before the multitude in Palenque by piercing his own penis and drawing a thin reed through it three times, he exhibited his shamanistic ability to contact the land of the undead† (2001). Other modern artists try to recreate a similar sense of art as ritual, just as much as Marina Abramovic has had for the last three decades. Diamanda Galas, for instance, â€Å"fuses operatic wizardry, light shows and glistening blood in her Plague Mass† (2001), supposedly to exorcise pain in the era of Aids. Herman Nitsch, Viennese founder of the Orgies Mystery Theater, promises â€Å"catharsis through a combination of music, painting, wine-pressing, and ceremonial pouring of animal blood and entrails† (Nitsch, n. d. in Freeland, 2001). As it turns out, these very rituals are ingrained in Western traditions. Illuminating examples of which are the amount of blood depicted in European’s, and verily much of the cultures in the modern world today, two main belief discourses: that of the Judeo-Christian and the Greco-Roman. By taking a cursory review of religious and classical texts of Western traditions, we are able to immediately uncover a plenitude of blood representations and ritualistic sacrifices. In the Old Testament, Yahweh is seen to require â€Å"sacrifices as parts of His covenant with the Hebrews† (Freeland, 2001). Similarly, Agamemnon â€Å"faced a divine command to slit the throat of his own child [†¦] the blood of Jesus is so sacred that it is symbolically drunk to this day by believing Christians as promising redemption and eternal life† (2001). Such myths and religious stories are rather germane to Western art. We read of Homeric heroes wining the favors of their gods and goddesses by sacrificing animals. Likewise, the tragedies of Lucan and Seneca â€Å"piled up more body parts than Freddy Krueger in A Nightmare on Elm Sreet† (2001). Not surprisingly, likewise, Renaissance paintings are never without a hint of blood draped at the canvassed in hard red-acrylic paint whilst Shakespeare’s tragedies typically concluded with swordplay and stabbings. The preceding examples of ritualistic performances which involves blood and sacrifices, death and disease, murder and trials, are very instructive with regards to our penchant for the macabre and the dreadful. It is in these premises that Marina Abramovic draws much of her inspiration to create an art, pro forma, that bespeak of our capacity to endure scenes of gore and violence—if only on a less exacerbated state. Her performance, for the most part, certainly places importance on the symbolic values of ceremonies, gestures and artifacts. Albeit appearing random and spontaneous, her methods establish a logical connection between her consciousness while performing and her body’s means of coping with the strength of self-infliction. In the nascent days of her art, she has performed controversial after controversial explorations into the limitations of the mind and the body. Rhythm 10, in 1973, was the first in a series of abject surrender to the inevitability of suffering. Alone in the stage, she prepared a set of knives to be used as piercing objects in a risky game of Russian hand roulette. Without signs of hesitation, she proceeded to stab the spaces between her fingers in a rough yet determined fashion. Each time she made the mistake of cutting her flesh; she dropped the knife and took out another one to repeat the process all over again until she made use of all ten knives (Abramovic, 1998). The following year, in the performance entitled Rhythm 5, she sought to re-evoke the energy of extreme body pain by constructing a huge star soused with combustible petroleum liquid. At the onset, the structure as lit to flames, and while she was standing right outside the contraption, she religiously clipped her fingernails, cut her hair and them inside the burning star. The denouement of the program was when she danced around and then flew across the flames into the center of the burning star. Serious and life-threatening complications ensued when the smoke that engulfed her from inside asphyxiated her to the point that she no longer had control of her actions. The medical team and the audience, who were all there to watch, started to suspect that something was terribly amiss. Fortunately, the quick responses from the stand-by technicians saved her from an untimely death caused by severe smoke inhalation (Abramovic, 1998). In the same year and the years that followed, Marina Abramovic designed similar art experiments that were meant to test the limits of herself and her body, and later the audience and their tolerance for vicarious agony through her body. Rhythm 2 and Rhythm 0, were performed with the hopes of proving that the consciousness can go beyond the rubric of psychological triggers in mind. The sole aim of both was to uproot the inherited tendencies of the mind to reel from stark images and provocative gestures. She sought to cultivate in the audience a sense of indifference in order that one may reach a virtual catharsis what with all the sharp and strong representations between the body and suffering. For artists like Marina Abramovic, it is clear to them that what they are performing, and while in the act of performing, there is a higher purpose that they wish to achieve regardless of the methods by which these are made possible. They have a firm understanding and appreciation for every act and gesture that they make. None of such are done without rhyme and reason. For artists like Marina Abramovic, everything that happens during any performance, in spite of the harsh opinions of critic that meet them right afterwards, makes a lot of sense. However, audiences who see and react to these artists do not enter, much less share the beliefs and values, or with prior knowledge of what will transpire, with that of the artist. When asked about the origins of her creativity and ideas for her art performance, Marina Abramovic happily recalls her childhood memories with her parents. As if to show indeed that her style was a result of previous life experiences that may be susceptible to a psychoanalytical reading, she narrates: â€Å"A long time ago I made a piece called Art Must Be Beautiful, Artist Must Be Beautiful. At that time, I thought that art should be disturbing rather than beautiful. [†¦]My life is full of such contradictions. [†¦] My father and mother are divorced. As an adult, I recently wanted to go back to help them because of the war. With the embargo, there is nothing in the stores. [†¦] I called my father to ask him what he needs, and he dictates a long list antibiotics, bandages, penicillin, toilet paper, coffee, sugar, powdered milk, all these basic things for survival. Then I call my mother and ask what she needs. She says, I need Chanel lipstick, Absolute Red, Number 345, and hair spray. I am between these two. † (Abramovic, 2005) Most modern art, in this case, within the context of theatre, videos and live performances, fail to provide ample background reinforcement against the dominant traditions and systems of belief. What invariably happens is that the audiences will remain ignorant to, consequently, unappreciative of the complexities and undertones of the supposedly artful, meaningful and profound gestures. The audience, instead of sharing that same degree of catharsis, sacrifice and initiation, will shy away. They themselves are alienated from the performance so much that they are brought far afield the community, forcing them to abandon the art because of pure shock and horror, largely as a result of their ineligibility to feel as the artists do (Freeland, 2001). Damien Hirst, the ‘Britpack’ artist who sparked controversy in the 1990s with his motley display of macabre high-tech exhibits of â€Å"dead sharks, sliced cows, or lambs in glasses of formaldehyde, [†¦] has parlayed his notoriety into success with his popular Pharmacy restaurant in London† (Freeland, 2001). By no means, therefore, are the works that revolve around symbolisms, spirituality, humanity and fatalism seldom reflects the nature of most of our ritualistic traditions. Symbols of pain and suffering that are central to many religions, cultural systems, political and social units, may come off to the lay person as undesirable and may even cause the same panic as had the man in Marina Abramovic’s performance. Art performance that utilizes imageries that hint at violence, torture and distress, when it is performed in the public who has no inkling of its context, meaning and history are in danger of misconstruing art for capricious display of filth and tripe. As with all in theatre, the performer must work against mutual projection between audience and performer, the identification in which [we] believe so readily in the other as the keeper of our treasure and our disease (Tang, 2004). Valie Export, a similarly omnipresent and provocative figure in the world of art performance, shares the same problems of audience interaction, although not as much as Marina Abramovic. Beside art performance, her repertoire includes film, text, painting and photography to name a few. These avenues of artistic expression gravitate towards her criticisms for feminism and gender. A staunch activist and a progressive performer, she has oftentimes been called a woman living an anachronistic life. This is due to her revolutionary ways to present her ideas that even her colleagues, who without proper notice of her intentions to perform, usually end up dismissing her as too fanciful and idealistic. Her works on ‘Asemie or the Inability of Expressing Oneself Through Facial Expressions’ (1973) and ‘Touch Cinema’ (1968) garnered both fame and distress. Chief of the reasons that contributed to an admixture of reception from the critics and audience is the fact that her ideas do not create strong meaningful associations that the people can readily identify with. Humor and parody may be part and parcel of her work as a performer, but these effects are not what she contemplated to be so. Indeed, while she wanted to catch the attention of her spectators, her ultimate goal is to instruct them of the subtle messages regarding feminism, modernism and ritual art. Export, along with the controversial artists at the turn of the 21st century, became (in-)famous in the recent decades because of her startling presentations of objects and her body (Mueller, 2004). Of her earlier works, ‘Aktionshose: Genitalpanik’ or ‘Action Pants: Genitals in Panic’ (1968), Export engaged the audience, piquing their imagination and belief, with a series of photographs, simultaneously permitting them to engage her as the tangible representations of the images presented in the collage. In an art theater in Munich, dressed to the nines, with the crotch cut out of her pants, Valie Export threaded each row person-to-person, showed her outfit thereby giving the film-viewing public with a palpably visual representation with a real female body. In doing so Export tackled the pornographic reduction of women in static representations just when ideas of feminism and gender were starting to develop during that time. Her message is commensurate to a direct, unapologetic, political affront to the abstract objectification of the female body as a fetish. She moved an aesthetic gesture beyond the representational context of the safe boundaries of art into an actual encounter with a public. Export effectively brought to the fore the various dimension of simple, albeit arresting, bodily gestures â€Å"both to produce and to represent action [. . . ] by stressing the moment and the process of its own production† (Stiles, n. d. ). Export repudiated the representational static sign and discharged an interventionist act by revealing her yonic-self to the public vis-a-vis the photos on the display. Art performance, in the recent decades since its entrance in the mainstream, has, and is continuing to encompass a wide field of human proclivities which spans across a whole, comprehensive range of emotions, symbols and design. Although traditional views on aesthetics and taste still influence much of the productions in the art, more and more innovative, socially-informed, stunningly beautiful works of art performance are being (re-)invented and (re-)discovered every time. It doesn’t matter whether these newly created art forms subscribe to tradition or to the taste of the general public. What matters most is the never-ending quest to plumb the full extent of our humanity as individuals and as a community. Art performance is yet to supplant, at least equal the popularity of video-films, cinema, photography and painting in terms of the instances that these are demanded by the public. But with the works of Marina Abramovic, Ulay, Damien Hirst, Valie Export et al and their boundless passion to break the mold and stun the public to enlightenment, art performance can be considered as a significant cornucopia of art studies and of artistic expression. A number of critics do give favorable comments to Marina Abramovic’s performances and ingenuity, Valie Export’s live photography sessions, Hirst’s â€Å"gleaming vitrines with suspended animals inside† (Freeland, 2001). However, it must be noted that even if the critics find them beautiful and artful still its startling content warrants full attention; nothing short of shallow and pedantic in all respects of praise and criticism. Freeland writes, perhaps disinterestedness has some small and specific role in approaching difficult art by enabling us to try harder to look at and understand something that seems very repugnant to the senses (2001). The work’s content and the artist performing are just as crucial as the theories that surround art performance. It is not so much as merely an arbitrary act done through the caprice of a strange art performer. It is instead, a manifestation of our natural tendencies, our history, our sense of taste and what is beautiful, our entire spirituality and lastly, our consciousness set against the body as a tool to perceive reality. Art performance as practiced by these artists is a celebration of the body and of our community. An excellent performance and performer do more than take the audience to elevated heights, but also give them a sense of being truly and undeniably alive. And such, makes all the difference. References Abramovic, M. (2005). Marina Abramovic: the biography of biographies. New York London: Charta Publishers. Abramovic, M. (1998). Artist body: performances 1969-1998. New York London: Charta Publishers. Freeland, C. (2001). But is it art? : blood and beauty. New York: Oxford University Press, Inc. Mueller, R. (1994). Valie Export: fragments of imagination. Bloomington and Indianapolis: Indiana University Press. Stiles, C. (n. d. ). Aktionshose: genitalpanik (action pants: genital in panic). Retrieved January 15 2008, The Galleries at Moore database. Tang, A. (2005). Gazing at horror: body performance in the wake of mass social trauma. (Masters of Arts program, Rhodes University 2005). .

Benefits of Essential Oils

Benefits of Essential Oils Whenever possible, I prefer to deal with the various ailments and injuries I encounter by using essential oils rather than synthetic treatments or remedies. Essential oils are not only very effective at treating sickness and injury, but also provide the peace of mind that can only come with using an all-natural remedy. Natural substances like essential oils are easily metabolized by the body. In fact, your body knows exactly how to deal with them and thrives on them. Unlike synthetic drugs, after an essential oil performs its natural healing function, it travels on to the liver and kidney and moves easily and gently out of the body, without attaching itself to various tissues. Which essential oils have the maximum healing effect? Obviously, the essential oil that you choose will depend on the condition you seek to treat. As you experiment with various oils and application methodologies, pay attention to which of these satisfy your unique, personal needs and tastes. Here are some of the essential oils that are known to have maximum healing effects. Lavender Lavender is the one of the most known essential oils. It is used to cut down the healing time for cuts, bites and stings. The nice thing about lavender is that is does not require a carrier, it can be applied straight to the affected area. Peppermint Not only will peppermint cool you off during a fever, but it will also fight nausea and tummy trouble, whether it is morning or motion sickness. You can also pair peppermint and lavender oil up and apply it to your temples; doing so will lessen the intensity of headaches and migraines. Another use for peppermint oil is to help combat insect invasions. Doing this is simple; just add a few drops of peppermint oil to hot water and wipe any surfaces with a peppermint-infused clothe. Peppermint oil is also used to treat indigestion, respiratory problems, bowel spasms and pain, asthma, intestinal gas and more. Eucalyptus Another popular essential oil is eucalyptus. It is the most powerful antibacterial, antiviral and antispasmodic. To use it for this effect, all you have to do is add a few drops to a basin of steaming water to inhale, or add a few drops to a vaporizer. This can help disinfect and clear both your nasal passages and lungs. You can also add a few drops to a cloth, or a bandana, and inhale the oil throughout the day; doing this during cold season will also help prevent a cold. Tea tree Just like eucalyptus oil, tea tree oil is also a powerful antibacterial, anti-fungal and antiseptic. Using tea tree oil is very simple, all you have to do is add a few drops with a carrier oil and apply it directly to the affected area. This can help treat scrapes, cuts, infections, insect bites, warts and even flaky scalp or dry skin. Also, if you have acne, you can mix tea tree oil with coconut oil or aloe vera gel as an effective acne treatment. This great oil also helps loosen chest congestion. To do so, just add a few drops to a vaporizer. Another cold-like symptom that can be treated with tea tree oil is a sore throat, just put a few drops of the oil on your tongue every hour or so and the symptoms should disappear. You can also add a few drops to warm water and gargle with it. Another great use for this oil is removal of plantar warts. To get rid of these warts, put the oil right on the wart and massage it in and when it is dry, put socks on. The best way to do this is before bed- apply it, let it dry, and put socks on for fifteen to twenty minutes, but do not wear the socks to bed. Roman chamomile This essential oil is not only good for it’s scent, but it is also a very powerful anti-inflammatory. If you are experiencing red, sensitive or inflamed, acne-prone skin, this oil can help you out. It is a lot kinder than tea tree oil, so it is ideal for those with sensitive, delicate skin. Also, a few drops of roman chamomile can be added to an antibacterial carrier oil, such as coconut oil, to help treat and soothe diaper rash and eczema. Lemon Lemon essential oil is a powerful bactericide and treats minor cuts and wounds. It is also known to brighten dull skin, help immunity and is even used in antibacterial cleansers. Lemon oil is also known for its ability to clear toxins from the body. Frankincense Next up is the â€Å"king† of all oils, frankincense. You can also combine this oil with other oils to get better results and a more effective healing. Frankincense has even been known for its ability to kill cancer cells. More simply, it is used for skin inflammation, rashes, and brings about focus and clarity. Sesame Another essential oil is sesame oil. This oil is best known for its moisturizing qualities. Sesame oil contains fatty acids, which are believed to reduce stress and blood pressure. This essential oil has even shown to assist in slowing the growth of cancer in cells as long as your diet is rich in vegetables. Rose This oil can work to improve the hormonal balance and can treat problems like PMS and menopause. This oil is also known for counteracting bedroom problems and improving the health in your skin. Geranium Geranium essential oil is known for it’s astringent properties. Apart from refreshing the skin, this oil features styptic effects, which calm inflammation and stop hemorrhaging. This oil can also be used for treating acne, managing oily skin, boosting blood circulation, and reducing bloating. Other than this, this oil is helpful in reducing scars, blemishes, wrinkles and fine lines. Pine Pine oil has antiseptic, antibacterial, and analgesic properties. Pine oil is also known to treat skin problems, such as psoriasis, eczema and pimples. You can also use pine essential oil to speed up your metabolism, aid in food poisoning, ease joint pain and arthritis, kill germs, as well as battle respiratory problems that come with cold season. Clove Clove oil also has powerful healing properties, making it useful for use as an antiseptic. This oil needs a carrier oil for its functioning, so just dilute a few drops of this essential oil in your choice of carrier and you can treat bug bites, cuts, and scrapes. Apart from this, this oil can help clear earaches, digestion problems, nasal congestion, stomachaches, and headaches. As an additional bonus, it’s an aphrodisiac. This means that it has stress-relieving properties. Rosemary Another great essential oil is rosemary oil. According to scientific studies, rosemary essential oil has been shown to help in keeping the brain optimally functional. The act of simply smelling rosemary essential oil helps in memory recall. Essential oils and their usefulness in several common health conditions Below mentioned are some of the common ailments and the essential oils you can use for relief: Hangover Pine, Grapefruit, Juniper and Cypress Rosemary essential oils Heartburn Chamomile (German), Marjoram, Peppermint essential oils Indigestion Ginger, Coriander, Cardamom and Lemon Peppermint essential oils Insect repellent Citronella, Lavender, Cedarwood, Eucalyptus and Peppermint Sandalwood essential oils Anti-Coagulant Geranium essential oil Anti-Venomous Basil, Thyme essential oils Aphrodisiac Aniseed, Angelica, Black Pepper, Basil, Clary Sage, Cinnamon, Clove, Jasmine, Pimento, Ginger, Nutmeg, Rosewood, Thyme, Sandalwood, Ylang-Ylang and Vetivert essential oils. Expectorant Coriander, Flatulence, Thyme, Sandalwood, Peppermint, Pine, Parsley, Myrrh, Hyssop, Garlic, Cedarwood, Cajuput, Bergamot, Basil and Angelica essential oils. Hypertension Camphor, Rosemary, Hyssop and Thyme essential oils Hay Fever Lavender, Eucalyptus, Chamomile and Melissa essential oils Rheumatism Cedarwood, Black Pepper, Chamomile, Coriander, Cloves, Frankincense, Eucalyptus, Lavender, Ginger, Lemon, Rosemary and Pine essential oils Tonsillitis Lavender and Tea Tree essential oils Toothache Chamomile (Roman), Clove and Peppermint essential oils Influenza Ravensara, Melissa, Thyme, Oregano, Frankincense, Cinnamon, Eucalyptus, Peppermint, Tea Tree, Lavender, Sage, Lemon, and Rosemary essential oils How to use essential oils for best possible healing Here are some of the best ways you can use essential oils for maximum healing effect: Use in a diffuser Place about 10 drops of essential oil in a diffuser. Follow the guidelines of the manufacturer and inhale accordingly. Essential oils must not be directly burned. Inhale the steam Add 2 to 5 drops of essential oil into a bowl of steaming water. Place a towel over your head covering the bowl water and breathe deeply. It is essential to keep the eyes closed during this process. This technique is not really suggested for children younger than 7 years of age. Children more than 7 years of age can use swimming goggles to guard their eyes. Dry Evaporation Place 5 drops of essential oil over a cotton ball or tissue allowing the oil to evaporate into the air. To get a more intense dose, sniff the cotton ball. Otherwise, just keep the cotton ball at a distance of few feet from your face. Use in a spray Add five to ten drops of essential oil to water in a tiny spray bottle, shake, and then spray into the air and inhale. Massage While using essential oils topically, it is important to note that essential oils should not be applied to the skin in undiluted forms. When diluted, the concentration should not be higher than 3 to 5 percent. To put it differently, if you use 3 drops of essential oil, you must dilute it with one teaspoon of carrier oil. To be on the safer side, start with a 1% solution, or 1 drop of essential oil per teaspoon of carrier oil. The exceptions: lavender, sandalwood, ylang ylang and myrrh and tea tree oils usually do not require dilution. Add essential oil to your favorite carrier oil with 3% concentration (at most 3 drops per teaspoon of carrier oil) and apply to your skin gently. You can massage your entire body or only the area affected. Spot Application Mix 1 to 3 drops of essential oil in 1 teaspoon of carrier oil or natural aloe vera and apply to the spot that needs attention. Compress Fill a basin with water. Add 3 to 5 drops of essential oil in the water and stir briskly. Soak a washcloth in water, wring, and apply to the affected area. Do this at least three more times. Leave the last compress in place for five minutes. Bath Add 20 to 40 drops of essential oil to bath water. Also, add a few tablespoons of milk or cream to serve as a dispersant. For the reason that bath allows the oil to be easily absorbed in the skin, this is among one of my personal favorite methods. Gargle Add one drop of essential oil per ounce of water. Mix, then gargle and swish out the solution. Do not swallow. Few essential oil blends to get you started When working with blends and carrier oils, never use more than a total of 10% of essential oils in your blend. This is the essential oils to carrier oil ratio used in most commercial consumer blends. Now let’s take a look at some of my favorite blends! Muscle and Joint Blend Topical 4 drops Thyme 4 drops Black Pepper 4 drops Peppermint 4 drops Rosemary 10 drops Basil Relaxation Blend – Topical or Inhalation 4 drops Marjoram 4 drops Chamomile (German) 4 drops Clary Sage 12 drops Lavender Circulation Blend – Topical or Inhalation 4 drops Juniper berry 4 drops Frankincense 4 drops Ginger 4 drops Cypress 4 drops Black Pepper 4 drops Geranium Vein and Artery Blend – Topical or Inhalation 4 drops Myrrh 4 drops Lemon 4 drops Sandalwood 4 drops Neroli 4 drops Geranium 4 drops Cypress Sunburn Blend Topical 4 drops Chamomile 4 drops Tea Tree 4 drops Peppermint 12 drops Lavender Minor Cuts and Scrapes Blend Topical 10 drops Tea Tree 10 drops Lavender Menstrual Cramps Blend Internal 7 drops Lavender 7 drops Rosemary 7 drops Melissa Congestion Blend Inhalation 4 drops Peppermint 4 drops Ravensara 15 drops Eucaplyptus Antibacterial Blend Topical 4 drops Rosemary 4 drops Cinnamon 4 drops Basil 12 drops Tea Tree Antimicrobial Blend Topical 4 drops Cinnamon 4 drops Thyme 4 drops Lemongrass 12 drops Rosemary Antiseptic Blend Topical 10 drops Rosemary 10 drops Lavender Antiviral Blend Topical 4 drops Clove 4 drops Thyme 12 drops Peppermint 12 drops Sandalwood Headache Blend – Inhalation or Internal 7 drops Marjoram 7 drops Basil 7 drops Peppermint Immunity Blend Internal 14 drops Lemon 7 drops Thyme Arthritis Blend – Topical or Inhalation 7 drops Juniper 7 drops Eucalyptus 7 drops Basil 7 drops Cypress 14 drops Chamomile Burns Blend Topical 4 drops Tea Tree 4 drops Lavender 4 drops Geranium 12 drops Chamomile Colds and Flu Blend – Internal or Inhalation 4 drops Tea Tree 4 drops Rosemary 4 drops Peppermint 4 drops Lavender 12 drops Cinnamon Essential oils for specific diseases Essential oils that can help in the treatment of cancer Grapefruit essential oil Grapefruit oil is packed with Ascorbic Acid, which is ideal for detoxifying our bodies, and is therefore valuable for the improving the defense mechanisms of the body. You can use this oil internally. Thyme essential oil Thyme oil is really a powerful defense mechanism booster and may help fight problems like cancer. As a urinary antiseptic, it is also good for cystitis and urethritis. You can use this oil internally. Some essential oils that stimulate white blood cell production: Pine, lemon, lavender, sandalwood, chamomile, Bergamot and myrrh tea tree, and thyme essential oils can help stimulate the white blood cell production in body. Essential oils for broken bones Topically apply Cypress, Helichrysum (most significant for broken bones), and White Fir over the injured area two to three times per day. If you have ligament or tendon damage, add Lemongrass. When there is muscle damage, add Marjoram. Essential oils for broken tendons Wintergreen essential oil While Wintergreen is not a very popular oil, it is incredibly good at treating broken tendons and pain cramps. You can use this oil topically or inhale for maximum benefit. Vetiver essential oil This oil is well known for its healing effects on muscles and tendons. Use this oil topically, internally, or by inhalation. Essential oils for cold sores Roman chamomile essential oil This oil can be a powerful anti-inflammatory, so it will be the best option for cold sores. This oil is also a good bactericide that can kill the bacteria responsible for causing cold sores. Frankincense essential oil Used heavily in biblical times, this oil operates at deeper levels of the skin to deliver maximum healing. Frankincense has proven to help combat skin inflammation, rashes and cold sores. You can use this oil topically. Cypress essential oil Cypress oil is anti-antiseptic and anti-inflammatory, so that it is a powerful tool to address cold sores. Use this oil topically. Helichrysum essential oil This oil is highly anti-inflammatory and calming. This oil is regenerative and its pain reducing properties and analgesic effects make it a powerful solution for cold sores. You can use this oil topically. Essential oils for lung healing Ravintsara, Eucalyptus, Peppermint, Birch and Lemon are known to give strength to the lungs. Any blend carrying these oils can fight respiratory infections and alleviate symptoms of diseases related to the lungs. Essential oils for acne and scars Lavender essential oil Lavender oil has antibacterial and antiviral properties, which could reduce the healing time for acne and other skin conditions. It doesn’t need a carrier oil. You can apply it directly on the impacted area. Obviously, topical use can get you the best results in this case. Tea tree oil Tea tree oil is powerful antiseptic, antifungal and antibacterial oil. Only a few drops blended with carrier oil is all you need to disinfect the acne on your body. Manuka essential oil This oil is perfect for treating skin conditions like acne due to its antifungal qualities. It promotes faster healing of the skin. Conclusion I hope that you find whatever relief you seek in your healing journey with the incredible power of essential oils. Remember that essential oils are like water. You don’t drink just once and then never again. Instead, healing with essential oils is an ongoing process to nourish and replenish your body and soul with these astonishing elixirs. Best of luck and happy healing!

Hard Times :: Dickens Hard Times Essays

Hard Times In this paper I would like to discuss the possibly affects that this book might have had on the world, the time around Charles Dickens, and the fact that Charles Dickens paid close attention to the world around him. Charles Dickens, born Charles John Huffman Dickens, was born on Feb. 7 1812 in Portsmouth where his father was a clerk at the Naval Pay Office. Four years later his family moved to Chatham and then later moved to London. In 1824 Charles Dickens father went to Debtor's Prison. In 1833 Charles Dickens published his first story "A Dinner at Poplar Walk". In 1838 one of Dickens most popular stories, Oliver Twist, was published in three volumes. In 1851 Charles Dickens father passed away. Next in 1861, another Dickens classic was published, Great Expectations. On June 9 Charles Dickens dies, at the age of fifty-eight. And was buried in Westminster Abbey. This is the Penguin Classics version of Hard Times by Charles Dickens that has be en edited by Kate Flint, who also added the introduction. I was unable to find any information about the editor, other than her name. I believe that Charles Dickens books, this one included, have had a great affect on the world. Not only in the fact that some of the books that he has written are considered to be classic or in the fact that some of these books are required reading in many high schools through out the U.S.. But also in the fact that I believe some of his books had an influence in the way the some of the laws in his time where formulated. The way that Charles Dickens go about doing this is by writing about the social problems within the government or just problems with the way that thing are being done in general. One example that I have found was in chapter 11, page 77, and footnote number 8. The line says "I ha' coom to ask yo, sir, how I am to be ridded o' this woman." When you look at the footnote it says that this line in the book is speaking of a problem that was quite common during Charles Dickens time period. The problem that this line speaks of is that it was all but impossible for a person who was of lower class to get a divorce.

Notre Dame University Football Dynasty Essay -- essays research papers

Waking up the Echoes Throughout College Football's extensive 138 year history, there has been debate over which football team is the greatest dynasty. Many dynasties throughout the nation have the ability to be titled 'the greatest'. Nevertheless, the University of Notre Dame is undeniably the best overall College Football dynasty, when one considers not only statistics but also tradition, heart, and dedication. Notre Dame?s exceptional dynasty has many attributing factors throughout its history. These factors range from the greatest coaches and players to the contagious Irish spirit. No matter what ethnic background a Notre Dame man comes from, the minute he steps out onto 'Rockne's house'(Notre Dame Stadium), he automatically becomes one of the Fighting Irish. It is a telling act that throughout Notre Dame's history, and increasingly in recent years, many players, coaches, and fans have made the university their home purely because of their preference to be in the midst of a community of learning wher e belief is not merely tolerated, but in fact is celebrated. Notre Dame?s football history has not only been legendary but memorable. From their extraordinary hall of fame coaches to their historic rivalries, not one person can forget the Fighting Irish. During this Irish History, their dynasty could not have been ?Rock?-solid (referring to Knute Rockne who built Notre Dame Stadium) without outstanding coaches. With thirteen national titles, Notre Dame has more football championships than any other university or college in history. The thirty remarkable coaches include the greatest in Notre Dame?s history: Knute Rockne, Frank Leahy, Ara Parseghian, and Lou Holtz. The program has the highest total winning percentage, higher tha... ...s come and go, football?s greatest players and coaches yield their places in history, Nevertheless, the years fail to dim the ?glory-days? won by the Irish. The University of Notre Dame has proven itself as the best overall dynasty by its ability to persevere and prepare to bounce back under pressure. The remarkable history of the Fighting Irish will always be treasured by their fans and shows the heritage of the Irish spirit. Notre Dame?s young team for the upcoming season (2008) may lack experience but also has more potential for growth, flexibility and magnitude. Based on current statistics and facts, Notre Dame is proving its ability to come back and achieve greatness once again. No matter what the scores or numbers show or ?whether the odds be great or small, Notre Dame will win overall? as long as the spirit of dedication and perseverance continues to thrive.

Monsoon cripples life in Mumbai Essay

Heavy rains continued to lash Mumbai and coastal Maharashtra for the second consecutive day Monday, disrupting normal life in the region, officials said. Many parts of the city and suburbs have been waterlogged and some areas were flooded Monday morning, hampering smooth movement of people and vehicles, said officials at the Municipal Corporation of Greater Mumbai’s Disaster Control Cell. Flooding was reported from Malad, Andheri, Versova, Dadar, Parel, Chembur, many parts of the key LBS Marg in the eastern suburbs, and Marol-Saki Naka belt. Two important subways at Malad and Andheri were flooded, with about three feet of water, rendering them inoperational for the east-west traffic movement. Local trains were delayed. Central Railway trains ran late by 20 minutes, Western Railway ones by 15 minutes and trains on the Harbour Line by 30 minutes. Peak morning hour commuters and businessmen were left inconvenienced. In the 24 hours preceding 5.30 a.m. Monday, South Mumbai recorded 9.04 cm rain, while the suburbs notched a staggering 18.01 cm rain, a weather bureau official said. The forecast for Monday and Tuesday is â€Å"heavy to very heavy rains† in many parts of the coastal areas including Mumbai, with accompanying strong winds and advice to fishermen not to venture into the Arabian Sea. The torrential, virtually incessant, rain since Saturday night has resulted in traffic moving at a snail’s pace on the Eastern Express Highway, Western Express Highway, the Jogeshwari-Vikhroli Link Road and other important roads and junctions. Though Mumbaikars enjoyed the monsoon with parties and picnics during the weekend, the grim reality dawned Monday, as schools reopened after the summer break and many office-goers returned to work. The monsoon also set in over other parts of the state, offering welcome respite from water scarcity and intense heat wave conditions. Till date, there have been 11 monsoon-related deaths in different incidents across the state.