Night of the Scorpion and Vultures Poem Comparison Essay Example

Night of the Scorpion and Vultures Poem Comparison Paper The two poems Night of the Scorpion and Vultures are both similar in several ways but the most obvious similarity is that both poems involve animals. Both poems also involve evil and love, Night of the Scorpion talking about the evil of a scorpions sting and a mothers love and Vultures talking about how evil creatures are able to love. In Night of the Scorpion, the speakers mother is stung by a scorpion and the local people try all sorts of bizarre and superstitious remedies. In this poem you feel some sympathy for the scorpion; it has been driven from its home by the rain and forced to take cover beneath a sack of rice. The scorpion is not being aggressive, it is not wandering through the house trying to find someone to sting, it is acting defensively because its hiding place has been disturbed. The vultures, however, seem a lot more sinister. They are seeking out corpses and gorging themselves on the flesh. Even though they are not being aggressive by attacking living animals, the fact that they are feasting on corpses makes you think of them as cowardly animals, waiting for another animal to kill something and then stealing the leftovers. Both of the animals act differently and therefore serve different purposes in their respective poems. In Night of the Scorpion, the scorpion causes pain to the speakers mother and it is this pain, and the people in the poems reactions to the pain, that is dealt with. In Vultures however, the vultures are used as metaphors to show that even evil things can love. Night of the Scorpion is a poem that deals mostly with someone elses pain, whereas the poem Vultures deals with a person who is causing pain. We will write a custom essay sample on Night of the Scorpion and Vultures Poem Comparison specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Night of the Scorpion and Vultures Poem Comparison specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Night of the Scorpion and Vultures Poem Comparison specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Night of the Scorpion involves the speaker in the poem, recalling an incident in which his mother was stung by a scorpion, whilst Vultures deals with a Nazi officer who has been killing people. Both poems also deal with infection, in Night of the Scorpion the mother has been infected with a scorpions venom, and this is coursing through her veins, and in Vultures, a Daddy has been infected with evil and has become a Nazi officer, not thinking twice about killing someone.

Management Term Paper Topics

Management Term Paper Topics Every student needs to write a management term paper, but can an average student write a good management term paper? No, unfortunately the writing skills of an average student is limited, and hence, most student receive bad grades for management term papers, despite the fact that they are proficient in the management field they still manage to fail in writing a good management term paper. It is very disappointing to write a management term paper and get a bad grade for it. If you are one of these students who fail in writing management term papers from time to time – you definitely need assistance in writing a management term paper on a given topic. We can assist you with your academic writing by preparing a sample management term paper for you. This way you will see how a management term paper should be written and formatted. We offer you high quality writing help, so place an order for a management term paper and have a skilled writer assist you. CustomWritings.com is always ready to assist you in writing a sound management term paper, with great quality and 0% plagiarism. Among other services we also offer you free theoretical help, to show you how a management term paper has to be done, and share some management term paper writing tips. A term paper is a paper written over a big period, in most cases a semester. Since it is a very important piece of work for your grade – you basically have only one chance to write a good management term paper. The management term paper topics you choose from may seem very complicated, so you should dig enough information on the subject before starting to write. In most cases – there are plenty information on the web, but you may need to consider some specific sources from the library, or even ask for some assistance from a management proficient specialist. When starting to write a management term paper – the first thing you are required to do is to choose an interesting management term paper topic. The management term paper topic defines everything. A dull management term paper will simply ruin a perfect text you can write on it. Since management is a science which is constantly changing – when writing a management term paper , you have to make sure the sources you have chosen a still relevant and applicable to your management term paper topic. Planning is a very important stage in the whole management term paper writing process. If you fail to plan your management term paper – your paper is definitely doomed. Make sure that the structure you have developed is 100% good and logical. The structure you come up with results the effectiveness of your management term paper. If your structure is not algorithmic – you will fail to prove all the thoughts and ideas you have and that will be a failure. Make sure your paper is written in simple language and is understandable to everyone. It is very irritating for the reader to understand and realize that the writer is smarter than he. So try to avoid this and use simple sentences in active voice. You will show your intelligence with what you write, not how you write. Here is a list of the most popular management term paper topics: 1. Personnel Management and Human Resource Management (HRM) 2. Total Quality Management 3. Project Management Principles 4. Information Technology in Business Management 5. Strategic Management 6. Operations Management 7. Financial Management for human service administrators 8. Time Management 9. Health Care Management / Organization Design and Behavior 10. Legal and Risk Management 11. Performance Management 12. Compensation management 13. Project Scheduling and Cost Management 14. Management and Leadership 15. Effective Techniques for Time Management and Stress Reduction 16. Management Information Systems 17. International Business Management 18. Conflict management 19. Knowledge Management 20. Organization Management 21. Case Management 22. Cross Cultural Management 23. Future Of Management 24. Network Management 25. Fund Management 26. Four Functions of Management 27. Customer relationship management 28. Waste management: A growing problem 29. The Greening of management 30. Participative management

Company & Association Law Assessment Item 1- 2014 Essay

Company & Association Law Assessment Item 1- 2014 - Essay Example Mr. James acquired 49% in a same mining lease that was traded in the partnership between Pitgate and MGM. The Public Trustee represented the estate of Mr. James in the partnership and as a director of Pitgate. Similarly, the interest of Mr. Meyer in the partnership was represented by MGM. Thus, the involvement of these parties either directly or impliedly in the partnership constituted towards legal proceedings of so many parties. The major legal issue to be determined with regards to MDLA 415 was firmly related to rights and benefits of Mr. Meyer in relation to the partnership. In this regard, the legal issue to be determined was whether Mr. Meyer is qualified to the benefit of an application for a Mineral Development Licence and whether the rights and interests possessed by him with respect to the application of MDLA 415 were for the benefit of the partnership or were solely for his own benefit. With respect to MDLA 295 and MLDA 415, the first respondent namely Ian Derek Meyer argued that he had not treated Mr. James’s interest in MDLA 295 as part of the Chillagoe Perlite business. Ian Derek Meyer further clarifies that inclusion of MDLA 295 as an asset to be held by the applicants in accordance with the Court order was intended to assist in the finalisation of the administration of Mr James’s estate. As far as MDLA 415 is concerned, he argued that MDLA 415 was made to protect his personal interest, and that of his company â€Å"as a potential future operator of the Chillagoe Perlite venture†. With respect to the requirements for ‘partners to account to the firm’ in respect of MDLA 415, the Applicants alleged that Mr. Meyer did not classify assets or property, which the respondent could acknowledge as theirs. Instead, a list entailing all items that appeared to be recognized as partnership property was provided. Besides, the Applicants claimed that the accounts were a strong suggestion, which signified that no effort was made to bring the

Global and International Business Context Essay

Global and International Business Context - Essay Example It was worth $263.8bn in 2009 and is forecast to continue growing, albeit slowly (ibid, p.2). Europe is the largest market for wine, holding 80.5% of the market by value. The Asia-Pacific region, which includes Australia, is worth 6.9%. The main buyers are supermarkets and hypermarkets, taking 37.9% of the market volume (ibid, p.14). Entry to the market does not require a large company or major capital investment as high quality wines command premium prices (ibid, p.15) but Datamonitor assess the likelihood of new entrants as being weak with moderate competitive rivalry. The Australian wine market is fairly fragmented with the top three producers holding just under 50% of the market by volume (Datamonitor 2010b). It was worth $5,768.4mln in 2009 and is forecast to grow at approximately 2% per year, which is faster than the global wine market (ibid, p.2). The main provider of wine is Foster’s Group Limited, holding 20.8% market share by volume. Buyer power is more important in Australia as there are low switching costs to alternatives and an unusual concentration of food and beverage suppliers (ibid). For new entrants, there are barriers to entry: import duties, taxes and large distribution costs of imported wines (ibid). Competitive rivalry is considered moderate. Producers can use branding to strongly differentiate their products, providing a wide range. The primary distributors are specialist retailers, holding a share of 73.4% by volume in 2009 (ibid, p.23). For foreign producers, the options for entering the market include starting a new company or exporting. If exporting, there are a number of indirect taxes and duties that account for 50% of the value of the imports (ibid, pp.14-15) but if importing a premium brand, market entry can be achieved successfully by adding a large margin to account for the taxes. Datamonitor assess, however, that the likelihood of new entrants is

Answer Questions Essay Example | Topics and Well Written Essays - 2000 words - 1

Answer Questions - Essay Example A quoted firm can seek to grow its capital as an investment. Therefore, purchase of other organisations and seeking to produce more products, as well as enlarging the market share falls under this investment. When a listed company purchases another company, it increases its earnings through this investment. Listed private companies engage in this kind of investment because, they do not have to distribute the money back to the limited partners after a specified period of time (Cumming, 2010, p.56). A listed company that has already offered its shares in, through the stock market, can seek additional capital through a rights issue. Therefore, a listed company offers a rights issue to raise more finance, because its shares are already listed in the stock exchange. Rights issues are regarded by the stock exchange as the fairest activity to existing shareholders. Therefore, a company’s management can decide to allow shareholders to purchase additional stocks in the proportion to their current holdings. When an organisation wants money to expand its operations, it may opt to offer a rights issue. Members who are not willing to take up the rights issue can sell their right in the market so as to avoid losses resulting from dilution. It should be noted that a rights issue leads to an increase in the number of shares of a company, leading to dilution. Listed companies can also offer preference shares as a source of finance. The issue of preference shares enables a company to raise long-term finance. Preference shareholders provide finance to a listed company, while they get shares in return. A fixed dividend is to be earned by any shareholder who owns a preference share in a listed company. It is impossible for these types of stockholders to be engaged in decision making through voting. They do not participate in retained earnings, and this is advantageous to a listed company, because presence of preference shareholders does not threaten

Marxism Concepts of Art | An Analysis

Marxism Concepts of Art | An Analysis The nineteenth century was significant in Europe because it spawned or brought to the forefront revolutionary new forms of culture and theology. Among these movements were feminism, Marxism, the romantic period of music, and the impressionist period of art. Marxism has been critically acclaimed for its adherence to the popular utopian traditions of past ages and its determination to exterminate the inequities of the feudal class system. Marxism was a nineteenth century behemoth, its shadow influencing not only social and political thought but also provoking minds around the world. Critics of ideologys influence on art harangue the latter as a restrictive form of interpretation, one whose hold over arts beholder evokes themes that override those intended by the artist. However, art created in the impressionist period was created on the basis of the artists perception, and if no one can recall exactly what the artist intended, then using ideologies of the time remains a logical basis o f interpretation. Marxism promotes the involvement of all aspects of society in its ideology. However, when used as an exclusive method of art, Marxism can be quickly dismissed as stringent and a useless art method. In his Theory and Philosophy of Art, Meyer Schapiro contends that ideology constricts the freedom of artistic expression. Schapiro insists that philosophers using ideologies in artistic interpretation forgo the artists rendering and draw their own conclusions, therein ignoring the prevailing themes and purposes behind the artists creation. Through intense speculation of an object, the philosopher has [deceived] himself in assertions which are not sustained by the picture itself but rather in his own social outlook (Schapiro 1994, p. 134). For example, Japanese aesthetics value the imperfect, almost deifying the worn and blemished. A rusty spade in a tool shed would be perceived by classical Japanese aesthetics as beautiful because of its natural state. The traditional Japanese artist would have painted the shed to exemplify its imperfections and the subtleties of its presentation. A Marxist contention might be that the artist presented the spade as a token of the working class, a tribute to the agrarian utopia sought after by many of the period. By making these assumptions, the individual perceiving the Japanese spade would be detracting from the paintings meaning; though agrarian utopia is a beautiful image, it is ultimately deviant from the artists purpose and casts the painting in a whole new light. Using a school of thought such as Marxism endeavors people to [imagine] everything and [project] it into the painting, causing them to experience both too little and too much in [their] contact with the work (Schapiro 1994, p. 138). Schapiro and his contemporaries are concerned with the nature of the work, not the beholders perception. Arts grandeur is in its presentation, which if misinterpreted bypasses the artists intentions, altering the state of art. Recurrent themes might be based on philosophy, but the concept of [the] metaphysical power of art remains a theoretical idea (Schapiro 1994, p. 139). It is irrelevant that there may exist a hidden message within the subject perceived. What is of consequence is rather what the object portrayed means to the artist. Projection and personal interpretation negates the fundamental aspect of the artists presence in the work, and metaphysical integration in interpretational method stints the potential of arts full meaning (Schapiro 1994, p 139). Marxism specifically denigrates the self in favor of the whole, therein detracting from art as a representation of the artist himself or herself. As a means of interpretation, Marxism is useless as the art becomes solely focused around the objective nature of the subject. Painters such as van Gogh and Monet did not popularize the impressionist movement because their objects were more true to reality than others of the age; they popularized the movement because their interpretations were revolutionary and unlike that of their contemporaries. In effect, all art becomes a piece from a self-portrait; the subject is turned to the spectator as a part of the artist, not an instrument of political ideology (Schapiro 1994, p. 140). Schapiro describes shoes as a recurrent theme in van Goghs paintings to solidify his argument. The focus of several paintings, van Goghs worn shoes are a portion of the self, a revealing theme (Schapiro 1994, p. 140). They do not signify the work ethic of a communist, nor does the weathered nature of the shoe imply the subject had anything to do with attaining an agrarian utopia. For van Gogh, the shoes were a memorable piece of his own life, a sacred relic (Schapiro 1994, p. 141). Paintings of the shoes were brilliant because of what they meant to van Gogh. The virtuosity of van Goghs style and presentation make him unique; shoes by themselves mean nothing without the artists rendering. What makes a painter unique is his or her ability to present him or herself, manifesting personality into unconventional objects in such a way that an audience can connect and relate to the emotion evoked. The object presented means nothing without the artists intimation. A shoe, for example, is mere ly a protective covering in the real world. It does not exist to testify to the greatness of Marxism and its superiority over other ideologies. In art, objects do not exist to signify metaphysical forms or ideas, but to serve the artists meanings. The efficacy with which an object portrays the artist is what makes it extraordinary. Theology is useless as an interpretive method of art history because of its constrictive nature on the purpose of art; Marxism is particularly inhibiting because of its emphasis on the nature of being and the individuals position in society. If a painter were to create a work solely to advertise Marxist doctrine, the artistic creation itself would be impeded. Practical aims, rules methods, [and] fixed notions of style hamper virtuosity and the artistic process (Schapiro 1994, p. 202). Schapiro continues, stating, the creation of art has rested on the activity of self-directed [people] who regard their work as a free expression of their natures (Schapiro 1994, p. 204). Ideologies are not naturally occurring in society as a whole; they are indoctrinated and therefore are alien concepts. Marxism is not a natural conclusion, but rather one that had to be indoctrinated into the bourgeois, who in turn had to give up their advantageous statuses in order to better society. Because Marxism is forced by nature, it cannot be a viable art method in Schapiros system of interpretation. Though Schapiros passion for the personal and physiognomic on behalf of the artist is commendable, it too easily dismisses the possibility that social ideology played a part in the artists choice of subjects (Schapiro 1994, p. 139). Marxism changed the way men and women viewed society, and hence altered individual perception. Empiricism, or the theory that all knowledge is based on experience, is a testament to artistic presentation. Theoretically speaking, van Gogh may have painted his shoes because he was an avowed Marxist and chose to present a commonplace object in a Marxist light. Those testifying otherwise can prove their points only by having known the artist themselves, or by proving through communications relayed by the artist suggesting the contrary. Marxism, like other ideologies, is not an impossible basis of inspiration. For example, the twentieth-century composer Dmitri Shostakovich chose to proclaim his disdain with Soviet Russia through music. Political ideologies suc h as Marxism are revolutionary because they alter perception and opinion. As an inspirational method, Marxism is very useful. Ideologies and social movements lend form and base to art; whether they positively or negatively affect an artist, ideologies are an inspirational basis for many works. Marxism does not necessarily diminish art as a form of self-portrait in inspirational form. It molds and manipulates the course of the art. Though it changes the direction of interpretation (possibly detracting from the artists meaning), it is feasible as part of the subject if determined to be a prevailing theme of the work in question. Schapiro describes the philosopher Martin Heidegger and his interpretation of a painting as an [illustration of] the nature of art as a disclosure of truth (Schapiro 1994, p. 135). Contrary to Schapiros contentions of arts theoretical metaphysical implications, Heidegger purports art is metaphysical in nature. The artist is therefore presenting the object from a different vantage. The nature of art is metaphysical in its individuality, so ideology is not to be dismissed as a viable method of art history. Marxism in particular has the capacity to be an effective method of art solely because of its paradigm shift in the concept of individuality. Marxism, like other ideologies, is an irrevocable aspect of society, especially in nineteenth century art. Society is part of what makes an artist individual; it is the lifeblood of creativity and influence. Movements such as impressionism are themselves fashioned by society and altered interpretations. Schapiros stance is that society is constraining and the ideologies of which it is comprised imperil [artistic] liberty (Schapiro 1994, p. 201). Marxism is only constraining, however, when applied to capitalist societies. It is impossible for a human being to be completely unbiased and unaffected by ideologies as every human being has some affiliation with a school of thought. Marxism has the ability to inspire just as much as it has the ability to constrict and limit artistic freedom. Though Heidegger may ignore what those shoes meant to van Gogh himself, he may have also suggested a new side of van Gogh, one that is revealed in a new light just as van Gogh presented shoes in a new light (Schapiro 1994, p. 147). Marxism further may serve as a basis of ideas and concepts. Schapiro himself admits, a disciplined classic style needs a source of ideas, a continuously renewed energy of concept ionotherwise [art] is a sterile routine (Schapiro 1994, p. 201). Ideology, by nature, is a set of conglomerated beliefs and observations. Why, then, does Schapiro assume it to such an inefficacy as a method of art history? Schapiros conclusions border on myopic as he fails to consider the possibility that ideologies can also serve as inspirations, as a possible source of ideas rather than the only source. All ideologies become constrictive if used exclusively. More constrictive on the artistic process is the elimination of ideology as a viable method; by consciously restraining interpretive vehicles, art is stinted and the liberty Schapiro so treasures becomes finite. As far as impressionism is concerned, Marxism is as effective as any other method of art history. The word impression refers to the objective, what the mind itself perceives. The very nature of impression is derived from the illusory rather than reality. Speculation, when observed within moderate means, is the purpose behind an object. Using an ideology such as Marxism does not impede interpretation so long as it is not used exclusively. Schapiro describes Heideggers speculative method as detracting and self-serving, purporting that he conjectures that his reader could imagine himself wearing [van Goghs] old leather shoes (Schapiro 1994, p. 149). The speculative approach to impressionism is its very basis. Had van Gogh intended to portray the shoes as part of his history, perhaps he would have painted himself wearing them. That he chose to focus on still life and not a self-portrait insinuates the possibility that van Gogh wanted to portray the shoes as open to outside interpretation as well. Marxist interpretations would not be indicative of useless method in the aforementioned perception so long as the interpretations outside the obvious are secondary in nature. To further his argument against ideologies such as Marxism as viable methods of art history, Schapiro addresses the opinions of French philosopher Denis Diderot. He describes Diderots preoccupation with freedom, considered in its inner and outer circumstances (Schapiro 1994, p. 201). If utilizing Marxism is a transgression on freedom, then it is a safe assumption to make that no artist will ever be free. All forms of thought are constrictions so long as they are regarded as limiting the abstract. Artistic production is reliant on the power of suggestion. The power to create is reliant on the power to envision, and the power to envision is subsequently dependent on the power of suggestion. Schapiro, however, takes Diderots stance that the artists inner freedom is the impulsive, unaccountable flow of the pencil an d brush, of images and ideas; verve, enthusiasm, spontaneity, and naturalness are its outward signs and without that flow, there is no authentic art (Schapiro 1994, p. 201). Marxism, therefore, would erstwhile be an obstacle in the artistic process. However, impulses are drawn from ideas, and spontaneity requires inspiration, both of which may be derived from ideologies. Schapiro supports this contention, writing that the conditions most favorable to the flow in art are not only a matter of temperament but are also social (Schapiro 1994, p. 201). Art history reveals that social ideologies such as Marxism are not only viable methods, they are also intrinsic in the creation of art. Diderot anticipated a dilemma of artists: they wish to be free creators, unconfined by any goal external to art but also wish to participate in the most advanced consciousness of their society and to influence it by their work (Schapiro 1994, p. 207). If ever there was an ideology that encapsulated total social involvement, it was Marxism. So if artists participate in the most advanced consciousness of their society, how can they be truly free by Schapiros standards? Is it because they have made a conscious decision? Their choices, however, are influenced by their desire to be a part of something larger. In effect, they are limited by their desires, which are concrete aims and goals. Marxisms all-encompassing doctrines are a reflection of scientific method, designed with multiple factors and social tenets in mind. Stephen Eisenman presents Marxism as a useful method of art in his Nineteenth Century Art, presenting evidence that certain critics consider the scholarly (scientific) method and subject matter [of art] perfectly merged (Eisenman 1994, p. 9). Marxism is based on a single concept: total egalitarianism. To serve that end, Marxism lists several factors and instructions. Art is similar, centered on a singular subject or theme. Different details delineate and instigate thought on the aforementioned subject, drawing further parallels between art and ideology. Eisenman furthers his contentions opposite that of Schapiro by stating outright how empiricism has dominated studies of nineteenth century art but has rarely been explicitly acknowledged as a methodology, whether inspirational or interpretive in nature (Eisenman 1994, p. 10). In defining true expression, many scholars reject the purist tyranny of abstract and absolutist systems such as those defined previously by Schapiro, insisting t hat art historians should be as flexible, various, and comprehensive as possible in their approaches, and be willing to consider anything from the history technology to the abiding mysteries of genius and psychology as potentially illuminating their ever more vast subject (Eisenman 1994, p. 10). Therefore, Eisenman counters critics who lambast ideologies as limiting, stating that by closing interpretive doors on art methods, one further inhibits the freedom of expression. Separating artists from society alienates the artist from humanity, therein isolating the artist as potentially self-deprecating. Diderots dilemma of the artist seeking to be creatively free and yet still a driving force of society is a paradoxical query answered by Eisenmans assertions in favor of Marxism. Eisenman supports the statement that art history itself, especially art history of the nineteenth century, has been significantly transformed by the prevailing attitudes of radical scholars; Marxist philosophy has played a signal role in overturning the formerly prevailing confidence that art history could be told as a straightforward, descriptive narrative independent of the interests, politics, gender, or ideology of artists, audiences, and critics (Eisenman 1994, p. 10). The aspects listed by Eisenman encapsulate what drives artists to create. Marx postulates that while humans by their nature as humans have senses and perceptions, these are rude and unformed in the absence of their specific development and cultivation, which only occurs historically (Eisenman 1994, p. 11). In the Marxist school of thought, Diderots emphasis on creative freedom still remains paramount to artistic creation. However, Marx stipulates that the abstract is only given form by prevailing attitudes of the day. Eisenman supports Marxism as a method of art, writing, all the senses are differently developed according to the nature of the particular society in which the person lives: a capitalist society in which the sense of having dominates is clearly different in its sensual or perceptual capacities from a feudal or Communist society which does not subscribe to the concept of private property (Eisenman 1994, p.11). Ultimately, art methods are only viable given the freedom of interpretation they allow. Marxism is viable because it promotes inspiration on part of the artist, as well as affording an observing art beholder a unique avenue of interpretation. The only caveat to employing ideology as a method of art is its constrictive nature. When applied exclusively, any single art method exudes glaring inefficacy in the face of constricted artistic freedom. However, the singling of any art method as a useless art method lends itself to the practice of restriction, defeating the requisite observation of creative freedom, whether the artist or the one perceiving art practices that freedom. Marxism, in turn, is just as useful an art method as any other ideology, so long as it is utilized as one possible perception among many. Marx argued, the cultivation of senseswhether in the form of art, music, or literaturein its turn plays a significant role in the historical unfolding of a society, and it is an untenable fact that history plays a part in shaping art, whether in the form of ideology or any other aspect of humanity (Eisenman 1994, p. 11).

Aerobic Dancing and Weight Control Essay -- essays research papers fc

Flat stomachs, tone arms, nice, firm buttocks, and nice shapely legs. This sounds like a familiar dream for many women in the world. Most do not think it is possible for them to achieve, but clearly all it takes is time. Aerobics dancing is one of the most effective aids in weight control, with the added benefits of improved self-esteem and confidence. Many people cannot enjoy life due to their weight and other problems brought on by being overweight. Those who are overweight cannot mentally handle the thought of going out and being seen. That is why solutions for keeping weight within an appropriate range for height, sex, and age are essential. One of the most effective ways of reaching appropriate weight level is through aerobic dancing. Physical changes in one’s life can be beneficial, but that is not what makes a person. A person’s mental health makes one who she is. There are many ways to improve mental and physical health. Dancing burns as many calories as walking, swimming or riding a bicycle. A half-hour of dancing can burn between 200 and 400 calories. One factor that determines how many calories are expended is the distance traveled. In one study, researchers attached pedometers to square dancers and found that each person covered five miles in a single evening. (Dance for the Health of it) The physical changes that can be beneficial to one’s health weigh more than those of the mental state. Even so, it has been proven that the way one feels about ones’ self is better than how one actually is. The point I am trying to get at is self-esteem. Additionally self-esteem can really mold person ality and can determine how a person’s life will end up. For many careers, individuals need to have a lot of self-esteem. Certain available jobs may hire depending on the applicant’s social status and how well he or she can associate with people. People who are not very social because of the fear that they will be made fun of, or are afraid because of their appearance, may allow their weight to interfere with future Hernandez 2 opportunities. â€Å" Because it makes you feel good, you like what you see on the outside and you like yourself more.† (Missett, 21) This tends to help individuals to stand up and be confident enough to go through with public appearance and not care what other people are thinking. When combining aerobic exercise and dance, it is considered a... ...nditions that the patient might have that may cause further risks before advising any workout regimen. People should really start their aerobic Hernandez 6 exercise at a pace that is comfortable with their beginning level of condition, and then gradually accelerate the tempo and frequency of their workouts as they adapt to their new lifestyle. In a short time, people will begin to recognize many health benefits that aerobics can do for them and feel great too. Works Cited Aerobics for health  © Arnot Ogden Medical Center, 1997 Colgan, Michael Ph. D., Optimum Sports Nutrition, Chapter 9, Page 95. Dance for the health of it! Mayo clinic health letter. January 1994 . Last Updated: Sunday, June 23, 1996 Physical Activity and Health 1998 Baltimore County Public Schools Polley, Maxine. Dance Aerobics New York; Macmillan Publishing Company, 1981 Sheppard Missett, Judy. The Jazzercise Workout book New York; Charles Scribner’s Sons, 1986