HIV/AIDS acquisition is at an all-time high in today’s...

HIV/AIDS acquisition is at an all-time high in today’s society, especially for women in hidden or illegal activities, such as drug-use and sex work (Beard et al. 2010). As a result of their hidden lifestyles, their children are at increased risk of acquiring HIV/AIDS through mother-to-child transmission (MTCT), especially due to the stigma surrounding the disease, keeping women from seeking services that could help both them and their children (Beard et al. 2010). The following paper explores the ways in which stigma acts as a barrier for women to seek testing and treatment for HIV/AIDS, as well as the psychosocial effects that stigma produces in these women’s and their children’s lives. Although interventions have been introduced in the†¦show more content†¦Women, especially those in sex work or those who use drugs, are vulnerable for acquiring HIV/AIDS, and risk passing on the virus to their children through mother-to-child transmission (MTCT) (Beard e t al. 2010). The stigma doesn’t only affect women who use drugs or are sex workers, but it affects women worldwide who fear the discrimination they will face, not only from the community, but also from their families, if they are HIV-positive (UNAIDS, 2007). It is for this reason that women do not get tested, do not get treated, do not take preventative measures, and especially breastfeed their children because they fear that if someone were to see them feeding their children with formula, they would be suspected of having HIV/AIDS and fear the discrimination that would follow (Rankin et al., 2005). Not only does stigma act as a barrier to many services, it also inflicts negative psychological feelings and psychosocial effect for those who are, directly or indirectly, affected by HIV/AIDS (Lin et al., 2010). Interventions for stigma reduction have been introduced in the past, but the majority of them were only based on information provision about HIV/AIDS. We now know that si mply providing information is not sufficient in decreasing stigma (Harma et al.,2006). Community-based interventions and targeting human rights is necessary to get to the root of not onlyShow MoreRelatedThe Impacts of Mncs in the Economy of Bangladesh14643 Words   |  59 Pagesresponsibility towards the people. There are around 100 MNCs(sourse:WWW.bangladeshdir.com) operating in Bangladesh. It is very difficult to collect data of all companies due to economic barriers, time shortage and less frankness of the respective companies at delivering relevant information. So to construct the seminar paper we have categorized all the existing companies into five sectors. They are banking sector, telecommunication sector, consumer products sector, pharmaceutical sector, and constructionRead MoreCase Study148348 Words   |  594 PagesEducation is not responsible for the content of third party internet sites. 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Stefan’s Diaries Origins Chapter 8 Free Essays

I’m not sure how long we stayed in the room together. The minutes ticked away on the grandfather clock in the corner, but all I was aware of was the rhythmic sound of Katherine’s breath, the way the light caught her angular jaw, the quick flick of the page as we looked through the book. I was dimly conscious of the fact that I needed to leave, soon, but whenever I thought of the music and the dancing and the plates of fried chicken and Rosalyn, I found myself literally unable to move. We will write a custom essay sample on Stefan’s Diaries: Origins Chapter 8 or any similar topic only for you Order Now â€Å"You’re not reading!† Katherine teased at one point, glancing up from The Mysteries of Mystic Falls. â€Å"No, I’m not.† â€Å"Why? Are you distracted?† Katherine rose, her slender shoulders stretching as she reached up to place the book back on the shelf. She put it in the wrong spot, next to Father’s world geography books. â€Å"Here,† I murmured, reaching behind her to take the book and place it on the high shelf where it belonged. The smell of lemon and ginger surrounded me, making me feel wobbly and dizzy. She turned toward me. Our lips were mere inches apart, and suddenly the scent of her became nearly unbearable. Even though my head knew it was wrong, my heart screamed that I’d never be complete if I didn’t kiss Katherine. I closed my eyes and leaned in until my lips grazed hers. For a moment, it felt as though my entire life had clicked into place. I saw Katherine running barefoot in the fields behind the guest house, me chasing after her, our young son slung over my shoulder. But then, entirely unbidden, an image of Penny, her throat torn out, floated through my mind. I pulled back instantly, as if struck by lightning. â€Å"I’m sorry!† I said, leaning back and tripping against a small end table, stacked high with Father’s volumes. They fell to the floor, the sound muffled by the Oriental rugs. My mouth tasted like iron. What had I just done? What if my father had come in, eager to open the humidor with Mr. Cartwright? My brain whirled in horror. â€Å"I have to †¦ I have to go. I have to go find my fiancï ¿ ½e.† Without a backward glance at Katherine and the stunned expression that was sure to be on her face, I fled the study and ran through the empty conservatory and toward the garden. Twilight was just beginning to fall. Coaches were setting off with mothers and young children as well as cautious revelers who were afraid of the animal attacks. Now was when the liquor would flow, the band would play more loudly, and girls would outdo themselves waltzing, intent to capture the eyes of a Confederate soldier from the nearby camp. I felt my breath returning to normal. No one knew where I’d been, much less what I had done. I strode purposefully into the center of the party, as if I’d simply been refilling my glass at the bar. I saw Damon sitting with other soldiers, playing a round of poker on the corner of the porch. Five girls were squeezed onto the porch swing, giggling and talking loudly. Father and Mr. Cartwright were walking toward the labyrinth, each holding a whiskey and gesturing in an animated fashion, no doubt talking about the benefits of the Cartwright-Salvatore merger. â€Å"Stefan!† I felt a hand clap my back. â€Å"We were wondering where the guests of honor were. No respect for their elders,† Robert said jovially. â€Å"Rosalyn’s still not here?† I asked. â€Å"Y know how girls are. They have to look just ou right, especially if they’re celebrating their impending marriage,† Robert said. His words rang true, yet an unexplainable shiver of fear rushed down my spine. Was it just me, or had the sun set remarkably quickly? The revelers on the lawn had changed to shadowy figures in the five minutes since I’d been outside, and I couldn’t make out Damon within the group in the corner. Leaving Robert behind, I elbowed my way past the party guests. It was odd for a girl to not show up at her own party. What if, somehow, she’d come into the house and she’d seen †¦ But that was impossible. The door had been closed, the shades drawn. I walked briskly toward the servants’ quarters near the pond, where the servants were having their own party, to see if Rosalyn’s coachman had arrived. The moon reflected off the water, casting an eerie, greenish glow on the rocks and willow trees surrounding the pond. The grass was wet with dew, and still trampled from the time when Damon, Katherine, and I had played football there. The knee-high mist made me wish I were wearing my boots instead of my dress shoes. I squinted. At the base of the willow tree, where Damon and I had spent hours climbing as children, was a shadowy lump on the ground, like a large, gnarled tree root. Only I didn’t remember a tree root in that spot. I squinted again. For a moment, I wondered if it could be a pair of intertwined lovers, trying to escape prying eyes. I smiled despite myself. At least someone had found love at this party. But then the clouds shifted, and a shaft of moonlight illuminated the tree–and the form beneath it. I realized with a sickening jolt that the shape wasn’t two lovers in mid-embrace. It was Rosalyn, my betrothed, her throat torn out, her eyes half open, staring up at the tree branches as if they held the secret to a universe she no longer inhabited. How to cite Stefan’s Diaries: Origins Chapter 8, Essay examples

Dealer by Foxing free essay sample

Foxing, the quintet from St. Louis, Missouri, lay on the spectrum of the classified emo genre, touching on post-rock elements with this undefined essence. Really, to give them a genre to fall under seems demeaning, because their collaborations are everything but parallel to other underground bands that follow within their position virally. Releasing their second album, Dealer, was a shot in the dark, as their two year-old pioneering album The Albatross emerged from simple links. The outcome was like finding a slab of gold under the bed of the ocean, because it was just so original and gave you that pearlescent breath of fresh air when it came to skimming through music blogs. To this day, fans still come to Foxing’s shows just to scream lyrics to tracks on their first album, like â€Å"The Medic† or â€Å"Inuit†. Opening to Dealer’s release at the end of October, I was generally excited and anticipated for this stirring group to return with something comple tely off-tracked from The Albatross. We will write a custom essay sample on Dealer by Foxing or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I thought, â€Å"It would still be enlightening to revive the mysterious album, but it would be even better if they grew out of the stage of repetition.† First listening to Foxing around the time of their arrival to Triple Crown Records, I discovered the difference of sound they portrayed; faint lyrics from the vocalist Conor Murphy, but ambient crescendos into raw alluring melodies that just make the everyday man ponder. But the instrumental components, however, is the part I always tend to pivot on in the delicacy of music. You get lost in the clean duo of rhythm and melodic licks on their reverbed guitars that peek into the scene like rays of sunlight shifting to a window. On this now-illuminated floor, you find the drummer keeping the natural flow of instrumentation in order, then the scintillas of synth and modulations sweeping into the scenery. With all honesty, that’s the feeling I got when listening to The Albatross all the way through. So naturally, when I dis covered the announcement that new material was in the works, I sparked up, and thought about the times I sat alone and gave their first record a spin. However, this isn’t about The Albatross, no matter how important it is to mention within the band’s discography. Before the streaming of Dealer, they released the single â€Å"The Magdalene† in the summer, and it was a surprise to find it while listening to them one day towards the middle of August. I came in to the assumption that it would sound ridiculously similar to the tracks in the previous album, but that wasn’t the outcome. â€Å"The Magdalene† touches discretely on Conor’s experience with his revoke on Catholicism’s practices; primarily to sexual aspirations before marriage. The divulgence of the lyrics gave light to the first significant change. The Albatross went through content more metaphorical, concealing some of the actuality to give listeners the upper hand at finding th eir personal touch on it more believably. â€Å"The Magdalene† picks out a very specific scene in the first stanza of lyrics, being the frameworks of guilt from faith while disobeying practices. â€Å"I’m going down with the rosary/ Tongue pressed on guilt, from a dove in my teeth† revealing the guilt of faith through something that appears to exert more pleasure over sin. Aside from the meaning, first hearing the track, it started with the wonderful melody of Eric Hudson’s rhythm with the low roar of Josh Coll’s bass. Jon Hellwig follows behind with his bass pedal. The magic then happens when the transition comes into view with Conor Murphy’s more matured sense of singing. The change was so notable, you could think of him as a new vocalist, because the rawness wasn’t so entropic, but clean and organized. It was a very enticing refinement, and not a reason for disappointment. Ricky Sampson hides behind all of the magic, just forming a mbiance within the collaborating members, with guitar leads coated in reverb and opaque delay to seep you into the song much further. Overall, the song is just well composed, with extraordinary meaning, let alone have the catchy line â€Å"when they unravel the webs that I’ve spun, what shall be undone?† that keeps you asking to hear Murphy sing that beautiful line more and more. Another single came out within a couple weeks before Dealer’s arrival, which was â€Å"Weave†, and was streaming on The Wall Street Journal, which is extremely weighty for a band like Foxing. Unfortunately, the song didn’t hit me as hard as â€Å"The Magdalene†, mainly being the fact that the song’s dynamics didn’t stun me as a typical Foxing track would. But, as I looked within the meaning of the song, it turns out to be their â€Å"official† exit from The Albatross. It made more sense, and I appreciated this audible connotation. The instrument al was speaking its adieu to me, opening themselves to the new horizons that are not yet revealed in the upcoming tracks. I began to love it more than ever before. As these two songs kept my elation going, Foxing announces its full album stream a week or so before the physical copies and its release on iTunes. I could not contain myself to not listen to this album, so I found the stream and listened to the whole composition. Dealer was a darker turn for the group than ever before. The songs were slower and more heart-wrenching than The Albatross, which could be an appreciative change for some fans while others might fully disapprove of the alter, but everyone is entitled to a difference of taste. Upon my first listen, I didn’t get to appreciate the tracks as much as I wish I had, because it was a mass of songs that were difficult to interpret upon a single listen and a brisk transition to the next. It’s an album you really have to give more than one listen to appreciat e the incremental aspects of it. The one that always appeals to me is Sampson’s element of bright leads to clash with the saddening rhythms. Upon first listen, you set your attention to Conor Murphy and his style of singing, before you really analyze the composition of everything else. Of course, in the instrumental tracks like â€Å"Winding Cloth† and â€Å"Coda†, that’s not the case. The themes of the album circulate to God, guilt, and love, creating this mental battle of self-destruction from things one could have avoided, but couldn’t refrain. â€Å"The Magdalene† refers to all of these elements with a personal look at Murphy’s younger love life. As you delve more into Dealer, you’ll come across the track â€Å"Night Channels†, a track that enters with ambience and the solemn chords on a piano with Conor’s slow reflection on himself and his failure to refrain from the venereal aspects of love, which many can i n fact relate to. Another track, â€Å"Indica†, comes from bassist Josh Coll about his experience in the Army and the post-traumatic stress that enveloped afterwards. The album is undoubtedly different from the direction they were in while creating The Albatross, but in a more mature and defined pace. After listening and interpreting the songs, it makes you really feel closer to the members of the band, as if you are more than acquainted. It can be shown that Foxing loves doing what they do, and they take the time to make something that changes the lives of some or just please the feelings of others. This album will guarantee-ably take you away from life through headphones, and it will draw you a picture of the members through their flaws and abilities to express them beautifully.