All About HIV and AIDS Essays -- The AIDS Epidemic 2015

AIDS (Acquired Immune Deficiency Syndrome); HIV is the etiological agent of AIDS leaving the body vulnerable to a variety of life threatening diseases (8). Transmission: AIDS is transmitted from the HIV virus through blood, semen, vaginal secretions, and breast milk to others from infected host (1). The virus can be spread through sexual contact by oral, vaginal, or anal sex; receiving a blood transfusion, injection involving needles, artificial insemination and organ transplants from an infected donor. Transmission from mother to child during pregnancy (intrauterine) from shared blood circulation while in fetus, delivery, or after pregnancy when nursing infant from breast milk of infected mother (9). The exact mechanism of mother to child HIV/AIDS transmission is still unknown (9). Reservoirs: Infected human. Latent reservoirs include CD4 and T-Cells. Reservoirs are still not fully understood (1). General Characteristics: The stages leading to diagnosis of AIDS include Acute HIV infection detected within a few weeks to months, asymptomatic HIV infection having no symptoms, early symptomatic HIV infection, to advanced HIV infection known as AIDS (13). A CD4 count test resulting in less than 200 cells/mm3 is used for diagnosis of AIDS even when the patient shows no symptoms (8). Specific illnesses found only in patients that have AIDS are used to determine further testing for a positive diagnosis. Tests for HIV can be used to identify AIDS. HIV is diagnosed by blood tests involving two or more positive ELISA tests that have been confirmed by a Western blot assay (6). Test include third-generation, fourth-generation, rapid tests, HIV RNA tests, confirmatory tests, STARHS and home sampling tests (6). Once conf... .... http://www.who.int/hiv/data/2011_epi_core_en.png http://www.who.int/topics/hiv_aids/en/ 11. United States. â€Å"Texas HIV Slide Set 2010.† Texas Department of State Health Services. 2010. Web. 4 May 2012. http://www.dshs.state.tx.us/hivstd/reports/default.shtm 12. Goodman, Brenda MA. â€Å"Most Americans with HIV Don’t Have Infection Under Control.† WebMD. 29 Nov. 2011. Web. 6 May 2012. http://www.webmd.com/hiv-aids/news/20111128/most-americans-with-hiv-dont-have-infection-under-control 13. Dugdale, Vyas, Zieve, ADAM. â€Å"AIDS.† MedlinePlus. 9 June 2011. Web. 6 May 2012. http://www.nlm.nih.gov/medlineplus/ency/article/000594.htm 14. Department of Health and Human Services. â€Å"HIV/AIDS.† National Institute of Allergy and Infectious Diseases. 05 Jan. 2009. Web. 6 May 2012. http://www.niaid.nih.gov/topics/hivaids/understanding/howhivcausesaids/Pages/howhiv.aspx

Explore the reasons why Othello orders the death of Desdemona Essay

Othello is a play about love, hatred, death and deception. Othello is partly betrayed by flaw in his own character. He orders the death of Cassio (his friend and ensign) and Desdemona (his wife) for a number of reasons. Chief among these are is that he is rash, violent and aggressive. He is an angry man who believes whatever Iago tells him with blind faith. He is confused by Iago’s tricks and does as he is told without thinking about its consequences. He is impulsive. He is acting like a true moore (or as what people consider him to be) in Shakespeare days. Othello has the tendency to believe whatever Iago tells him. Even before he is shown any evidence to prove that Desdemona is cheating on him. He starts to hate her â€Å"Now do I see ’tis true.† He turns a blind eye on the fact that he has not seen what the proof is yet. The proof could have been so insignificant that Othello would not trusted it, however in this case the evidence have been planted to mislead Othello. Othello is impulsive. He is rash as fire for numerous reasons. He doesn’t trust his wife (who he married with his happiness) or trust his friend, Iago, Who is his enemy. He believes that his wife is cheating on him and becomes enraged very easily.† I’ll tear her whole to pieces.† It tells us that his intentions aren’t very good. Rather than killing her he could â€Å"Shake he off to beggarly divorcement† and let her live her life. Furthermore, after Iago has completely misled him, Othello finds no other way other than thinking and ordering the death of Cassio. â€Å"Let me hear thee say that Cassio’s not alive.† He acts hastily without letting Cassio stand trail nor defend himself. He is sure that Desdemona and Cassio have become disloyal to him. The audience that Othello is an angry man and â€Å"rash as fire† by his behaviour towards Iago. â€Å"If thou dost slander her and torture me then thou hast, better been born a dog than answer my wak’d wrath†. This show that Othello can’t comprehend it that his wife might be cheating on him so he is taking his anger out on others. An example of that is he takes his anger out on Iago, who he believes to be his friend. However, he is not â€Å"rash† as fire because he resists the urges. He shows this when he is in conversation with Iago. â€Å"I’ll not believe it†. Here Othello is trying to imply that he doesn’t believe Iago fully until he sees the ‘evidence’ in the form of the handkerchief. This shows that he still trust s his wife. He is saying she is as pure as a goddess and if she isn’t then heaven isn’t so perfect when he says â€Å"if she be false then heaven mock itself†. He also proves he trusts his wife. â€Å"I’ll se before I doubt†. He still wants evidence before doing anything. â€Å"When I doubt, prove†. This shows that Othello doesn’t have complete faith in Iago. The audience cannot really blame Othello for being â€Å"rash as fire† as Iago keeps provoking his temper. Iago convinces Othello of Desdemona’s and Cassio’s guilt by using different techniques. To convince Othello, Iago plants circumstantial evidences in order to make Othello think that something is really going on between Cassio and Desdemona. He steals Desdemona’s handkerchief and leaves it in Cassio’s bedroom. â€Å"Such a handkerchief did I see Cassio wipe his beard with†. This helps Iago prove Desdemona’s infidelity as it will give Othello evidence. â€Å"Trifle†¦are to the jealous confirmation strong as proofs of holy writ†. Furthermore, Iago is reticence and implies he is withholding information. He acts like he doesn’t want to say anything. â€Å"Should you do so†¦speech should fall in vile success†. This entices Othello to say â€Å"I pray thee speak to me as to thy thinking†. This makes it seem like Iago is trustworthy because he seems to want to protect his friend, when really he wants to get Othello to hate him. â€Å"Oft my jealousy shapes faults that are not†. Iago start to lie outright. However he only does this after he has largely convinced Othello. He says that he heard Cassio talking to Desdemona in his sleep. â€Å"Sweet Desdemona †¦ let us hide our love†. This is a blatant lie but Othello is fooled and believes him. He falls into Iago’s trap. It works as he creates hideous images of Cassio and Desdemona. This is when Othello for the first time concludes that Desdemona is ‘gone’. His trust and faith in his marital happiness fades into the belief he has been rejected by Desdemona. A technique that works very well with Othello is when Iago implies he knows more than he does, making leading statements. He first introduces the topic by deliberately leading a question for Othello to ask rather than stating the full facts thus playing on Othello’s paranoia. â€Å"Did Michael Cassio, when you woo’d my lady know of your love?† This makes Othello wonder why he would want to know that. He later serves to make Othello think of Desdemona. Iago is clever and subtle in his tricks; Othello cannot be blamed for believing him. Later, when Othello is convinced, he reinforces his ‘honesty’ by saying â€Å"perhaps you mind might change†. He does this because he knows Othello won’t. Another skill which works well is making Othello angry on purpose. Iago uses graphical language to make Othello picture Desdemona and Cassio in compromising situation. â€Å"Would’st thou†¦ grossily grape on behold her topp’ed?† This gets Othello worked up. He uses shocking and profane language such as â€Å"prime as goat, hot as monkey† by saying this Othello believes Iago and becomes all senseless and wrathful. â€Å"Thou had’st better been born a dog than answer my wak’d rath†. This makes Othello irrational and witless. The audience may also consider the social and historical background to be a reason. During the time when the play was written, many events were taking place (we can see hints of this in the play). When Othello was convinced that Desdemona was cheating him, he decided he would kill her. Divorce was not an option for him as the pope, who was at time was the most important man in Europe, would not allow Othello to divorce Desdemona without a trial. Othello didn’t want to do this as he would have to prove Desdemona guilty of infidelity. Othello didn’t want to do this as he still loved Desdemona with all his heart and thought Desdemona cheated him. Another point we must consider is that when the play was written there was a good deal of racism and mis-trust for non-Christians. Shakespeare’s audience may have seen moors as barbarous heathens. This would explain his propensity for violence. Consequently coloured people such as Venetians were given fewer rights as they were regarded as barbarians. Such barbarians would react violently, because they were uncivilised. â€Å"O blood, blood, blood!† Othello’s Moorish heritage may also have influenced his anger at the loss of the handkerchief as he actually believed in its magic. â€Å"Tis true. There is a magic in the web of it†. Othello having been a soldier since he was 7 and then a general, meaning he spent his life in the army and therefore he didn’t know women well. He was also an outsider to the Venetian society and so it made it easier for Iago to convince Othello. â€Å"In Venice they do let god see the pranks they do not show their husbands†. A number of factors contribute to the killing of Desdemona and Cassio. One of the major reasons influencing Othello’s decision is Iago’s numerous lies and his way of manipulating and confusing Othello. These play a major part as, if Iago hadn’t lied to Othello, he wouldn’t have thought his wife betrayed him. Another factor that led to Desdemona’s and Cassio’s killing is that the fact that in his personal life he knew nothing about women. Iago took advantage of this and lies outright. Iago’s lies wouldn’t have worked if Othello had trust in him. If divorce was an option he probably would have considered it letting Desdemona live her life. Another reason that Othello was harsh was because that’s what moors were considered to be.

Victorian Symbolism In Hunts The Awakening - 840 Words

Initially, Hunt’s â€Å"The Awakening† appears to show symbols that make it clear that this is a mistress and her lover. A stereotypical Victorian portrayal of a mistress usually includes pale white skin, brown-reddish and long wavy hair.The absence of a wedding ring, confirming she is not the man’s wife. The mans discarded glove warns that the likely fate of a cast-off mistress was prostitution. Around the room are visible reminders of her kept status (meaning that her lover is paying for some or all of her living expenses) for example, a tapestry hangs unfinished on the piano and a fancy clock is hidden within glass for decoration – something she could not have afforded on her own. Sarah Kuhl comments â€Å"All these things depict the woman as†¦show more content†¦The ivy behind her could represent clinging memory and the passing of time; the shadow on the wall is her time in Hades (as she is a Greek Goddess that would spend her winter in Hades ), that now haunts her.. Her dress, like spilling water, suggests the turning of the tides, and the incense burner denotes the subject as an immortal. Her saddened eyes, which are the same cold blue colour as most of the painting, indirectly stare at the other realm. Overall, dark hues characterise the colour scheme of the piece that she is a dark woman within who has sinned. â€Å"Eve and Proserpine both represent females banished for their sin of tasting a forbidden fruit. Their yielding to temptation has often been seen as a sign of feminine weakness or lack of restraint.† Khan argues which is probably one of the first things I also noticed when I saw the painting – it was most likely the whole reason why Rossetti chose to have Proserpine holding a fruit which we cannot make out is –directs our minds to think of Eve and the forbidden fruit. Similar to Hunt, both painters are visualising for us their own ideas of fallen women. They’ve both painted them as beautiful and cunning looking women who were seen as deviant to Victorians but mean something else for women in the twenty first century society. ction because of the change in thinking what was taboo and what is taboo. In addition, the symbolism within Rossetti’s â€Å"Proserpine†Show MoreRelatedThe Pre Raphaelite Brotherhood By John Everett Millais996 Words   |  4 Pagestransmit a message of artistic renewal and moral reform by imbuing their art with seriousness, sincerity, and truth to nature.†(Meagher) From Millais I will focus on one of his more famous paintings Ophelia, followed by Rossetti’s Proserpine, and Hunt’s Awakening Conscience. John Everett Millais’ Ophelia painted in 1851 is a depiction of noble woman Ophelia from Shakespeare’s Hamlet. Ophelia’s story is tragic as she loses the favour of price Hamlet who then goes on to kill Ophelia’s father. Ophelia isRead MoreArt 100 Museum Paper814 Words   |  4 PagesIntro to Art/Art 100 Pre-Raphaelites I visited National Gallery of Art, Washington DC on Friday, March 29, 2013 to see the exhibition â€Å"Pre-Raphaelites: Victorian Art and Design, 1848-1900†. It is the first major survey of the art of the Pre-Raphaelites to be shown in the United States features some 130 paintings, sculptures, works on paper, and decorative art objects. The young members of the Pre-Raphaelite Brotherhood, formed in 1848, shook the art world of mid-19th-century Britain by rejectingRead MoreThe Pre Raphaelites Critique On Society Through The Image Of Women1495 Words   |  6 Pagessense of bold realism with soft mysticism. These women were modeled on the painter’s friends, lovers or wives, and captured their strength but also a vulnerability and a melancholy which had yet to be seen in woman images before. The women of early Victorian art were usually given sweet, delicate looks to represent their humble, submissive characters. Rosy cheeks, plump faces, and maternal bodies were naturally prerequisites. When the Pre-Raphaelites overtook the art scene they overtook the image of