Teenage Mothers :: Teen Pregnancy

Becoming a parent permanently and profoundly alters a teenager's life. Most of the girls forget about their dreams of happy marriage, college is almost always out of the question, graduating High School becomes a goal most teenage moms don't achieve. Young girls having babies isn't new, as a matter of fact, teenage parenthood was higher in the 1950 then it is today, but things were different. Most of the girls were eighteen or nineteen and many of them already married. Only a few of single mothers actually kept their babies. Today many mothers are fifteen or sixteen years old. Some are even as young as twelve. Fathers contribute little or nothing to the care of the baby, therefore it's even harder for the mother. All of a sudden the girl is thrown into the world of responsibilities and duties, where the baby's needs come before her own. She is expected to balance her school or a job with the full time task of raising a baby. Her world is changed from her world of dates, parties, sleepovers and waiting for a Saturday so you can sleep late, to the world of doctor appointments, diapers, baby formulas, bills, and day care. Experts say that girls have babies from lack of self-esteem. "Too often, adolescent pregnancy is what happens to poor kids," says psychologist Judith Musick. "It can be a symptom of having no better options." They need someone to love and someone to love them back. What's cuddlier and cuter than a baby is? A baby gives them something to look forward to and something that gives meaning to their life. Studies show that a lot of teenage mothers come from poverty and some of them don't know any better. There's definitely a lack of education but it doesn't have a direct relationship to race or ethnic background. A lot of teenage moms don't think that they have anything to lose by having a baby. Communities and Governments have tried to help out teenage mothers but sometimes what they do just isn't enough. There is After-School Care for young adolescents and there are community learning centers. In 1984 about 8.7 million girls were living with a baby and without the father. Only 58% of those girls have been awarded child support. Of those who were supposed to get child support in 1983, only half received the amount due.

Characters Within “King Lear” Essay

There are many ways in which a person can use their appearance as extensions of their personalities. Through viewing the attire of another, their age, income or class, interests, nationality or religion can be determined. A person with a pressed black suit, a gold watch, alligator skin briefcase and golfer tie can be classified as a middle aged, business man with a good income living in a city. This is all concluded from examining image that that man was presenting. The outward appearance of a character provides a direct connection to that characters nature, and helps the readers interpret their emotions. Imagery is a word, phrase, or figure of speech (especially a simile or a metaphor) that addresses the senses, suggesting mental pictures of sights, sounds, smells, tastes, feelings, or actions. Images offer sensory impressions to the reader and also convey emotions and mood through their verbal pictures. Clothing images can be used to deceive, reveal truth and suggest a journey of self-discovery, within a character. Shakespeare uses clothing imagery within King Lear as a central theme in which readers may discern the complexity of the characters presented in the play. Garments can be used to reveal as well as conceal a character choosing to show either of these feelings. They can deceive through the means of a disguise. In King Lear deception is an underlying issue that is expressed in many characters. Goneril and Regan use their elaborate costumes to hide their true personalities. Thou art a lady: If only to go warm were gorgeous, Why, nature needs not what thou gorgeous wearest, Which scarcely keeps thee warm. (Act II, scene iv, ll 301 – 304) Lear states that if warmth were all that were needed, then his daughters do not need their elegant dress. He emphasises to them that should they take off, or expose, their images of splendour, then the world would know what ungrateful and hypocritical daughters Goneril and Regan truly are. Another character masking his genuine identity is Oswald, as Kent points out: †¦nature disclaims in thee: a tailor made thee. (Act II, scene ii, ll 50 – 51) This insult indicates that nature denies any part of Oswald’s making, and Kent takes this offence further by saying: A tailor, sir: a stonecutter or a painter could not have made him so ill, though they had been but two hours at the trade. (Act II, scene ii, ll 53 – 55) Not even an amateur apprentice could have produced Oswald, and he is therefore an abnormality of nature. Only Kent and Lear have the correct insight into Oswald’s characteristics, which label him as a traitor and a disgrace. Each image of clothing expresses the means of discerning sharply between the apparent and the real. Just as disguises are used to produce deception, they can also be used to display honesty. Kent represents truth because although he is in disguise, this disguise is used to lead Lear down the correct path. That can my speech diffuse, my good intent For which I razed my likeness. Now, banished Kent, If thou canst serve where thou dost stand condemned, So may it come, thy master, whom thou lovest, Shall find thee full of labours. (Act I, scene iv, ll 2 – 7) Although Kent was banished, he still wanted to serve Lear loyally and so his  disguise was in faithful loyalty and integrity. He humbled himself in appearance and value to better serve his King. Edgar also indicates that although his attire has changed, he himself has not changed. †¦In nothing am I changed But in my garments. (Act IV, scene vi, ll 12 – 13) He, like Kent, uses his disguises to aid and assist others, as well as to keep him safe from his brother Edmund. Edgar helps his father Gloucester during his attempt at suicide by offering his service as a guide and also saving him from death. Edgar also helps Albany by revealing to him the murder conspiracy plotted against him. Edgar is able to use his speech and appearance to save those around him, thus symbolising the innocence in his simple garments and carefully accented voice. Wretched though I seem, I can produce a champion that will prove What is avouched there (Act V, scene i, ll 51 – 53)†¦ If my speech offend a noble heart, Thy arm may do thee justice. (Act V, scene iii, ll 153 – 154) Each of these characters were able to stay upright and commendable, while concealing their identities. They were able to stay true to their personalities using their disguises. Kent and Edgar were able to discover their true qualities through the need to â€Å"mask† their titles. Throughout the progression of a character’s disposition in King Lear, the character experiences a gradual change in clothing. This clothing, or change in immediate garments, is directly reflected on the characters change in situation or mood. As their garments change, the character is modified and  moulded into a new and hopefully improved individual. Lear refers to the conditions of his panoply, as displaying his current state of mind. He starts out arrogant and magnanimous, but as each untruth and disgrace offends him, Lear becomes unbalanced and depressed. He condemns the bitter justice in the world by crying: Through tattered clothes small vices do appear; Robes and furred gowns hide all. (Act IV, scene vi, ll 180 – 181) Lear rejects the empty extravagance of royalty and majesty because to him, it is all tainted with the betrayal of his daughters. Later on, when Lear is cleansed of his acrimony and resentment, a Gentleman states that, â€Å"†¦we put fresh garments on him† (Act IV, scene vii, ll 26), and Lear further emphasises this by saying â€Å"†¦and all the skill I have / remembers not these garments† (Act IV, scene vii, ll 75 – 76). This signifies the change in Lear from affliction and dejection to restoration and optimism. Throughout his transformations, Lear is always able to express his tribulations through his disrobing. The clothing images used within Shakespeare’s King Lear are the means by which readers feel imaginatively the deception, truth and self-assurance of the characters portrayed within the literature. The clothing of certain characters can represent as well as conceal their sincerity or hypocrisy. The journey of self-discovery can be viewed through the transitions between the appearance’s of how the characters attire themselves. Readers must be receptive to the images presented no matter how literally absurd they may be, and only then can the image be properly appreciated and understood. â€Å"Images operate, as one might deduce, in the realm of the imagination. They are the vehicle by which the poet’s thoughts pass into the reader’s mind as the reader’s imagination responds to the poet’s imagination.† (Harbage, 23).

Women in Management - 1909 Words

Running head: WOMEN IN MANAGEMENT: A SOCIO-CULTURAL CHALLENGE Abstract Historically, women have been facing many socio-cultural factors in order to be integrated to a world principally designed by men and for men. One way to describe this situation has been called the Glass Ceiling, by definition an invisible but real barrier founded on attitudinal or organizational bias in the workforce that prevents minorities and women from advancing to leadership positions. This paper gives an overview of the principal reasons for this behavior based on previous studies, analyzes some approaches to handle them as well as possible actions that allow women and other minorities smash the glass-ceiling effects, and finally, it suggests some directions†¦show more content†¦In addition, this paper analyzes if there are another factors different to those already mentioned that restrict women climbing to the top level in organizations. Some implications and directions for future researches will be suggested as well as possible actions that allow women and other min orities smash the glass-ceiling effects. Women in the Workforce Background Women have always worked. During the pre-industrial age, family was considered as a unity of production and consumption and woman had to work to support it. While men were making rural labor, women had to take care of children, do the housekeeping, feed the animals, grow crops on the home parcel, and then sell the remaining porcion at the market. Other women got temporary jobs doing similar things for somebody else. In the early settlements of seventeenth-century America, only one group of women, domestic servants, could properly be called wage earners. By the end of the colonial period, the stage had been set for women to take their places in the nineteenth-century movement of people into the wage labor force. Women’s transition from paid and unpaid family-centered roles to wage labor of all kinds began early in the American past. (Kessler-Harris, 2003) Industrial Revolution brought an out-of-home work oportunity for women, but it faced them with the dilemma â€Å"Home or w ork†. Therefore, those jobs were taken for young-maiden women. 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