Elderly poverty Essay Example for Free

Elderly poverty Essay By 2050, the number of elderly people will be high (aged 65 and above) 20 percent of the population worldwide. Given the pressure on the demand for public services such as pensions, health services and housing facilities. Elderly poverty is both a social and a financial problem. Poverty rates among the elderly tend to be highest among women, above all widows over the age of 75. This is mainly due to pension allowances that have traditionally been associated with employment history. In 2000, it was estimated that more than a third of Ireland’s elderly population was living in poverty. Ireland has been criticized for failing to protect its most vulnerable citizens, the elderly. Despite having a state pension scheme for the vulnerable group, there is still a big gap. Poverty rates among the elderly people have changed over the time and this is likely to project (Thomas, 1995). Among the problems faced by the elderly include, food insecurity and poor nutrition. Food insecurity it is the insufficiency in the quality of food intake due to lack of resources which mainly focuses on inaccessibility and unavailable of resources among the elderly as a result of their impairment and health problems. This study reveals that food insecurity is another risk factor associated with poorer nutritional and health status among older persons. Food insecurity is another problem facing elderly people. It has an effect on health and quality nutritional status. Further, it can also bring physical, emotional and economic burdens to the elderly persons themselves. Hence, understanding the cost of food insecurity is the major phenomena in addressing food related issues in elderly persons and providing information to better their nutrition and health services for an ever-increasing and diverse older population. However, nutritional status and consequences of food insecurity mainly focuses on the younger, the adult, women and children. The consequences include decreased nutritional eating habits, inadequate food supply, impairment and an increase in body weight forgetting about the elderly people at large. Food insecurity among elderly persons requires consideration of various determinants of nutritional and health status significant to a particular age group. Concerning food insecurity among the elderly there is the need for investment in long term self-sufficiency projects, supportive policy systems to address issues about the right to food and participation of government, community and other institutions to ensure food security (Laurence, 1990) Health is another issue facing the elderly living in poverty because of the limited incomes, educational achievements and no health insurance facilities. For instance the case of elderly Hispanic who depend on the assistance from the relatives and supplemental security incomes to cope with their deteriorating health issues. Increasing poverty, the socio-demographic profile of the elderly population is rapidly changing, especially with the weakening of extended family ties and lineage-based support systems. Usually, the extended family has been the main source of livelihood support for the elderly in sub-Saharan Africa, taking care of their parents when they are not economically dynamic. With the increase in poverty and health related issues like HIV/AIDS epidemic on the elderly and on the social background in Africa and the death of young people leaves the elderly people in charge. Elderly persons play a key role not only in providing care for persons with HIV/AIDS but also in caring for AIDS orphans which effects them health wise because they do not have enough energy to run up and down looking for food, income to care for the sick. For illustration, in Kenya the elderly people were the main care-givers for people infected with HIV/AIDS and also take care of the orphans. Elderly people also face the problem of accessibility. Since, most of them live places inaccessible to the basic facilities like the health care, incase they are sick access them is very hard and some of the end up not getting to this services because they are weak. Housing; elderly people is largely increasing as a result of poverty and inadequate affordable housing. By housing I mean access to clean and safe water, toilet facilities and waste collection facilities. Among the households especially headed by the elderly there are a few chances of them affording decent house even though they receive assistance like 37 percent of the elderly in America but this is not enough. (Thomas 1995). Every human being needs a range of basic necessities irrespective of age. While poverty exists everywhere, it is most harsh in developing countries, where more than one person in five lives on less than one dollar per day. Reducing poverty among the vulnerable people is an international goal of development and the many international organizations working towards this initiative. Strategies on how to reduce poverty are, however as many as the causes of poverty. For example the World Bank’s anti-poverty plan, for example, depends heavily on reducing poverty though the promotion of economic growth. We also have the Millennium Development Goals (MDGs), that campaign for the reduction of severe poverty among the vulnerable groups REFERENCE Thomas, A. (1995). Old and homeless: an overview of current practice, Westport: Greenwood publishing group. Laurence, E. (1990). Inner city poverty in the United States, New York: National Academies Press.

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Todd Robins couldn’t remember the last time he had checked the mail. Surely his mailbox would be overflowing with letters and bills and brochures for colleges. When he got to the end of his driveway, he saw that it wasn’t full at all! In fact, it seemed as though the mailbox were empty. He decided to peek inside anyway. When he looked inside, he saw only one thing. A small slip of paper. Todd reached in and took out the mysterious slip. It was folded so that he could see only his name, Todd Robins, at the top. He walked inside and opened up the slip. It informed him that he had won a one day and one night stay in an exclusive mountain cabin up in the Rocky Mountains. ‘That’s strange. I don’t remember entering any sweepstakes or anything.’ Todd thought puzzledly. He decided to just go along with it. A little vacation couldn’t hurt, right? He was close, too, so getting there wouldn’t be a problem. The slip had the address on the bottom along with a time to get to the cabin. He had to be there in 24 hours in order to get his prize, or the second runner up would get it. When Todd w...

History of Philippine Cinema Essay

A. The Golden Age of Philippine Films The 1950s were considered a time of â€Å"rebuilding and growth†. But remnants from the preceding decade of the 40s remained in the form of war-induced reality. This is seen is Lamberto Avellana’s Anak Dalita (The Ruins, 1956), the stark tragedy of post-WWII survival set in Intramuros. The decade saw frenetic activity in the film industry which yielded what might be regarded as the first harvest of distinguished films by Filipinos. Two studios before the war, namely Sampaguita Pictures and LVN, reestablished themselves. Bouncing back quickly, they churned out movie after movie to make up for the drought of films caused by the war. Another studio, Premiere Productions, was earning a reputation for â€Å"the vigor and the freshness† of some of its films. This was the period of the â€Å"Big Four† when the industry operated under the studio system. Each studio (Sampaguita, LVN, Premiere and Lebran) had its own set of stars, technicians and directors, all lined up for a sequence of movie after movie every year therefore maintaining a monopoly of the industry. The system assured moviegoers a variety of fare for a whole year and allowed stars and directors to improve their skills. Read more: Essay About Philippine Cinema Critics now clarify that the 50s may be considered one â€Å"Golden Age† for the Filipino film not because film content had improved but because cinematic techniques achieved an artistic breakthrough in that decade. This new consciousness was further developed by local and international awards that were established in that decade. Awards were first instituted that decade. First, the Manila Times Publishing Co. set up the Maria Clara Awards. In 1952, the FAMAS (Filipino Academy of Movie Arts and Sciences) Awards were handed out. More so, Filipino films started garnering awards in international film festivals. One such honor was bestowed on Manuel Conde’s immortal movie Genghis Khan (1952) when it was accepted for screening at the Venice Film Festival. Other honors include awards for movies like Gerardo de Leon’s Ifugao (1954) and Lamberto Avellana’s Anak Dalita. This established the Philippines as a major filmmaking center in Asia. These awards also had the effect of finally garnering for Filipino films their share of attention from fellow Filipinos. B. The Decline of Philippine Film If the 1950s were an ubiquitous period for film, the decade that followed was a time of decline. There was â€Å"rampant commercialism and artistic decline† as portrayed on the following: In the 1960s, the foreign films that were raking in a lot of income were action pictures sensationalizing violence and soft core sex films hitherto banned from Philippine theater screens, Italian â€Å"spaghetti† Westerns, American James Bond-type thrillers, Chinese/Japanese martial arts films and European sex melodramas. To†¦get an audience to watch their films, (the independent) producers had to take their cue from these imports. The result is a plethora of films†¦giving rise to such curiosities as Filipino samurai and kung fu masters, Filipino James Bonds and†¦the bomba queen. The studio systems came under siege from the growing labor movement which resulted in labor-management conflicts. The first studio to close was Lebran followed by Premiere Productions. Next came Sampaguita and LVN. The â€Å"Big Four† studios were replaced by new and independent producers who soon made up the rest of the film industry. The decade also saw the emergence of the youth revolt best represented by the Beatles and the rock and roll revolution. They embodied the wanting to rebel against adult institutions and establishments. Certain new film genres were conceived just to cater to this â€Å"revolt†. Fan movies such as those of the â€Å"Tita and Pancho† and â€Å"Nida and Nestor† romantic pairings of the 50s were the forerunners of a new kind of revolution – the â€Å"teen love team† revolution. â€Å"Nora Aunor and Vilma Santos, along with Tirso Cruz III and Eddie Mortiz as their respective screen sweethearts, were callow performers during the heyday of fan movies. Young audiences made up of vociferous partisans for ‘Guy and Pip’ or ‘Vi and Bot’ were in search of role models who could take the place of elders the youth revolt had taught them to distrust† Another kind of youth revolt came in the form of the child star. Roberta (1951) of Sampaguita Pictures was the phenomenal example of the drawing power of movies featuring [these] child stars. In the 60s this seemed to imply rejection of â€Å"adult corruption† as exposed by childhood innocence. The film genres of the time were direct reflections of the â€Å"disaffection with the status quo† at the time. Action movies with Pinoy cowboys and secret agents as the movers of the plots depicted a â€Å"society ravaged by criminality and corruption† . Movies being make-believe worlds at times connect that make-believe with the social realities. These movies suggest a search for heroes capable of delivering us from hated bureaucrats, warlords and villains of our society. The action films of the 1960s brought into the industry â€Å" a new savage rhythm that made earlier action films seem polite and stage managed.† The pacing of the new action films were fast as the narrative had been pared down to the very minimum of dialogues. And in keeping up with the Hollywood tradition, the action sequences were even more realistic. Another film genre that is perhaps also a embodiment of the revolt of the time is the bomba genre. Probably the most notorious of all, this genre appeared at the close of the decade. Interestingly, it came at a time when social movement became acknowledged beyond the walls of campuses and of Manila. In rallies, demonstrations and other forms of mass action, the national democratic movement presented its analysis of the problems of Philippine society and posited that only a social revolution could bring genuine change. The bomba film was a direct challenge to the conventions and the norms of conduct of status quo, a rejection of authority of institutions in regulating the â€Å"life urge† seen as natural and its free expression â€Å"honest† and â€Å"therapeutic† Looking beyond the obvious reasons as to the emergence of the bomba film, both as being an exploitative product of a profit-driven industry and as being a â€Å"stimulant†, it can be analyzed as actually being a â€Å"subversive genre†, playing up to the establishment while rebelling and undermining support for the institutions. Even in the period of decline, genius has a way of showing itself. Several Philippine films that stood out in this particular era were Gerardo de Leon’s Noli Me Tangere (Touch me Not, 1961) and El Filibusterismo (Subversion, 1962). Two other films by Gerardo de Leon made during this period is worth mentioning – Huwag mo Akong Limutin (Never Forget Me , 1960) and Kadenang Putik (Chain of Mud, 1960), both tales of marital infidelity but told with insight and cinematic import. C. Films during Martial Law In the 60s, the youth clamored for change in the status quo. Being in power, Ferdinand Marcos answered the youth by placing the nation under martial rule. In 1972, he sought to contain growing unrest which the youth revolt of the 1960s fueled. Claiming that all he wanted was to â€Å"save the Republic†, Marcos retooled the liberal-democratic political system into an authoritarian government which concentrated power in a dictators hand. To win the population over, mass media was enlisted in the service of the New Society. Film was a key component of a society wracked with contradictions within the ruling class and between the sociopolitical elite and the masses. In terms of comparisons, the Old Society (or the years before Martial Law) became the leading symbol for all things bad and repugnant. The New Society was supposed to represent everything good – a new sense of discipline, uprightness and love of country Accordingly, the ideology of the New Society was incorporated into local films. †¦Marcos and his technocrats sought to regulate filmmaking. The first step was to control the content of movies by insisting on some form of censorship. One of the first rules promulgated by the Board of Censors for Motion Pictures (BCMP) stipulated submission of a finished script prior to the start of filming. When the annual film festival was revived, the censors blatantly insisted that the â€Å"ideology† of the New Society be incorporated into the content of the entries. The government tried to control the film industry while keeping it in â€Å"good humor† – necessary so that the government could continue using film as propagandistic vehicles. So despite the censors, the exploitation of sex and violence onscreen continued to assert itself. Under martial law, action films depicting shoot outs and sadistic fistfights ( which were as violent as ever) usually append to the ending an epilogue claiming that the social realities depicted had been wiped out with the establishment of the New Society. The notorious genre of sex or bomba films that appeared in the preceding decade were now tagged as â€Å"bold† films, simply meaning that a lot more care was given to the costumes. Martial Law declared in 1972 clamped down on bomba films as well as political movies critical of the Marcos administration. But the audience’s taste for sex and nudity had already been whetted. Producers cashed in on the new type of bomba, which showed female stars swimming in their underwear, taking a bath in their camison (chemise), or being chased and raped in a river, sea, or under a waterfall. Such movies were called the wet look†¦

Definition and Examples of Back-Formation

In linguistics, back-formation is the process of forming a new word (a neologism) by removing actual or supposed affixes from another word. Put simply, a back-formation is a shortened word (such as edit) created from a longer word (editor). Verb: back-form (which is itself a back-formation). Also called  back-derivation. The term back-formation was coined by Scottish lexicographer James Murray, the primary editor of the Oxford English Dictionary from 1879 until 1915. As Huddleston and Pullum have noted, There is nothing in the forms themselves that enables one to distinguish between affixation and back-formation: its a matter of historical formation of words rather than of their structure (A Students Introduction To English Grammar, 2005). Pronunciation: BAK for-MAY-shun Examples and Observations singular noun pea from the older English plural peasethe verb burgle from the older English noun burglarthe verb diagnose from the older English noun diagnosis He spoke with a certain what-is-it in his voice, and I could see that, if not actually disgruntled, he was far from being gruntled, so I tactfully changed the subject. (P.G. Wodehouse, The Code of the Woosters, 1938) Here I was maybe forty minutes ago, sort of claustrophobed in the gap between the kickass movie world where Lila dumps the guy with the smarmy mustache and the obvious one where it just keeps getting later.(Daniel Handler, Adverbs. Ecco, 2006) Stripping the in- from inchoate is known as back-formation, the same process that has given us words like peeve (from peevish), surveil (from surveillance) and enthuse (from enthusiasm). There’s a long linguistic tradition of removing parts of words that look like prefixes and suffixes to come up with roots that weren’t there to begin with. (Ben Zimmer, Choate. The New York Times, January 3, 2010) Suffix Snipping Alan Prince studied a girl who . . . was delighted by her discovery that eats and cats were really eat -s and cat -s. She used her new suffix snipper to derive mik (mix), upstair, downstair, clo (clothes), len (lens), brefek (from brefeks, her word for breakfast), trappy (trapeze), even Santa Claw. Another child, overhearing his mother say they had booze in the house, asked what a boo was. One seven-year-old said of a sports match, I dont care who theyre going to verse, from expressions like the Red Sox versus the Yankees. (Steven Pinker, Words and Rules: The Ingredients of Language. HarperCollins, 1999) In many cases of back-formation a presumed affix is removed which is in fact not truly an affix, as in the following words where the -or, -ar, and -er are not the agentive suffix, but part of the root: orator - -er orate, lecher -er lech, peddler -er peddle, escalator -er escalate, editor -er edit, swindle -er swindle, sculptor -er sculpt, hawker -er hawk. These mistakes are called back-formations. Note that some of them are colloquial or marginal, while others are fully accepted. (Laurel J. Brinton, The Structure of Modern English: A Linguistic Introduction. John Benjamins, 2000) Back-Formation in Middle English [T]he weakening of the flexional endings during the early Middle English period, which made possible the derivation from verbs of a multitude of nouns, and vice-versa, was also as essential to the rise of and development of back-formation. (Esko V. Pennanen, Contributions to the Study of Back-Formation in English, 1966) Back-Formation in Contemporary English Back formation continues to make a few contributions to the language. Television has given televise on the model of revise/revision, and donation has given donate on the model of relate/relation. Babysitter and stage manager have given babysit and stage manage for obvious reasons. More remote was the surprising lase from laser (the latter an acronym for lightwave amplification by stimulated emission of radiation), recorded from 1966. (W.F. Bolton, A Living Language: The History and Structure of English. Random House, 1982) Filling a Void Backformations are more likely to occur with very strongly entrenched patterns and they have the effect of filling an apparent void. The process has given us common verbs such as afflict (from affliction), enthuse (from enthusiasm), laze (from lazy), liaise from liaison), aggress (from aggression), televise (from television), housekeep (from housekeeper), jell (from jelly), and many more. (Kate Burridge, Gift of the Gob: Morsels of English Language History. HarperCollins Australia, 2011) Usage [B]ack-formations are objectionable when they are merely needless variations of already existing verbs: back-formed verb - ordinary verb*administrate - administer*cohabitate - cohabit*delimitate - delimit*interpretate - interpret*orientate - orient*registrate - register*remediate - remedy*revolute - revolt*solicitate-solicit Many back-formations never gain real legitimacy (e.g.,  *elocute, *enthuse), some are aborted early in their existence (e.g., *ebullit, *evolute),  and still others are of questionable vigor (e.g., aggress, attrit, effulge, evanesce, frivol). . . . Still, many examples have survived respectably. (Bryan Garner,  Garners Modern American Usage, 3rd ed. Oxford University Press, 2009)