Function Of The Lymphatic System

Function Of The Lymphatic System The key function of the lymphatic system is to bring together and transport tissue fluids from the intercellular spaces that does gas exchange, water transport and also for ion movement into all the tissues of our body and then back to the veins into the blood system. It does an important role by returning plasma proteins to the bloodstream, and then digests the fats that are absorbed and then it transported from the villi into the small intestine then to the bloodstream thru the lacteals and lymph vessels. The new ones of lymphocytes are being factory-made in the lymph nodes antibodies and anti-assist that the body builds up an effective immunity to infectious diseases. The lymph node does an important role to protect mechanism of the body and it filters out micro-organisms such as, bacteria and foreign substances e.g. toxins. As it transports giant molecular compounds e.g. hormones and enzymes from their manufactured sites into to the bloodstream. The lymph nodes are small and they are bean-shaped like kidney It work as filter of the lymphatic fluid and as the lymph passes through the lymph nodes, pathogens present in the lymph activates lymphocytes and macrophages to destroy the microbes. Lymphatic vessels take place through the body beside arteries in the veins or viscera also in the subcutaneous tissue. They absent from the central nervous system to bone marrow, teeth, and avascular tissues. A lymph vessel transports the fluid it is called lymph, the lymph contains white blood cell that transports in and out of the bloodstream as its needed. If the body is attacked by a foreign substance, its often transported from the bloodstream into the lymphatic system for removal. The lymph vessels has not have central pump however, lymph needs to be transported by the peristaltic contractions of the vessels themselves. Lymphatic ducts are a main lymph vessel that gathers lymph draining from the right upper our body and head. The lymphatic duct is quarter-inch in diameter and about two inches long; it discharges into the right subclavian vein, delivering lymph into to the bloodstream. The thymus is an organ in the body controls the immune processes, the thymus procedure is a type of white blood cell that is known as a T-lymphocyte by this it means that they help our cells to recognise and destroy invading viruses, bacteria, abnormal cell growth e.g. cancer, and foreign tissues. Thymus gland helps to protect the heart along with the pericardium, as it produces hormones that stimulate the manufacture of certain infection fighting cells. In the children it helps immunity by producing white blood cell including T-cells. It atrophies as the child gets older therefore, person grows its roles becomes less so that the adults doesnt tend to have one as the bones and spleen take over those jobs. The spleens function is connected to the immune system or with the blood supply. The spleen get rid of the old red blood cells that is call erythrocytes from the blood supply and also removes stores and then produces white blood cell called lymphocytes. The lymphocyte produces antibodies and assists in removing microorganisms and bacteria from the blood supply. Task 2(M5) The lymphatic system maintenance the immune system in removing and destroying waste remains, toxins, dead blood cells, pathogens, and cancer cells. The lymphatic system absorbs fats and vitamins from the digestive system then delivers the nutrients to the cells where it uses it cells, also the lymphatic system get rid of excess fluid and also waste products from the interstitial spaces among the cells. The main maintain is the fluid and balance protein in the body, the lymphatic system performances as a minor circulatory system and plays a key role in continuing homeostasis good healthily. The Lymph is the fluid that is carried by the lymphatic system. It initiates as blood plasma the liquid component of the blood, after when it has been lost from the circulatory system due to hydrostatic pressure. Then the plasma leaks out of the blood vessel and into the surrounding tissues. Then it enters the lymphatic system once when its within the lymphatic system, the lymph has alike work to the original interstitial fluid, and the extracellular fluid that surrounds cells. The large gap between the cells is designed, which allows fluid, interstitial proteins and other e.g. bacteria to flow into the lymph capillary. The lymph has one way system that travels between the cells of the body, from the interstitial spaces to the subclavian veins just next of the neck. As the lymphatic system doesnt have no central pump like heart to pump it, its movement depends with the muscles and joint pumps. As it moves upper body towards the neck the lymph passes slowly through the lymph node that filters, it to remove debris and pathogens the neck lymph flows into the subclavian veins on whichever side of the neck. The fluid vertebral into the venous circulation of the circulatory system from the tissues in order to stop dehydration fights against the infections and recycle plasma protein. The blood carries nutrients, oxygen, and hormones for the cells. The 10% remaining of the fluid that stays in the tissues as its known as lymph. The 90% of this fluid then returns to the venous circulation through the venues and continues as venous blood. The (MALT) mucosa associated lymphoid tissue is immune responses to specific antigens come across alongside all mucosal surfaces, MALT inductive immune tissues where antigen sample occurs. The larger group function is like lymph nodes smaller, spreads MALT are mostly T lymphocytes also it has B cells and plasma cells. The IgA in the intestines and respiratory tract is to protect against pathogens that may access to underlay tissues. lymphatic-system Task 3 (D3) Infection of the Lymphatic System Lymphedema: One of the disorders which occurs due builds-up of lymphatic fluid in the interstitial tissue. The affects is swelling in the arm, legs and in other part of the body. The harshness of this disorder varies an abnormal virus which is painful, disfiguring and cellulite infections deep in skin. If this doesnt get treated, the skin eventually becomes fibrotic thickening of the skin and subcutaneous tissues losing normal structure, functionality and movement. There are two types: Primary Lymphedema: Is genetic condition that occurs due to impaired or missing lymphatic vessels, which can affect from one to several as four limbs at other part of the body this may carry an internal organ which could be exhibited at birth, develops onset of puberty or happens in adulthood without any apparent causes. Secondary Lymphedema: is basically developed regional lymphatic insufficiency which occurs due to infection, any operation or suffocating that disrupts the lymphatic vessels or even loss lymph nodes. http://i3.squidoocdn.com/resize/squidoo_images/-1/lens8897831_1262976791exercise_for_lymphedema.ghttps://www.vascularweb.org/vascularhealth/PublishingImages/NorthPoint%20Images/Lymphedema_01_Base_225.jpg There are a few abnormal count of the patients blood: His Red Blood (Platelet count) is in the normal range, but its very low His white blood cell count is higher than the normal average range, its 15.0 when its meant to be between 4.0 -6.0 His Basophilis and Eosinophils both are very low His Lymphocytes is too high, its over the normal range His Monocytes is in the average but its high The underlying mechanisms that could have produced this abnormal blood count in a patient with Lymphoma, is because Lymphoma is a cancer that attacks the white blood cell by that the patients blood count to have Lymphoma. Patients with lymphoma produce abnormal lymphocytes, which they are white blood cell. Lymphocytes are mostly found in the lymphoid tissues and lymph nodes, which that make the lymphatic system. this is where lymphoma occurs

Five Techniques to Turn Your Best Friend Into Your Girlfriend

Good afternoon, my fellow friends. I believe at our age, most of us are looking for a suitable life partner and often, we fall for our friends. To be honest, falling for a friend is completely normal; you do not have to condemn yourself for feeling that way. Instead of feeling down and miserable about this sudden ‘curse’ established to you, try to be a little optimistic now, for a change. Today, I would like to talk about the five techniques on how to turn your best friend into your girlfriend. First, stop acting as â€Å"just a friend†. You need to deliver the message loud and clear through your actions and body language. Make her feel that you want to be more than just friends without confessing your feelings just yet. You can try to be a bit more flirty, possessive and protective of her. Tell her she's pretty and special, be a bit romantic and be a gentleman around her. I’m sure that she will definitely start to see you in a different light. Second, don't be too available 24/7. If you used to talk to her or text her very often, you can now disappear for a while. Don’t ask her out, don't return her calls; tell her you're busy or do whatever it takes to make her wonder what you're up to. Give her some alone time and make her miss you! From there, she'll be thinking more of you, and it’s one of the best ways to make her fall all over for you without too much of an effort on your side. She might also take the first step and text you first, like â€Å"Hey, what are you up to? Why haven’t you text me lately? † If she does text you first, that means the trick works. Congratulations, she missed you! Third, get her off guard then flatter her out of the blue. I can tell you that most of the women tend to love a bit of a surprise every once in a while. Hold her hand, hold her close, tell her you're falling for her on the time when she least expects it. Don't be scared, just give in to your impulses and be spontaneous. Fourth, send her something nice. Who doesn’t love receiving gifts? Sending a girl something nice is the best way to make her happy. Don't just stick to the basic like roses and chocolates. Try something new. But before that, you have to know the things she likes and get the idea from there. Make a little twist with it and show your side of being creative, something that she will definitely like and remind her of you. If she oesn't seem to get your message or can't tell you're actually flirting, then use this last trick. Look her in the eye and hold her hand. You don’t have to do it for long, three seconds will do. That's enough to ride her nuts and a great chance to make her fall for you. I’m sure by now you already know how to turn your best friend into your girlfriend. Let us go through this aga in. There are five techniques to turn your best friend into your girlfriend. First, stop acting â€Å"just as friend†. Second, don’t be too available 24/7. Third, flatter her out of the blue. Fourth, send her something nice and lastly, try holding her hand.

The Femme Fatale: Ambiguity and Death

The Femme Fatale: Ambiguity and Death In cinema, the femme fatale is an enticing, exquisitely beautiful, erotic character who plays the ultimate trick of nature: she displays her beauty, captures the man and goes in for the kill. Unfortunately for this poisonous flower, male dominated western society interferes and kills the female predator in the end. In western cinema, the femme fatale can never survive, and can never â€Å"win† in the battle of the sexes. But why must this be so? What makes the femme fatale such a dangerously curious character for the hero as well as the viewer? In E.Ann Kaplan’s’ Women in Film Noir, Richard Dyer states â€Å"†¦women in film noir are above all else unknowable. It is not so much their evil as their unknowability (and attractiveness) that makes them fatal for the hero. † (Dyer, p. 92) Dyer’s observation alludes to the connection between the ambiguous female and the desperate need for the male to reveal her in order to possess her; it is the fear of the â€Å"unknowable† woman that makes her a direct target. This essay will explore the notion of ambiguity as a source of life as well as the ultimate reason for the death of the femme fatale.Before delving into the idea of ambiguity and its power of life and death for the femme fatale, an exploration into the actual women behind the character-type is crucial. The actress who portrays an ambiguous woman must herself, possess ambiguity, or she will never be believable and the fantasy of the femme fatale character is broken. Once we can see through the â€Å"bad girl† act, the portrayal becomes completely unsuccessful. Two actresses became infamous for their portrayals of two of the most well known femme fatales: Louise Brooks as Lulu and Rita Hayworth as Gilda. In G. W.Pabst’s Pandora’s Box (1929) Louise Brooks plays Lulu, a young woman who infects men (and women) with her erotic gaze and causes much mayhem in a 192 0’s Weimar Germany. The actress who would play Lulu had to be able to truly depict the kind of femme fatale that Pabst envisioned and would successfully capture on camera. The character of Lulu is a hedonistic carefree spirit who is well aware of her feminine wilds and understands the politics of sex. In the film, we watch as she manipulates many people with her beauty and eroticism and even plays with us, the viewer, as if she is aware we are watching her perform.But the woman we are watching is not Lulu; she is Louise Brooks frolicking on camera. Brooks possess the ambiguity of the Lulu character as opposed to just portraying ambiguity on behalf of the role. Before the film even begins Louise Brooks is presenting an ambiguous persona, being an American actress starring in a German film, the audience is already simultaneously perplexed and intrigued. Molly Haskell writes in her book, From Reverence to Rape: The Treatment of Women in the Movies, that Pabst â€Å"in his searc h for the ideal Lulu for Pandora’s Box, found [Marlene] Dietrich, his ‘countrywoman,’ too ‘old’ and too ‘knowing. †(Haskell, p. 83) Pabst needed an actress who was unknowable and unknown so that the mystery of the Lulu character would always be present. The audience is wondering who Lulu is as well as who Louise Brooks is; such a game keeps the viewers attention always on Lulu/Louise. If Pabst had used the already famous Dietrich in Pandora’s Box, the initial sense of ambiguity would no longer exist, as Dietrich is a recognizable German actress and the femme fatale that is Lulu, would not be passable.Contributing to the allure of female ambiguity, Molly Haskell writes that directors and critics alike â€Å"find their erotic fancies tickled by women who are at opposite sides of the sexual-cultural pole from themselves. † (Haskell, p. 82-3) The sexual appeal of the â€Å"exotic† woman is apart of the racial ambiguity th at both Louise Brooks- an American actress playing a femme fatale in Germany, and Rita Hayworth- playing an American living in Argentina share.This idea that the men who create these films have a personal sexual investment in the choosing of the actresses who will play these dangerous beauties is a very interesting point Haskell brings about. If Marlene Dietrich couldn’t play Lulu because she isn’t ambiguous enough for Germany, her huge popularity overseas in America seems logical given the ambiguity she possess in front of an American audience. This is where Rita Hayworth’s side of the spectrum plays out in an interesting way. Rita Hayworth was an American actress in the 1940’s and portrayed the classic femme fatale in Gilda (1946) directed by Austrian-born Charles Vidor.Rita Hayworth’s emergence into Hollywood included a grueling physical transformation to, in a sense, â€Å"tone down† her mixed race background of Spanish and Irish parents . What resulted was a lethal combination of exoticism and refined beauty; Rita Hayworth had the physical ability to be racially ambiguous enough to keep people’s attention but not so much as to truly raise questions about her Latin background. She had the curves, lips and sexualized mannerisms of a fantastical Latin woman, mixed with beautiful red hair and fair skin.As Gilda, Hayworth was made for the part of a femme fatale. Hayworth may even possess an ultimate ambiguity because her look remains unique in many parts of the world; her racial ambiguity is transportable. Louise Brooks and Rita Hayworth both brought with them, to their respective film set, their own ambiguities. The rest of the mystery behind these two dangerous female lead characters lies within their stories. In Pandora’s Box, Lulu is a very youthful spirit who emerges on screen and remains on screen with a presence that is dreamlike.Her â€Å"spell† that she seems to cast on all those around her is the elimination of wrongdoing, consequence, sin, etc. All that surrounds Lulu is attention and unexplainable adoration, which she uses to try to maneuver her way out of trouble when she accidently shoots her new husband after a fight over the gun. Lulu effortlessly convinces a group of friends to help her escape the law and run away from all consequence. Lulu carelessly manipulates by seducing the people around her, all to help herself and her own desires.She is an enchantress of sorts, and even as a viewer, watching this from the outside, I found myself growing fond of this whimsical femme fatale. When things don’t turn out well for Lulu, she is starving with her â€Å"father† and her dead husband’s son who’s helped her run away, Lulu doesn’t learn her lesson on being a proper de-sexualized, grounded lady. When starved and stranded in London, she applies make-up to her face and wanders the street for another victim to charm, and on her last vo yage out into the cold, she meets her death at the hand of Jack the Ripper.The character of Lulu is ambiguous in many ways, and the first is in terms of her class. When we first meet Lulu, she is the kept woman of Schon (her soon to be dead husband), and is kept very well in a fancy flat just for her, for whenever he wants to see her. He appears to be of the upper-middle or upper-class and is a media-tycoon, where she eventually gets a part in his son’s production. Contrary to this comfortable life Lulu leads as Schon’s mistress, Lulu’s â€Å"father,† Schigolch, is a sloppy drunk who she tells Schon was her first patron, and helps him whenever he comes to her.Lulu teeters between two very clear class lines: the rich and the very poor, and we as the viewer want to consider her only one of those two categories. The ambiguity of Lulu’s class is interesting when you observe that she probably comes from a poor background, yet she acts like a spoiled lit tle rich girl throughout much of the film. Class ambiguity is also found in the Gilda story. Gilda emerges onto the screen as a game-changer for the main character, whom she sets out to destroy; a cheat gambler turned trusted casino manager named Johnny.Gilda represents the new rock wedged between Johnny and the casino owner Ballin, who doesn’t know that his new wife Gilda and Johnny were an item back in the United States before both coming separately to Buenos Aires. The social and class ambiguity that Gilda has here is that between her wealthy European husband, her ex-beau Johnny who came from next to no money (at the start of the film, Johnny nearly gets robbed of money he scams off of some sailors), and the local South American men she speaks to in Spanish and sings to in the very late hours of the night.She has an unexplained relationship to an older employee of the casino, whom she calls Uncle Pio and is very fond of. Gilda’s ambiguous class ties are no doubt lin ked with Rita/Gilda’s racial ambiguities as she can easily blend in and can clearly function, knowing the language, in the South American country alone from Johnny or Ballin. Sexual ambiguity is found with Lulu’s character, as she has the ability to cast spells on woman as well as she does with men, in particular one friend of Lulu’s, the Countess Geshwitz.Throughout the film when the Countess is present it is very obvious that she is being seduced by Lulu in such a way that it appears the Countess is acting alone, and the vision of Lulu calling on the Countess simply a mirage. The Countess appears more sincere, wanting to dance with Lulu at her wedding to Schon in such a way; it looks as if Lulu and the Countess were the bride and groom. The Countess also gives Lulu money and helps her with whatever Lulu asks when she is on the run. Both Lulu and Gilda’s character’s share an ambiguity on their origin.We, the viewer, have no sense of where these fe mmes fatales came from, and this fact has significance when breaking down the character of the femme fatale. Not having a past is a very large part of Gilda. In a few parts of the film, Gilda, Johnny, and Ballin talk about this idea that they three are beginning anew and that there is no past for Gilda and Johnny before Ballin came into their lives. They toast to the new group of three at dinner one night (referencing an earlier toast before Gilda entered the picture, between Johnny, Ballin, and Ballin’s sword-tipped cane) and this signifies the removal of any history of all three of them.In Lulu’s case, we never learn about her origins either, and with the chaos of the events during much of the film, we don’t seem to care about where she came from. The only key to a past we have of Lulu comes from her first patron, Schigolch. From that we may draw the conclusion that she may have come from the very low class up until she met Schon. But all of this is merely gue ssing, as nothing is really given away and Lulu remains ambiguous and only in the present tense. The persona of the femme fatale is that much like the Greek myth of Pandora’s box and the male anxiety that surrounds the dangerous woman.In fact, Laura Mulvey writes in Fetishism and Curiosity that, â€Å"Pandora is the prototype for the exquisite female android and, as a dangerous enchantress, she is also the prototype for the femme fatale† (Mulvey, p. 55-6). Pandora was made to by the Greek Gods to be brought to man in order to deliver all the evils of the world, which she held in a small box. She was told to never open the box, but was told this with the God’s knowing her curiosity would get the best of her, and she opened the box. Chaos escaped out of the box and the only thing that remained was hope.The femme fatale is a manufactured, cosmetic woman who is placed in a film noir to bring about destruction to the main male character while appearing to seduce him. The femme fatale may go even further and entice the audience, and in a few cases she succeeds- there is an admiration of this figure by both men and women and some to the degree of fetish- but the femme fatale can never live without meeting her demise. This happens in Pandora’s Box with Lulu’s fatal demise, as well as with Gilda in a metaphorical sense.In Gilda, after Ballin skips town abruptly, Johnny and Gilda get back together but only for a brief time until Johnny begins to get controlling. Gilda flees only to return for the famous striptease scene, and later Ballin returns again to avenge the pair for betraying him. When Ballin dies, Johnny and Gilda make up, and Gilda completely changes from this rebellious firebird we’ve watched for three-quarters of the film to a quaint and very quiet woman, ready to go home with Johnny. Here, the femme fatale dies in a figurative sense, as if Gilda were simply wearing a mask and Johnny tore it off her face to reveal he r true wholesome self.So why the abrupt endings in both films? It is possible the directors of both films wanted to keep the fantasy going for as long as possible, feeding into the male and female desire that is being explored on screen yet keep true to western convention and punish the â€Å"bad† while rewarding the â€Å"good. † It is also quite possible that the male dominated western world couldn’t handle the femme fatale winning the battle because as Mulvey observes, â€Å"within this aesthetic, masculine desire is caught in an oscillation between erotic obsession with the female body and fear of the castration that it signifies.It is, of course, the fear of castration, and subsequent disavowal of the woman’s body as castrated that Freud saw as the cause of male fetishism. † (Mulvey, p. 59) It is interesting to think the male dominated film industry at the time of these films may have been playing with an image of woman that could figuratively castrate men while visually pleasing them, creating what Mulvey says Freud observed as earl fetishism. The femme fatale must then represent an object that arouses sexual desire up until the point of castration, and then the femme fatale will always die in order for the male to survive. She was created to please and then destroy, just like Pandora.Works Cited 1) Mulvey, Laura. Fetishism and Curiosity. London: British Film Institute, Indiana University Press, 1996. Print. 2) Haskell, Molly. From Reverence to Rape: The Treatment of Women in the Movies. Canada. Holt, Rinehart, and Winston of Canada, 1973,1974. Print. 3) Dyer, Richard. â€Å"Resistance through charisma: Rita Hayworth and Gilda. † Women in Film Noir. Ed. E Ann Kaplan. London: British Film Institute, 1978, 1980. 91-100. Print.

Cultural Retention During The Middle Passage - 1319 Words

Delano Codner Professor Andrew Sachs Communication 300 18 October 2015 Cultural Retention in Jamaica Transport through the Middle Passage was a time of immense misery, suffering, and death for the millions of Africans who experienced it between the 1600s and 1800s. After arriving to Africa from Europe, slave traders violently kidnapped or bought African men, women, and children, for iron, cloths, and firearms. The Africans, most of whom were taken from Upper Guinea, Sierra Leone, Angola, the Gold Coast, which is now the nation of Ghana, and other West African countries knew nothing of their fate, leading some to commit suicide and starve themselves on the slave ships. Though there was a heavy loss of life during transport and upon arrival to the Americas and the Caribbean, at least 12 million Africans endured deadly conditions and began what is now called the African Diaspora. The Middle Passage had a great influence on many aspects of African culture due to the shared sense of pain and struggle that united the slaves and due to the ways they responded to oppression in the New Worl d. Conditions of the Middle Passage contributed to the carving out of new cultural systems in New World slave plantation societies and resistance to slavery led to a retention of African cultures in many Caribbean countries that is still evident today. In this paper, I wish to argue that cultural and linguistic similarities between the people of Ghana and the people of Jamaica can be attributedShow MoreRelated African Diaspora Essay1641 Words   |  7 Pagesargument, that of cultural transformation, is the argument I find to be most valid. John Thorntons analysis of this issue is extremely helpful. He addresses the no connections arguments in chapters 6, 7 and 8. He outlines the claims made by scholars Franklin Frazier, Stanley Elkins, Sidney Mintz and Richard Price. 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