Motivation Towards Becoming a Physician Assistant Personal Statement

Motivation Towards Becoming a Physician Assistant - Personal Statement Example On other occasions, I attend a postpartum mother in disseminated intravascular coagulation, a heart surgery that has gone bad, or a severe gastrointestinal bleeder. I handled different cases like these every day and it has not only taught me how to manage a situation in a stressful environment but also the importance of working together in a medical team. However, as soon as the physician ceases issuing orders, the interaction I had with a patient stops. Every patient then becomes just another sample and a name. Despite the satisfaction I derive from being a part of a recovery team, my role leaves me with questions about the patient's conditions and recovery, to which I receive no answers. This imbibed a feeling within me that I should do something more than just the mechanical duties. I wanted also to experience the humanitarian part of actually caring for a patient. Even though labs play a crucial role in diagnosis, I still feel that I am not contributing much towards the caring aspect in the performance of my duties as a health worker. Therefore, I started volunteering in the emergency and neonate intensive care unit where I worked.

Commodity chains Essay Example | Topics and Well Written Essays - 1250 words

Commodity chains - Essay Example Production and demand of shoes by consumers are the two main elements focused by companies in the industry. The production factors that include land, capital and labor influence the manufacturing of these commodities. Before globalization, many companies were unable to take advantage of cheaper investment and labor costs in other countries. Luckily, it has now become a norm for shoe companies to invest in other countries due to trade agreements and economic integration. The materials utilized in making of shoes poses a threat to the environment as production is characterized by use of energy, chemical, greenhouse gas discharge, water and solid waste. In the past ten years, however, the company has strived at utilizing environmental friendly alternatives to various resources that are incorporated in the production of shoes, such as cotton, leather, polyester and rubber. This has significantly reduced environmental implications of the materials (Michie 268). The production of footwear is handled by contract factories situated in various countries notably in Asia due to the available raw materials and low production cost. The production of shoes is conducted in two stages as the primary level involves the extraction of raw materials vital in the production process. A pair of shoes incorporates various materials including rubber, leather, plastics, adhesives and conventional cotton. In the production process, some of the raw materials come from close proximity with the firm or from other countries. This is because the raw materials including cotton and rubber are often imported from counties oversees. Leather is a product of farm animals, as rawhide is purchased by companies from farmers and is eventually transformed into leather that is vital in the production of shoes (Michie 268). Many companies own facilities in Indonesia, Thailand and Netherlands where the production of leather is

Entrepreneurship and UK's Economic Recovery and Growth Essay

Entrepreneurship and UK's Economic Recovery and Growth - Essay Example The private sector has been turned with the express aim of replacing the employment opportunities that have been surrendered in the public service due to job cuts and for the emphasis on starting up of businesses in order to create jobs rather than lose them. Entrepreneurship is indeed the answer to the United Kingdom’s economic recovery and growth. For many a decade, British sociologists have been puzzled by entrepreneurship values atavistic persistence and about the aspirations of the labour force. This is despite the decrease in return on investment of entrepreneurial role and the dwindling numbers of new entrepreneurs in the UK. Given the laissez-faire traditions of the United Kingdom as far as business is concerned, entrepreneurial ambition is easier to understand as residual of the culture of the by-gone economic era. Max Webber, who founded the entrepreneurship research, has laid claim to the fact that Puritan theology once encouraged all its believers to adopt the role of the entrepreneur and define anew the content of the role. As a result, European form of capitalism, including the United Kingdom’s, was given a stimulus which gave it the chance to move its focus the restraints of guild traditionalism, which had earlier frustrated the development of capitalism in other regions of the world. Webber was able to identify a significantly causal form of entrepreneurship since he linked a determinant that was not economic, theology, to entrepreneurial supply. Webber was also of the belief that huge bureaucratic organizations were the future model of business (Soe, 2009 p88). This particular view can be construed as anti-entrepreneurial since most of these mammoth organizations are not in need of many entrepreneurs. His supposition that the twentieth century’s victorious capitalism did not need the support of any kind of religious asceticism was also significant at the time. His work tried to imply that capitalism, which could be consider ed mature, was reliant, upon, signals from the market that could be relied upon to provide entrepreneurs needed from a materialistic idealized population. This would result in the provision of entrepreneurs by the market, which was in place to replace the role of the wider society in providing these entrepreneurs. Webber’s vision took the presumption that capitalism had matured enough and had moulded a crucial labour force where there was cultural enshrinement and legitimization of entrepreneurship (Soe, 2009 p65). In the wake of this shift in culture in the United Kingdom, entrepreneurship has become an elastic, fungible, and inexhaustible commodity of labour. He concluded that entrepreneurship had lost the connection it historically had to supply sources that were of a non-economic nature, and, therefore, had lost its significance causally. Schumpeter expressed the theory that entrepreneurship can be distinguished from economic innovation by treating entrepreneurship as one of the ways via which economic innovation can occur (Soe, 2009 p89). He supposed that professionally managed, large, and corporately organized firms had the impetus to replace owner-operated small firms as the industrial combination that was dominant in societies with advanced markets. However, management of giant corporations would take the duties of entrepreneurship. Professional managers thus would take over the tasks of entrepreneurs in plan execution, risk evaluation, and innovation planning. Karl Marx who was uninterested in

Economic development Coursework Example | Topics and Well Written Essays - 500 words - 1

Economic development - Coursework Example This reading focuses on the economic development in Africa through agricultural activities. This considers the use of proven agricultural techniques in order to increase the yields for food security purposes. The common challenges faced by African farmers entail soil exhaustion, water insufficiency and distorted economics caused undeveloped infrastructures. This implies that the poor soil fertility hinders the growth of some crops. This is because the local farmers engage in over farming and insufficient crop rotation. The existence of poor infrastructures contributes to high production costs because the farmer cannot access fertilizers and other inputs. Similarly, constant water scarcity due to periodic drought spells also affect Africa’s agricultural sector. This reading discusses the population explosion in developing nations, regardless of the favorable conditions. The author explores the population growth rate of Kenya in which it emerges that adults are free to give birth to any number of children. The people do not care about the availability of health care facilities, food or other aspects. The population explosion concept threatens humanity due to scramble for space, resources and economic activities. The Maragoli documentary depicts the struggles of women across the world since they cannot control birth rates. The underlining aspect of the documentary is that, in reality, population increases, but the amenities remain the same. The focus of this reading is the developmental challenge of political and criminal violence. It tackles the negative influences of the two aspects, such as destruction of property, death, displacement of people and economic stagnation among others. For instance, children brought up in hostile environments suffer from malnourishments and illiteracy. The millennium development goal (MDG) project has been unable to achieve its objectives of uplifting the living standards in

To Explore Feminist Counselling taking into critical consideration Essay

To Explore Feminist Counselling taking into critical consideration both the overarching theoretical ideas and practice skills - Essay Example As per (Chaplin,1999,pg.5 ) â€Å"Feminist counselling is profoundly social and polite as well as personal and individual†. Feminist counselling is about bringing in a social change where woman to could act, think and move freely. Feminist counselling has a different approach unlike traditional approach which move away from a notion that females are responsible for sexual assault. As commonly represented among feminist theorists, the first wave is often originated from liberal feminists† (Ross ,2010,pg .4 ) On the other hand , in this counselling there is an acknowledgement of power relation in society, acknowledgment of inappropriately oppressed clients and their strengths, healing women through their journey and encourage more equitable relationship with opposite sect in the society. In feminist counselling, women counsellors from various backgrounds, races, sexual orientation, abilities are involved to handle all kind of woman problems. In feminist counselling ,different kind of theories, techniques and approaches are used to attain best results. The feminist counselling has been a movement progressed with the support and ideas of many prominent figures. Some of the main contributors to feminist counselling are Judith Worell, Pam Remen, Sandra Bem , Laura Brown, Jean Baker Miller and many others. However, there was much criticism from other women regarding its concept and intention. In this movement there is no one particular founder but many women figures like Judith Worell, Pam Remen , Sandar Bem. Carol Gilligan, Carolyn Enns,Laura Brown,Lillian Comas-Diaz and Olivia Espin had a major role to play. So, the feminist counselling has been an invention of many women who were fighters and they wanted equality and freedom for women. The major focus of feminist counselling is to empower woman and make their life potential and contributing to the society. It focuses on cultural, political, social

History of the Phantom of the Opera Essay Example for Free

History of the Phantom of the Opera Essay In 1911, Gaston Leroux published Le FantÔme de l’Opera, the now famous book that gave birth to the legend of the Phantom.   Leroux had been fascinated by the mystery and design of the Paris Opera House.   As a theatre enthusiast, he had toured all the levels of the Opera House including a visit to the underground lake, cellar and hidden passageways. The mysterious events at the Paris Opera House which ignited Leroux ‘s interest began with Napoleon III’s call for a new opera house to be built in Paris in 1860, after he had survived an assassination attempt one evening when returning from the Opera.    The construction of the Opera House, faced many delays and construction stopped during the Franco Prussian War. After the war, the then unfinished Opera House was occupied by the working class who used it as a warehouse, observation post, communications center, military post and a powder store.   The cellar was once used as a torture chamber.   The new Paris Opera House was finally finished in 1875.   Finally, adding to the mystery, an unfortunate incident occurred in the Paris Opera House in 1896, a counter-weight of six and a half ton chandelier fell from the ceiling, killing a patron. Gaston Leroux always claimed that the ghost in the story was true, based on his investigations and tours of the Opera House.   He is quoted as saying: The Opera ghost really existed.   He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants, or the concierge.   No, he existed in flesh and blood, though he assumed all the outward characteristics of a real phantom, that is to say, of a ghost.   (Leroux, G, n.d) In 1925, began the chain of events that would give rise to the phenomenon of the Phantom.   Universal Studios made the first film of the book – the silent movie, Phantom of the Opera, which starred Lon Chaney Snr.   A second version of the film, this time with sound and color, starring Claude Raines was produced in 1943.   Followed by a Spanish version in 1962, and a 1974 version starring Herbert Lom and Heather Sears. The Phantom was produced twice on stage in 1935 and 1975, without much success. Then, in 1986, the legend of the Phantom of the Opera would become one of the most famous stories in the world, when Andrew Lloyd Weber’s Musical – Phantom of the Opera hit the stage in London.   In the 21 years since the Musical began, it has broken all theatre records and is now the longest running Broadway Show in History. The success of the musical spurred the movie industries interest again in 2004, with a moderately successful movie called â€Å"Phantom of the Opera† based on Andrew Lloyd Webber’s opera.   Critical acclaim for the movie has been varied. The Phantom has outlived his creator who died in April 1927 and has become iconic to the 20th and 21st Century.    History of the Hit Musical – The Phantom of the Opera   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Andrew Lloyd Webber’s musical The Phantom of the Opera opened in London’s Majesty Theatre on 9 October 1986.   In the original London Cast, â€Å"The Phantom† was played by Michael Crawford, and â€Å"Christine† by Sarah Brightman (then wife of Andrew Lloyd Webber). The original creative team of the Phantom was: Harold Prince  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Director Cameron Mackintosh  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Producer Andrew Lloyd Webber  Ã‚  Ã‚  Ã‚   Composer, Book, Co-orchestra Maria Bjà ¶rnson   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Production Designer    While Andrew Lloyd Webber had already been phenomenally successful with productions like Evita and the Sound of Music, â€Å"The Phantom† made stars of the actors and creative team members. The musical is still running 21 years later (2007) in London, Broadway (N.Y) and touring worldwide.   The Phantom has won over 50 awards including 3 Olivier, an Evening Standard Award, 7 Tony’s and 3 Outer Critic Circle Awards. At the time of writing, it is estimated that over 80 million people have seen the musical, with total ticket sales of over $3.2 billion.    Reviews of the Phantom of the Opera: The Daily Mirror’s first review of the Phantom of the Opera in 1986: It’s fantastic, fabulous and phantasmagorical! Its fantastic, fabulous and phantasmagorical! From the eerily flickering lights that greet you outside Her Majestys Theatre to the last, glorious curtain call, Andrew Lloyd Webbers long-awaited new musical, Phantom of the Opera, is a triumph. The special effects are among the most spectacular ever seen in the West End. The music is very bit as memorable as one would expect from the man who wrote Evita, Starlight Express and the rest. But most of all, the show belongs to Sarah Brightman and Michael Crawford, who soar and swoop through their hugely demanding roles like eagles. After all the well-publicised false starts and back-biting, Lloyd Webber has created a musical which deserves to be around well into the next decade. The story is based closely on the original novel of 1911 unlike most of the Phantom of the Opera films which have been made over the years. Michael Carwfords Phantom hides his hideously disfigured face by skulking in the stage caverns and pools deep beneath the Paris opera. His passion for music is the only thing which gives his life meaning until he becomes obsessed by Sarah Brightmans Christine a young opera singer whose beauty is matched only by the purity of her voice. He coaches her in secret while visiting dreadful catastrophes on anyone who refuses to advance her career. A hanged scene shifter is suddenly hideously dropped on to the stage in the middle of a performance. A vast crystal chandelier crashes on to the audience. As the phantom becomes more fiendish so Christine becomes increasingly mixed in her feelings towards him. A dreadful climax is fast approaching. The eerie sets of the unfolding drama great stages filled with mist and shining candles are interspersed with all the colour and spectacle of the operas being prepared and presented at the theatre. Despite all the ghost train theatricals the greatest thrills of the show come from Michael Crawford. He not only sings superbly but also captures the torment of the Phantom perfectly. If you only see one show this year, make sure it is this one! (Blake, J, 1986) In 2002, The Times wrote: Long-runners One answer is obvious: Maria Bjà ¶rnson’s stunning designs. The story, based on Gaston Leroux’s novel, begins on the Paris Opera’s stage in 1911. The building is dusty and neglected, the stage festooned with great swags of grey fabric. Old theatrical props are being auctioned off. Then, as the auctioneer announces the final lot — the opera’s enormous chandelier — the dustsheets fall away, the scene seems almost to dissolve and the theatre travels back in time to 1881 before our very eyes. It’s a vision of gaudy grandeur: gas lamps flicker, red velvet glows in the light and plaster nymphs and satyrs frolic on pillars. The opera is dogged by misfortunes that are rumoured to be the work of the Phantom, a malevolent figure who haunts the theatre. This sinister creature has become obsessed with Christine Daaà ©, a pretty chorus girl. But only cadaverous Madame Giry, the formidable ballet mistress, knows the terrible secret that lies behind the mask the Phantom wears. The musical’s best sequence occurs when the Phantom leads Christine through labyrinthine passages to his lair beyond a hidden lake underneath the building. As their boat glides over the misty water, surrounded by flickering candles, the effect is breathtaking. The problem is that this spectacle takes place early on and nothing afterwards can really compete. Harold Prince’s direction is slick and Gillian Lynne’s choreography effective, but Lloyd Webber’s music is often trite and dated. There’s little depth to any of the characters, either, yet the musical’s central relationship intrigues. For while Christine is Beauty to the Phantom’s Beast, she is haunted, not only by the opera ghost, but by the memory of her dead violinist father. This lends a pleasingly perverse Freudian twist to the erotic tension between the two characters, and the performers John Owen-Jones and Celia Graham make the most of it. Not only are they both excellent singers, they are fine actors too. Graham brings both passion and a childlike neediness to her portrayal of Christine. Owen-Jones uses his rich, powerful voice to great effect, crooning one moment, spitting bitterness the next. But the real star of the show is Bjà ¶rnson’s work. The designer died earlier this month, aged 53, and if Phantom has stood the test of time, it’s because of her. It is not the music audiences will remember; it’s the opera’s chandelier swinging crazily over the stalls, or a masked figure crouched menacingly over a gilded angel. And for those images alone, this show is still worth seeing. (Marlowe, S,   2002) The New York Times revisited the Phantom in 2005 and wrote this review: New York Times revisits the Phantom Old and Ghostly but Still a Hoot The paint on the balconies of the Majestic Theater looks chipped and the electronic drum machine sounds like something left over from a music video from the 1980s. But The Phantom of the Opera really shows its age (17 years and running) when the signature special effect is presented. Musicals have opened and closed in the time it takes that chandelier to lumber to the floor. Looking like one of Ed Woods teetering flying saucers, it crashes to the stage with the force of a shopping cart, the biggest, most extravagant anticlimax in town. Seventeen years later: Sandra Joseph and Hugh Panaro are now playing the roles of Christine and the Phantom. Under the fearsome shadow of Hugh Panaro in The Phantom of the Opera. But what do you expect? It was designed during the Reagan administration. For a top-of-the-line chandelier, you will have to wait for the $40 million production of Phantom opening in Las Vegas next spring. But if the technology of the Broadway show seems a bit quaint, the real news is that the rest of the production has grown old gracefully. Judging by sheer invention, emotional punch and onstage talent, the venerable blockbuster still beats out almost all of the whippersnappers currently on Broadway. Maria Bjornsons flamboyant gothic design and Harold Princes fantastical staging still have the gleam of finely polished professionalism. Led by the current Phantom (there have been 10 after Michael Crawford), Hugh Panaro, an up-and-coming musical theater star who finds the right mix of shock and schmaltz, most of the cast retains the freshness of opening night. That does not mean that Andrew Lloyd Webber haters, a large and very grumpy contingent, will be won over. Sorry, The Music of the Night hasnt changed. Nor has Charles Harts bumbling lyrics (You have brought me to that moment when words run dry). But for those sentimental souls looking for a popular entertainment to transport them to a baroque, romantic new world with a powerful smoke machine, Phantom, Im happy to report, still delivers the goods. Which is especially impressive, given that not long ago, the musical seemed to be on its last legs. By the fall of 2003, its peers Miss Saigon, Cats and Les MisÃÆ' ©rables had faded away. Ticket sales were down and rumors of its demise were common around Broadway. Flash-forward to today: crowds are lined up around the corner to see the show, which regularly sells out. Last week, 99 percent of the seats were filled. In January, barring a strike, disaster or nuclear holocaust, Phantom will eclipse Cats as the longest-running show in Broadway history. What happened? For one thing, it received a boost from Joel Schumachers film version of the musical, which opened in December. Even though it wasnt a smash hit, the movie introduced a new audience to the show (as evidenced by the large number of young girls at the Majestic) and reminded old ones how superior the musical is. In fact, the bombastic film may be the only thing that makes the musical look understated. Mr. Prince, who continues to oversee casting and reportedly checks up on the show every few months, deserves credit for tending to it with care. When the box office dipped, he never panicked and cast a former Backstreet Boy for a short-term boost in sales. Unlike so many long-running shows, Phantom has not resorted to stunt casting. Although dont be surprised if Mr. Panaro, who has been rumored on theater Web sites as the choice to star in Lestat, Elton Johns vampire musical heading to Broadway next season, becomes a household name someday. A young, charismatic actor, he brings a maniacal energy and Grand Guignol charm to the tortured Phantom. In his hands, the show concentrates more on the horror than the romance; but only once does he turn to the audience and growl which, considering how scenery chewing this role could be, counts as admirable restraint. Surrounding him is a solid supporting cast who deliver disciplined performances free of the lazy flourishes that sneak into a role when an actor becomes bored by repetition. As the diva Carlotta, Anne Runolfsson flashes a hundred-watt smile and shows off a richly textured voice in the opening song, Think of Me. Jeff Keller and George Lee Andrews, the only actors with major roles who have been with the company since the beginning, are marvelous as the nervous theater managers who made the mistake of buying the Paris Opera House. In 2001, Mr. Prince had them switch roles to keep things fresh. Sandra Joseph (who doesnt perform Wednesday evenings or Saturday matinees) is perfectly competent as Christine, although in her scenes with the Phantom she can come off as a bit bland. As her other love interest, Raoul, a terribly underwritten role, Tim Martin Gleason provides a strong voice and a stiff performance. In the romantic songs, ones mind easily wanders to the bitingly funny Lloyd Webber parody in Spamalot, which droned on and on until the stars looked tired of their own voices. Then again, the winking and eyebrow-raising in satirical musical comedies like Spamalot and The Producers are part of what makes the proudly melodramatic and unironic Phantom a nice change of pace. The musical may seem as if it is from a different time, but thats not necessarily a bad thing. (Zinoman, J, 2005) Personal Review:    The Broadway production of The Phantom of the Opera captures your attention right from the start and then you will be you will be drawn into a mysterious world of horror, romance and tragedy. Your journey keeps you spellbound through resonating songs sung by a handpicked cast, Maria Bjornsons magnificent sets and costumes to both delight and frighten you. Gaston Leroux’s gothic novel comes to life through Andrew Lloyd’s Webbers’ Phantom.   The musical beautifully combines a mixture of genres, performed through opera, leaving the audience entrapped in a tragic tale of love. Whether you are recovering from fright or floating on Phantoms’ songs – this musical will keep, you entertained, wistful and somewhat disturbed leaving you thoughtful as to who should triumph in the end. New fans and old are still being enraptured by the phenomenon of The Phantom.       Works Cited: Blake, J, (1986) It’s fantastic, fabulous and phantasmagorical!, The Daily Mirror U.K. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=38 Leroux, G. n.d. Quotation Phantom of the Opera Official Site. Retrieved 04/18/2007, http://www.thephantomoftheopera.com/poto/show/the_show_history_filmography.php Marlowe, S, (2002), Long Runners, The Times, UK.   Retrieved 04/18/2007 http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/article805339.ece Zinoman, J, (2005), New York Times revisits the Phantom: Old and Ghostly but Still a Hoot, The New York Times, USA.   Retrieved 04/18/2007 http://www.thephantomoftheopera.com/poto/news_mediareviews_story.php?id=216    Bibliography: Paris Opera House (n.d.), Music of the 19th Century Paris, Opera. Retrieved 04/18/2007 http://gallery.sjsu.edu/paris/music/opera/opera_house.html The Phantom of the Opera (n.d.), Official Website.   Retrieved 04/17/2007, http://www.thephantomoftheopera.com

Evolution of Primate Locomotion and Body Configuration

Evolution of Primate Locomotion and Body Configuration Humans, who have long since abandoned the trees as their principal lodging place, have only partially lost the physical adaptations for tree climbing; their hands, in particular, remain in the arboreal mold. Only the feet have lost their primitive prehensility in adapting to bipedal walking (Primate, 2009). There are many changes that occurred in locomotion and body configuration through primate evolution, many of which are easily seen, but some require some in depth research. This research paper will try to elaborate on the evolutionary modifications and some of the theories that have been proposed for these changes throughout our and other primate evolution. Grade I The Lemuroids Some of the greatest diversity of strepsirhines and lemurs are found on Madagascar, where more than 30 species are represented, belonging to five different families (Harrison, 2004). The Lemur ranges in size from as small as a single ounce to as much as twenty two pounds. At one time there were even larger lemurs that weighed as much as 240k g but are now extinct due to humans settling on Madagascar. Lemurs on the evolution timeline have not changed very much from their ancestors. This helps in the understanding of primate evolution because we can see primates of long ago first hand. One of the best-known members of the lemur family is the Ring-tailed Lemur. Like other lemurs the Ring-tailed lemur move quadrupedally in the trees and on the ground. Although their spine is shaped for walking quadrupedally, Ring-tailed lemurs are able to hop bipedally as well. According to Shapiro, there are a great deal of fossils from the earliest of primates. And although they were not directly ances tral to the lemurs, in terms of their adaptations they were probably most similar to the living lemurs. Shapiro goes on to say that this spine comparison is important because lemurs spine is a very different shape from the spine of a primate that keeps its back upright a lot. Compared to other primates like Chimpanzees, the lemurs spine looks very different. All monkeys or prosimians who walk on all fours most of the time have much longer spines, which are more flexible, and they have a harder time holding their back upright. Shapiro also states that Lemurs do a lot of different kinds of locomotor behaviors. They do walk quadrupedally, but theyre also very good at leaping. And in some of the lemurs, they do their leaping from a horizontal position. And their spine looks like that of a primate that walks quadrupedally. Other lemurs leap from a vertical position, and they spend almost all their time either clinging to the trunk of a tree vertically, and then they leap (Shapiro, 2001). Grade II The Tarsiers The Tarsier is a one of the smallest primates belonging to a single genus and they can be found on the islands of Southeast Asia. Tarsiers are often called the living fossils because of striking resemblance to fossils of primates from 40 million years ago. These nocturnal primates have some of the largest eyes of the primate family. Their legs are much longer than their forelimbs and they have a long and almost hairless tail. Tarsiers also have pads on the ends of their fingers which are a result of adaption for their specialized lifestyle as vertical clingers and leapers (Harrison, 2004). What makes Tarsiers unique among primates is that they have toilet claws on both their second and third toes, unlike the lemur which only have a toilet claw on their second toe. Strepsirhines and Tarsiers have in the past been grouped together because they still retain many primitive features that become obsolete in higher evolved primates. However, Tarsiers share a number of distinctive specializa tions with anthropoids (for example, the development of a bony partition that partially separates the eyeball from the chewing muscles behind, lack of a toothcomb, a dry hair-covered nose and undivided upper lip, a short snout with reduced facial whiskers, and the structure of the placenta) that suggest that they are more closely related to each other than either is to the strepsirhines (Harrison, 2004). Tarsier move somewhat like a small, furry frog, and can leap from small branch to small branch. In order to do this efficiently, the tibia and the fibula (the two lower leg bones) are fused about halfway down their length, giving the leg more strength. Tarsiers also have elongated ankle bones, which helps them leap, and which gives them their name, tarsier, a reference to the tarsal, or ankle, region.(Jurmain, 2008) The legs are much longer than their arms. These curious little nocturnal creatures dart around the undergrowth and low trees, keeping out the realm of larger animals unt il they want to leap across the ground to gather up prey. Tarsiers are carnivorous, eating insects and small lizards (Blashfield, 2009). If the Tarsier had not developed grasping and large eyes through evolution it would have most likely not survived in its present habitat. Grade III The Monkeys Monkeys can range in size from 5–6 in long (plus tail) to almost 3.3 ft long. Monkeys can also weigh anywhere from 4–5 ounces to as much as 77 lbs. Some are arboreal (living in trees) while others live on the savanna. Living in such different climates play part in how some Monkeys have different characteristics than others. Some characteristics are shared amongst most Monkeys. New World monkeys have prehensile tails while Old World monkeys have non-prehensile tails or no visible tail at all. Some monkeys have trichromatic color vision like humans do, others are dichromats or monochromats. Although both the New and Old World monkeys, like the apes, have forward facing eyes, the faces of Old World and New World monkeys look very different, though again, each group shares some features such as the types of noses, cheeks and rumps. One monkey that stands out in particular because of its evolutionary traits is the spider monkey. The Spider monkeys use several different types of locomotion. They can use quadrupedal for walking or running, suspensory locomotion when hanging, climbing or moving through the trees and bipedalism when leaping. Quadrupedal locomotion is usually observed if the monkey is on a stable relatively substrate free of obstacles. When they are using suspensory locomotion they may be brachiating (swinging with their arms from one branch to another while often maintaining a tail hold). The most commonly used pattern of body movement while in a feeding pattern is that of quadrupedal, climbing and suspensory locomotion. While traveling they mostly employ quadrupedal walking and running, suspensory locomotion and climbing. The part of the body that helps the spider monkey walk bipedally, almost acting as external spine is the single trait in particular that makes it stand out. Its griping tail. This arboreal monkey has a prehensile tail that is muscular and tactile and is used as an extra hand. The tail is sometimes longer than the body an d when stiffly up righted against their back act an external spine so that they can maintain a bipedal walk. Both the underside and tip of the tail are used for climbing and grasping and so the spider monkey uses it like a fifth hand. When swinging by the tail, the hands are free to gather food( Valley, 2009). In the picture to the right you can see how the spider monkeys tail can support the entire weight of the monkey. The Spider monkey may have evolved into this structure so that when eating high in the trees where there is no room for error in grip, it can still have a two handed grip. There is still much speculation as to why primates as they get larger in size start to lose their tails (Kavanagh, 1984). Grade IV The Apes and Man Apes and humans differ from all of the other primates in that they lack the external tail. Shapiro believes that as primates move into an upright position that that is when we began to lose our tails. When you lose the tail, the tail musculature gets incorporated into the pelvic floor, which can form a support for your organs. Because of the upright position, your organs will tend to move downward. This is where the support would come in on the pelvic floor. Among all the Primates, Man and Apes are the most intelligent. We are also more dependent for survival. Aside from the lack of the external tail, there are several internal body differences as well, such as the absence of an appendix that monkeys have. Humans and apes are both members of the Hominoidea family. Until recently, humans were separated into our own family. It was believed that we significantly different from the apes. However, in recent genetic studies and discoveries form the fossil record have shed light on that som e apes are more similar to humans than previously believed. Apes can be found all over the world. Orangutans and Gibbons reside in Southeast Asia. Gorillas, Bonobos, and Chimpanzees can only be found in Africa. According to fossils it is also believed that humans to originated in Africa. The gibbons are the smallest of the ape family. There are 12-13 species of gibbons. Because of their size however, they are referred to as the lesser apes. Gibbons only get to be around 3ft in height and range from 12-20 pounds. One of the key characteristics of the gibbons is their long arms. Their long arms, permanently curved fingers, and light bodies make them excellent brachiators. This structure makes moving around trees by swinging from branches ideal. This action is call suspensory climbing. Gibbons also can walk bipedally on top of branches but are better at swinging (ONeil ,2009). Orangutans are the rarest and largest of the Asian apes. They can grow in weight up to 200 pounds and grow as tall as 4.5 feet. This body structure prevents it from swingi ng like the gibbons so orangutans must walk on the ground. unlike most primates, orangutans have huge fleshy pads framing the upper part of their faces. Unlike the male orangutans, the female orangutans can move about in the trees thanks to a lighter structure. Not as swift as the gibbons, the female orangutans use a leaning form of brachiation. They carefully shift their body weight to bend a supporting branch and then grab the next one before the original one snaps under pressure. In this part of the evolutionary timeline you begin to notice that primates are coming out from the trees and roaming the flat surface as they grow in body size. Their bodies are becoming less adaptable to trees. The largest of the Ape family is the Gorilla. Gorillas have been known to have been as tall as 6 feet with an arm span of almost 10 feet. This long arm span and introduction of knuckle walking is where quadrupedal is starting to fade and bipedal is beginning for primates. However, gorillas are q uadrupedal because the small legs cannot support the massive structure so it is forced to walk on all fours. They walk on the soles of their feet but not on the palms of their hands. Gorillas bend their fingers so that they can support the head end of their bodies. The gorillas head is massive and heavy. With this comes huge muscles on not only the rest of the body but on the jaw. Like humans, gorillas are terrestrial. The more common resemblance to humans does not belong to gorillas however, but chimpanzees(Byrne, 2001). Chimpanzees grow to be around 5.5 feet in height and their average weight is about 100 pounds. Their arms get to span about 6 feet. Because of the evolution of the spine in primates, even though chimpanzees prefer to walk quadrupedally, they can get around bipedally. This is what makes the chimpanzee are closest cousin on the primate table (ONeil, 2009). While researching at The Los Angeles Zoo, I got see firsthand the transformation from quadrupedal to bipedal in an afternoon. While at the chimpanzee exhibit I got to see a close family eat and sleep together. When it came time for feeding, one of the males ran bipedally across a flat area. As I walked around viewing the other primates, viewing the Siamangs and their griping abilities, the white sifakas and how it has arching spine when it walks about, and the gorillas and how when they look out at the onlookers, it really does feel like they are looking back at you with some kind of interest. You begin to believe more in Darwins theory of evolution when you see such striking patterns in structure to yourself. Although there are significant differences between humans and non human primates, the distance between primates begin to get closer as we humans begin to look deeper into primates evolution. The way we walk, grab, even just stand can all be traced through the bone structure of our non human cousins. As researchers get closer to discovering links between humans and non human primates and filling the gaps of origin information, the gap between ape and man becomes dramatically smaller than once thought. References Blashfield, J. F. (2009). Tarsiers Locomotion. Retrieved September 29, 2009, From Jrank.org Website: http://science.jrank.org/pages/6695/Tarsiers.html Byrne, R. W., Dunbar, R. I.M., McGrew, W. C., Pusey, A. E., Snowdon, C. T., Stanford, C. B., et al. (2001). Tree of Origin: What Primate Behavior Can Tell Us about Human Social Evolution. Massachusetts: Harvard University Press. Figure 1. Spider Monkey (2009). Source: http://www.primates.com/monkeys/spidermonkey.jpg Harrison, T. (2004). Primates, Retrieved September 29, 2009, from [emailprotected] Hill, Website: http://www.accessscience.com Jurmain, R., Kilgore, L., Trevathan, W., Ciochon, R. L., (2008). Introduction To Physical Anthropology. California: Thomson Higher Education Kavanagh, M., Morris, D. (1984). A Complete Guide To Monkeys, Apes And Other Primates. New York: The Viking Press ONeil, D. (2009) Apes. Retrieved September 30, 2009, from Palomar.edu Website: http://anthro.palomar.edu/primate/prim_7.htm Primate. (2009). Encyclopedia Britannica. Retrieved September 28, 2009, from Encyclopedia Britannica Online. Website: http://www.britannica.com/EBchecked/topic/476264/primate Shapiro, L. (2001) Primate Locomotion. Retrieved September 29, 2009, from PBS.org Website: http://www.pbs.org/wgbh/evolution/library/07/3/text_pop/l_073_08.html Valley Zoo School (2009). Spider Monkey Retrieved September 30, 2009 Website: http://www.zooschool.ecsd.net/spider%20monkey.htm