Ca Twiste a Popenguine :: essays research papers

Ca Twiste a Popenguine It was hard to find symbolism in this film since their culture was very colonialized. It seemed as though the culture was so European/American that the culture was gone. Even though it was hard, I was still able to find some cultural symbolisms. The different groups of friends were completely different from each other. There was the group that wanted to be popular and get all the girls with a party, and there was a group that had all the music records that the other needed. That was the group that was trying to make money as well. Both parties also wanted girls. The fact that these two groups had seemingly presented themselves as gangs shows how much they wanted to be apart from each other. The gangs symbolized the separatism of the youth. The catch to their separateness is that they really needed one another to get what they wanted. The one group needed music and the other group needed money. They ended up making a deal with each other, which was conspired by Bacc. The fact that they were able to come together like that symbolized that they really should be together. Both of the groups had one very main thing in common. They both wanted girls. It seemed as though the girls in this film symbolized power. Girls made them feel better about themselves. Girls made them powerful. Another sign of symbolism in this film was the pictures. It seemed as though the pictures inspired these people. They wanted to be just like the people in the pictures. The pictures symbolized the colonizer. The only colonizer in this film was the

Film “Gothika” Essay

In the 2003 film â€Å"Gothika† Halle Berry plays a psychiatrist who loses her memory and wakes up in an insane asylum, the same one where she had previously been a staff physician. She is confused, disoriented and has lost time. Pete, a psychiatrist played by Robert Downey Jr. , is the doctor assigned to her care and Doug, her husband, had been the doctor in charge of the facility. Miranda, Berry’s character, eventually learns that her husband has been killed and that she has been arrested and charged with his murder (Kassovitz, 2003). From the very beginning, the movie pretends to psychology right. But unfortunately, it is largely just pretending. The first problem in the movie occurs with the description of Miranda’s psychotic break and the actions leading to it. The doctors caring for Miranda argue that her mental illness resulted from her accident, not the other way around. At first, they simply explain her illness as a traumatic amnesia brought on by the horror of murdering her husband. Or, they allege, the amnesia might be related to the head injury from the car accident and unrelated to her mental condition. Her doctor also asks her about drugs that she may have taken to cause the violence (killing her husband) or her amnesia. While it is appropriate to be concerned about a drug-related cause for amnesia (Merck, 2007) it is unreasonable to believe that those involved in her treatment would not have conducted blood tests to detect drug use prior to the questioning. The movie tells us Miranda has been out of touch with her mind for three days when she awakens in the asylum, so the mere idea that they would not have conducted blood tests and have the results back by then seems implausible. The next major mistake the movie makes in its portrayal of Miranda’s mental illness and treatment is that Pete is assigned to do her evaluation. While it can be argued that in some areas he might be the only doctor available, as one is dead and another accused of the murder, the story came before the reality of treatment standards in the movie. It seems as though Berry’s character may even recognize this as she tries to get a handle on her relationship with Pete, asking him if they had an affair or wanted to have one (Kassovitz, 2003). This immediately calls into question the ethics of the doctor and the accuracy of any judgment he makes regarding her condition. The film then tries to confuse the viewer with the question of whether Miranda is suffering some sort of psychotic break ro is truly being haunted by ghosts. From a diagnostic perspective, Miranda’s symptoms include the fugue when she was admitted, her loss of memory, and eventually, though she is loathe to admit this to her doctor, seeing and hearing her â€Å"ghost†. (Kassovitz, 2003). The film even goes so far as to have Miranda address her hallucination, saying â€Å": I am a rational person. I believe in science. I don’t believe in the paranormal, and I don’t believe in ghosts. But if you are the ghost of Rachel Parsons, can you let me out of this cell? † (Kassovitz, 2003). The professionals, upon hearing her tale of seeing ghosts, move right from a diagnosis of traumatic amnesia to a diagnosis of schizophrenia, skipping right part delusional. This is not accurate in the least. First, there is Miranda’s statement regarding her interaction with the ghost. She is still logical enough to know that interaction with a ghost is unreasonable and generally accepted as a mental dysfunction. â€Å"Schizophrenia is characterized by psychosis (loss of contact with reality), hallucinations (false perceptions), delusions (false beliefs), disorganized speech and behavior, flattened affect (restricted range of emotions), cognitive deficits (impaired reasoning and problem solving), and occupational and social dysfunction. † (Merck, 2007) If she were schizophrenic, it is unlikely that she would have retained her logical mind enough to realize that she was being illogical. The fact that her educated mind could still identify her behaviors as irrational is one of the clearest indicators that she was not suffering from the cognitive deficits associated with schizophrenia. Next, there is the appearance of the ghost herself. If Miranda’s delusions had been limited to fleeting images or auditory hallucinations, her symptoms would have been consistent with schizophrenia. However, the presence of an identifiable visual hallucination makes the illness more in line with the symptoms of delusional disorders than schizophrenia (Allpsych, 2007). â€Å"A delusion is a belief that is clearly false and that indicates an abnormality in the affected person’s content of thought. The false belief is not accounted for by the person’s cultural or religious background or his or her level of intelligence. The key feature of a delusion is the degree to which the person is convinced that the belief is true. A person with a delusion will hold firmly to the belief regardless of evidence to the contrary. Delusions can be difficult to distinguish from overvalued ideas, which are unreasonable ideas that a person holds, but the affected person has at least some level of doubt as to its truthfulness. A person with a delusion is absolutely convinced that the delusion is real. † (Mind Disorders, 2007). The simple truth is that if Miranda had been suffering from either of these mental disorders, her symptoms would have 1) been more extreme in the case of schizophrenia or 2) come with a total belief in her delusion. She would no longer question whether ghosts were real. The final implied diagnosis of the film is that Miranda has been suffering abuse at the hands of a sadistic and manipulative serial killer who also happens to be her husband. Once the ghost leads Miranda to her husband’s torture and abuse chamber, the viewer is left with the impression that Miranda’s mental illness including the delusion of seeing the ghost was her mind’s way of dealing with the threat from her husband and becoming strong enough to deal with his abuse. This is complete and utter Hollywood tripe. While it is possible for battered woman to lose control and kill her husband in a situation where she fears for her life, Miranda’s symptoms are completely out of sync with the typical description of BWS (McElroy, 2002). Most likely, this was an attempt by the writer to draw sympathy for the character that did, in fact, kill her husband. If the movie had intended to portray mental illness in an appropriate fashion, it simply would have to stop with the obvious ghost story. The problem was that the writer wanted to create a story in which a ghost was used to explain away mental illness or a mental illness was sued to explain away an encounter with the supernatural. Either way, they failed. By showing the viewer the ghost, the viewer does not question Miranda’s sanity. After all, we’ve seen it too. To be more in tune with the diagnosis they were most likely going for, schizophrenia, the movie should have relied on an unseen presence and given perfectly reasonable explanations for things that happen, i. e. show Pete leaving her cell unlocked so that she an escape and conduct her investigation. As it is, the film fails as a ghost story and fails as a psychological thriller. Had it been done properly, it could have succeeded at both. WORKS CITED â€Å"Delusions† , November 18, 2007. Kassovitz, Mathieu (Director) and Sebastian Guitierrez (Writer). â€Å"Gothika†. USA:Columbia Pictures, 2003. McElroy, Wendy. â€Å"Battered Women’s Syndrome: Science or Sham? † The Independent Institute, October 28, 2002< http://www. independent. org/aboutus/person_detail. asp? id=488> November 18, 2007. â€Å"Prognosis and Treatment†, November 19, 2007. Psychotic Disorders , < http://allpsych. com/disorders/psychotic/index. html>, November 18, 2007.

Novel and Book Thief

Power of LanguageOne option: In The Book Thief, words have the power to both destroy and save lives. Examine how characters in the novel (for example, Liesel, Max, Ilsa Hermann, Hitler, Rosa and/or Hans) use words to destroy and to save. What are some of the effects of their words? Discuss at least two characters’ relationships with the power of language.Another option: The Book Thief is, on one level, the story of Liesel Meminger’s relationship with books. At the beginning of Zusak’s novel, Death advises the reader, â€Å"All told, she owned fourteen books, but she saw her story as being made up predominantly of ten of them. Of those ten, six were stolen, one showed up at the kitchen table, two were made for her by a hidden Jew, and one was delivered by a soft, yellow-dressed afternoon. When she came to write her story, she would wonder exactly when the books and the words started to mean not just something, but everything† (30).Near the end of the novel, Liesel confesses her conflicting emotions about the major’s wife’s library, â€Å"I love this place and hate it, because it is full of words† (522). Discuss at least two of Liesel’s books, and the significance of those books to her developing appreciation of the power of language.Power of language – Journal entries that might inspire you 1/15, 1/19Liesel’s Books (Books # 1-4) 1/22, 1/25Book # 5 2/3, 2/4Books #6 and 7 2/5, 2/8Book #8 2/11, 2/16Books # 9-11 2/25, 2/26Books # 12-13Your notes (your ideas for essay, Book Thief pages, Book Thief quotations)Utopia/dystopia A utopia is an imaginary place, situated in a particular time and space, that is socially, morally, and politically ideal. A dystopia is an imaginary place, also situated in a particular time or place, but which is socially, morally, and politically terrible, a state in which people are dehumanized, oppressed, terrorized, or completely dominated. While these are imaginary places , all societies display some characteristics of both. Find and discuss utopian and dystopian moments throughout The Book Thief. Is there a connection between the two? Are they dependent upon one another?Utopia/dystopia – Journal entries that might inspire you 1/22, 1/25Perfect Place – Book Thief characters 2/19, 2/22Two charactersYour notes (your ideas for essay, Book Thief pages, Book Thief quotations)Upstander triangle Each character in The Book Thief played a role in World War II Nazi Germany. Some were victims, others were perpetrators of evil and injustice, and many others (who chose to take no action) were bystanders. Among them, however, were rescuers or upstanders who acted against the evil and injustice they saw around them. Describe the roles that characters in The Book Thief fit into, and how they came to play each role. What qualities did the characters possess to fit into these roles? Did some characters play more than one role at a time? Did they change r oles? Why? What inspired or invited or compelled characters to move from bystanders to upstanders/rescuers?Upstander triangle – Journal entries that might inspire you 1/28, 1/29 â€Å"What Role Do You Choose?† triangle 2/19, 2/22Two characters 2/19, 2/22Rescuer biography (on assigned rescuer)Your notes (your ideas for essay, Book Thief pages, Book Thief quotations)Character analysis Compare and contrast two characters in The Book Thief. Focus on personality traits, where the characters fit in the upstander triangle, whether they perceive their world as more utopian or dystopian, and their perspectives on the power of language. How are these characters important to a core message (theme) that Zusak expresses through his novel?Character analysis – Journal entries that might inspire you 1/13, 1/14Hans v. Rosa Venn diagram 1/13, 1/14Frau Diller and Rudy Steiner Notes Homework 1/22, 1/25Perfect Place – Book Thief characters 1/28, 1/29 â€Å"What Role Do You C hoose?† triangle 2/19, 2/22Two charactersYour notes (your ideas for essay, Book Thief pages, Book Thief quotations) Novel and Book Thief Power of LanguageOne option: In The Book Thief, words have the power to both destroy and save lives. Examine how characters in the novel (for example, Liesel, Max, Ilsa Hermann, Hitler, Rosa and/or Hans) use words to destroy and to save. What are some of the effects of their words? Discuss at least two characters’ relationships with the power of language.Another option: The Book Thief is, on one level, the story of Liesel Meminger’s relationship with books. At the beginning of Zusak’s novel, Death advises the reader, â€Å"All told, she owned fourteen books, but she saw her story as being made up predominantly of ten of them. Of those ten, six were stolen, one showed up at the kitchen table, two were made for her by a hidden Jew, and one was delivered by a soft, yellow-dressed afternoon. When she came to write her story, she would wonder exactly when the books and the words started to mean not just something, but everything† (30). Near the end of the novel , Liesel confesses her conflicting emotions about the major’s wife’s library, â€Å"I love this place and hate it, because it is full of words† (522). Discuss at least two of Liesel’s books, and the significance of those books to her developing appreciation of the power of language.Power of language – Journal entries that might inspire you 1/15, 1/19Liesel’s Books (Books # 1-4) 1/22, 1/25Book # 5 2/3, 2/4Books #6 and 7 2/5, 2/8Book #8 2/11, 2/16Books # 9-11 2/25, 2/26Books # 12-13Your notes (your ideas for essay, Book Thief pages, Book Thief quotations)Utopia/dystopiaA utopia is an imaginary place, situated in a particular time and space, that is socially, morally, and politically ideal. A dystopia is an imaginary place, also situated in a particular time or place, but which is socially, morally, and politically terrible, a state in which people are dehumanized, oppressed, terrorized, or completely dominated. While these are imaginary places , all societies display some characteristics of both. Find and discuss utopian and dystopian moments throughout The Book Thief. Is there a connection between the two? Are they dependent upon one another?Utopia/dystopia – Journal entries that might inspire you 1/22, 1/25Perfect Place – Book Thief characters 2/19, 2/22Two charactersYour notes (your ideas for essay, Book Thief pages, Book Thief quotations)Upstander triangleEach character in The Book Thief played a role in World War II Nazi Germany. Some were victims, others were perpetrators of evil and injustice, and many others (who chose to take no action) were bystanders. Among them, however, were rescuers or upstanders who acted against the evil and injustice they saw around them. Describe the roles that characters in The Book Thief fit into, and how they came to play each role. What qualities did the characters possess to fit into these roles? Did some characters play more than one role at a time? Did they change ro les? Why? What inspired or invited or compelled characters to move from bystanders to upstanders/rescuers?Upstander triangle – Journal entries that might inspire you 1/28, 1/29 â€Å"What Role Do You Choose?† triangle 2/19, 2/22Two characters 2/19, 2/22Rescuer biography (on assigned rescuer)Your notes (your ideas for essay, Book Thief pages, Book Thief quotations)Character analysisCompare and contrast two characters in The Book Thief. Focus on personality traits, where the characters fit in the upstander triangle, whether they perceive their world as more utopian or dystopian, and their perspectives on the power of language. How are these characters important to a core message (theme) that Zusak expresses through his novel?Character analysis – Journal entries that might inspire you 1/13, 1/14Hans v. Rosa Venn diagram 1/13, 1/14Frau Diller and Rudy Steiner Notes Homework 1/22, 1/25Perfect Place – Book Thief characters 1/28, 1/29 â€Å"What Role Do You Cho ose?† triangle 2/19, 2/22Two charactersYour notes (your ideas for essay, Book Thief pages, Book Thief quotations)

The Difference Between Molality and Molarity

The Difference Between Molality and Molarity If you pick up a stock solution from a shelf in the lab and its 0.1 m HCl, do you know if thats a 0.1 molal solution or a 0.1 molar solution, or if there is even a difference? Understanding  molality and  molarity is important in chemistry because these units are among the most commonly used to describe solution concentration. What m and M Mean in Chemistry Both m and M are units of the concentration of a chemical solution. The lowercase m indicates molality, which is calculated using moles of solute per kilograms of solvent. A solution using these units is called a molal solution (e.g., 0.1 m NaOH is a 0.1 molal solution of sodium hydroxide). Uppercase M is molarity, which is moles of solute per liter of solution (not solvent). A solution using this unit is termed  a molar solution (e.g., 0.1 M NaCl is a 0.1 molar solution of sodium chloride). Formulas for Molality and Molarity Molality (m) moles solute / kilograms solventThe units of molality are mol/kg. Molarity (M) moles solute / liters solutionThe units of molarity are mol/L. When m and M Are Almost the Same If your solvent is water at room temperature, m and M can be roughly the same, so if an exact concentration doesnt matter, you can use either solution. The values are closest to each other when the amount of solute is small because molality is for kilograms of solvent, while molarity takes into account the volume of the entire solution. So, if the solute takes up a lot of volume in a solution, m and M wont be as comparable. This brings up a common mistake people make when preparing molar solutions. Its important to dilute a molar solution to the correct volume rather than add a volume of solvent. For example, if youre making 1 liter of a 1 M NaCl solution, you would first measure one mole of salt, add it to a beaker or volumetric flask, and then dilute the salt with water to reach the 1-liter mark. It is incorrect to mix one mole of salt and one liter of water. Molality and molarity are not interchangeable at high solute concentrations, in situations where the temperature changes, or when the solvent is not water. When to Use One Over the Other Molarity is more common because most solutions are made by measuring solutes by mass and then diluting a solution to the desired concentration with a liquid solvent. For typical lab use, its easy to make and use a molar concentration. Use molarity for dilute aqueous solutions at a constant temperature. Molality is used when the solute and solvent interact with each other, when the temperature of the solution will change, when the solution is concentrated, or for a nonaqueous solution. You would also use molality rather than molarity when youre calculating boiling point, boiling point elevation, melting point, or freezing point depression or working with other colligative properties of matter. Learn More Now that you understand what molarity and molality are, learn how to calculate them and how to use concentration to determine mass, moles, or volume of the components of a solution.

20 Tips for Freelance Writers

20 Tips for Freelance Writers 20 Tips for Freelance Writers 20 Tips for Freelance Writers By Mark Nichol Whether you’re moonlighting as a writer or it’s your sole source of income, you must take it seriously in all aspects, from workplace organization to work habits to professional development to marketing to client relations. Here’s some advice about succeeding as a professional writer: 1. Establish a professional work environment. Even if you don’t have a dedicated home office, set up your workspace to maximize your comfort and productivity, with equipment, supplies, and reference works well organized and handy. Impress on family and friends the importance of respecting your space and your time. (Working at home is a much more familiar concept than it used to be, but some people still don’t consider freelancing a real job). 2. Research reasonable compensation for your particular market niche or for the media in which you want to be published, and ask for it. If you’re just starting out, negotiate at the low end of the range. When you’ve reached a certain level of success, expect high-end compensation. Don’t waste your time on projects that pay little or nothing unless the topic or the client has some special meaning for you. Accepting meager pay depresses the freelance industry. But be realistic about your monetary worth in a highly competitive business. 3. Educate yourself about marketing, negotiation, and general communication skills to help build confidence when it comes time to submitting queries, discussing compensation, and corresponding during and between projects. 4. Develop the discipline to do the hardest or least pleasant tasks first and save the best for last. You may have a hard time getting started each day, but you’ll be glad you got the difficult work out of the way, and the day will only get better. 5. If you devote a certain amount of time to working each day but you temporarily have too little work to fill it, spend the rest of the time researching your next clients or projects and writing and submitting queries. 6. Treat all your correspondence as if it were an assignment: Write impeccably, with no content or factual errors. Double-check personal names, job titles, and company names before you type them. 7. Keep meticulous records when tracking submissions and responses, scheduling assignment timelines, and updating contact information. 8. Advertise using strategies old and new, from flyers and newspaper ads to online marketing and your own professional Web site. But don’t wait for work to come to you. In addition to researching national or international companies, organizations, and publications you’d like to write for, investigate local opportunities such as community-based nonprofit organizations. 9. Build relationships with other freelance writers. Establish client-exchange agreements: If you’re too busy to accept a project, you’ll recommend someone else; in return, they’ll do the same for you. Don’t treat colleagues as an enemy you have to keep client contacts or trade secrets from. 10. Join professional organizations and attend workshop and conferences when you can. Research the writing business, and keep up on emerging opportunities and trends. 11. Don’t miss deadlines. Don’t miss deadlines. Don’t miss deadlines. Did I mention that you shouldn’t miss deadlines? 12. If you’re going to miss a deadline, let your client know as soon as possible. Don’t offer a reason, don’t make excuses, don’t ask for forgiveness. Simply request the shortest possible extension you can manage, promise that the project will be in your client’s email in-box or on their desk first thing in the morning on the new deadline date, and deliver on that promise. When you submit the project, ask for a chance to redeem yourself a new project you will complete for a reduced or waived fee and get it in early. 13. Expect and accept revisions, formatting alterations, scheduling changes, and anything else you can imagine (and some things you can’t). If you can’t be flexible about such things, you’re in the wrong line of work. 14. Be firm and insistent about being paid on time. Clients may assume that your freelance work is a sideline, not the way you make a living, and may not appreciate the importance of paying you punctually. Correct this misapprehension in no uncertain terms. If the issue strains your working relationship, that’s a sign that a relationship with this client is not a good investment of your time and energy. 15. Ask satisfied clients to serve as references or write brief referral notes. Keep reference contact information and referrals in a single Microsoft Word document so you can copy and paste them into a new document or into the body of an email to a client as needed. 16. Once you’ve developed a successful track record, consider presenting yourself as an authority on freelance writing. (If you’re successful, you must be doing it right.) Look for opportunities to speak about your work before community groups, teach classes and workshops, and write about the business of writing. These activities will look good on your resume and may result in acquisition of new clients. 17. Prioritize your clients: When you find projects that are engaging and rewarding, knock yourself out keeping that client happy. If another client asks for numerous rewrites, is always slow in responding, or won’t give you a â€Å"raise† after several projects or when you decide to raise your rates for cost-of-living increases, jettison that client to make room for a better relationship. Keeping that client in hopes that things will get better is a counterproductive strain on your business. 18. Communicate with your clients: If you’re unsure about assignment procedures, restate them in reply in your own words and ask for confirmation that you understand directions. Help clients understand their own work: Some companies and organizations assign project management to people with insufficient aptitude or time for managing projects successfully. Tactfully suggest more efficient procedures or more effective design, presentation, or organization, regardless of the person’s apparent level of expertise. 19. Ask what else you can do to help with the project. Does the client need a source list for fact-checking? Would they like a sidebar, or links to pertinent Web sites? Are they unsure about whether to present the product as a brochure or a newsletter, or how many parts to divide it into? Clients have problems. Offer to solve them or, at the very least, help this project go smoothly as much as possible so that they can attend to problem projects. 20. Do everything in your power to build an association in clients’ minds between you and successful, high-quality projects. Think of, and market, yourself as a problem solver. Build a relationship so that when clients need help, they think of you. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Freelance Writing category, check our popular posts, or choose a related post below:5 Uses of InfinitivesWhat is Dative Case?The "Pied" in The Pied Piper

Catfish and Mandala Essay Example | Topics and Well Written Essays - 1000 words

Catfish and Mandala - Essay Example His identity as a Viet-kieu - a Vietnamese who now lives in a foreign land like the United States (Martin, 2000), had brought him as much challenge as he had ever thought of. At a certain point in someone else's life, there comes a point when, even if the situation tells you that you have been the luckiest man in the world, there is only emptiness felt. Just like Andrew Pham who had been a successful engineer in California, found nothing but emptiness alone even as, according to the norms of the society, he had been victorious against the battle of the foreign land he used to know twenty years ago. When his post-operated transsexual sister had committed suicide, Pham found it hard to have peace of mind. He blames himself for his sister's untimely death. Thus, eager to find out what brought his sister to commit such unforgivable act, he went back to his hometown to figure out his real identity as a Vietnamese-American who feels out-of-place in a country he had lived for over twenty years already yet unwelcome due to their race. Catfish and Mandala is a book that is a combination of a travelogue, a memoir, and a self-discovery help book in one. The plot of the story varies from Pham's journey around the Pacific Rim, through Japan and finally through his homeland, covering the stretch of the American-built Highway 1 from Ho Chi Minh City (HCMC) to Hanoi, and the details of his family's struggles when hey first stepped onto the foreign land of the United States. Pham was able to illustrate his family's struggle against racism and the language barrier for which they had felt how it was being a stranger lost in a land you know nothing about. There was at the same time enough evidences shown in the story regarding the confusions that had them torn between two extremely different customs - the American culture and the Vietnamese culture - that are essential in recognizing one's own identity. ("Paperbacks") The moment Pham had set foot on the Vietnam land, various thoughts of his childhood occurred to him. Although they had been bleak, Pham could remember how his childhood had shaped his future that he holds in his hands at present. Now, bicycling and looking around the country where he had been born, Pham could not even at the least feel sorry for the people who had remained in the country after the fall of Saigon. He felt hardly against their situation and blamed such luck on their capitalist society. Pham, instead of feeling apologetic about the condition of his fellow Vietnamese of the lingering poverty that they still have after a long time, he felt nothing but to blame them for what they have become. But his quest to finding his own identity had made him feel good, but at the same time bad. He had the best privileges of being recognized as a Viet-kieu. On the other hand, he had worst experiences for being mistaken for being a Japanese or a Korean. (Martin, 2000) Pham had been able to meet different kinds of people. Some of whom had been like his old friends and some were total strangers to him. Every single conversation with them was like bits and pieces of puzzles that automatically bring itself in its place that makes up his identity. Pham needs no longer find where to put each piece into the right place because it involuntarily puts itself to where

Attention Deficit Hyperactivity Disorder Research Paper

Attention Deficit Hyperactivity Disorder - Research Paper Example There are unique behaviors associated with ADHD. Some of these include difficulties in maintaining focus, becoming easily distracted, a child being easily bored, difficulties in becoming organized and completing a specific task, daydreaming etc. Research indicates that ferritin is one of the major contributors to these behavioral problems that are reported by both the teachers and parents. Iron contributes largely towards brain development. As a result, ADHD has been potentially linked with ID for different reasons. First, it is a disorder that appears during early childhood periods. Second, studies have linked ADHD to dopaminergic dysfunction. Nevertheless, iron supplements were found to have been attenuating ADHD symptoms in children with ID. There have been different opinions of if oral contraceptives affect bone density in reproductive-aged women. Research was conducted and a conclusion was reached that oral contraceptives have no change on the bone density therefore erasing fears that these drugs might have been causing ADHD in children In conclusion, iron is an important component in brain development of a child. In addition, it contributes heavily to the formation of body neurons. As a result, expectant mothers are expected to take a balanced diet in order to supply the fetus with enough iron.