Masculinity As A Construction Of Identity

Masculinity As A Construction Of Identity This thesis seeks to investigate the understanding of masculinity as a construction of identity. This study explores developing identities, and how this may relate to wider constructions of masculinity in the media, with particular reference to lifestyle magazines aimed at men. Methodologies This Study focuses on For Him Magazine known now as FHM, one of the leading mens magazines that is published in 27 countries. The methodology that will be used to carry out this study will be a content analysis. Through a content analysis, 6 issues of FHM in from the years 2005 through to 2010 will be examined, in order to examine if there has been any shifts in the portrayal of men or what is meant by the term masculinity. Bibliography from year two Benwell Bethan, (2003) Masculinity and mens lifestyle magazines: chapter 6; Published by Wiley-Blackwell) Bignell, Jonathan (1997), Media Semiotics, an introduction. Manchester: Manchester University Press Edwards Tim, (2006) Cultures of Masculinity; men masculinity and feminism, chapter 1 (Routledge) Jackson Peter, Stevenson Nick, Brooks Kate (2001) making sense of mens magazines; chapter four (Wiley-Blackwell). Galician Mary-Lou, L. Merskin Debra (2007) Critical thinking about sex, love and romance in mass media: media; chapter three (Routledge) Gaunlett David, (2002) Media, gender, and identity: an introduction, Mens magazines and modern male identities; chapter eight (Routledge) Gunter Barrie (2002) Media sex: what are the issues? chapter 6 (Published by Lawrence Erlbaum Associates) Itzin Catherine, Newman Janet (1995) Gender, culture and organizational change: putting theory into practice chapter fourteen (Routledge) Litosseliti Lia, Sunderland Jane (2002) Gender, Identity and discourse analysis. (John Benjamins Publishing Company) The Construction of the Male Identity in the UK Mens Lifestyle Magazine FHM (DRAFT) INTRODUCTION: THESIS OUTLINE This thesis seeks to explore how masculinity is represented and constructed within the pages of FHM (UK) magazine of the modern male identity. Through a content analysis of the branding of masculinity in the UKs leading mans magazine, the study explores the trends and the portrayal of men but also the types of products advertised in mens magazines. It will examine the rationale of FHM in constructing the portrayals of men and masculinity and the role that FHM plays in shaping attitudes about masculinity. The central research question is: Exactly what ideas does FHM generate or convey about masculinity? More specifically, in the magazines construction of masculinity, what is emphasised and what is ignored? Considering gender and sexuality to explore and address the stereotypical representations and attitudes that are likely to be reinforced to its readers. The first chapter of this thesis demonstrates a detailed depiction of the UKs FHM position and role in the mens lifestyle magazine market, from its inception from For Him Magazine through its incredible development to its contemporary brand expansions. It also discusses FHMs influence on the mens magazine market as well as on broader industry concerns related to the young male market, particularly advertising. Essentially, this chapter offers a rationale for why FHM is an important site for investigation. Chapter 1 The mens magazine market is a moderately new phenomenon. Mens magazines today have become sites of significant inquiry that offer alternative views on the representation of the modern man. Men have purchased and read magazines in the past, though previously, the term mens magazine referred to publications structured around masculine themes to designed to interest men, such as cars, fishing, DIY and pornography. However, as sociologist Tim Edwards (1997) notes, It is, to put it simply, that they werent called mens magazines and this is what constitutes the key difference: the self-conscious targeting of men as consumers of magazines designed to interest men if not necessarily to be about men (p.72, emphasis in the original). Since contemporary mens magazines are embedded in the rise of a new lifestyle genre, they are considered mens lifestyle titles as opposed to simply mens interest magazines (Edwards, 2006).1 The growth of the mens magazine market in the UK, which saw an invasion of lifestyle titles in the 1980s, commencing with the launch of Arena in 1986. The Focus The aim of this study is to investigate and analyse the different representations of masculinity in the modern day 21st century. The endeavour of this is to answer the research question, which is; has the definition of masculinity and or the portrayal of men changed over time, in particular in print advertisements in mens lifestyle magazine FHM (For Him Magazine). Although this may sound like a popular research case study, very little academic research has been performed in the field of mens magazines and even less on the construction and representation of masculinity. This study therefore aims to firstly, classify the term masculinity, to conclude a definition, of what is means to be a men?, which is often used to ascribed to males in todays society. This study will also explore sex roles and common stereotypes that men are regularly being labelled with. This study will further examine if the characteristic that what once associated with traditional masculinity is dying out, or if t here is more than one masculine identity. Thirdly, this study will examine the presentation of male images and products in advertising exploring the emerging trends of mens images where the predominately female female-orientated markets of body enhancements, cosmetics, and personal grooming products are being aimed at male consumers. Through a context analysis, this study addresses male images in advertisements in For Him Magazine (FHM) from 2005 to 2010. Examining the changing trends in the portrayal of men and the types of products advertised in mens magazines. Furthermore, this study will argue, that masculinity makes more sense in relation to individual performances of identity than it does in terms of any measurement of gender or sexuality, a notion which is often disregarded in both popular and academic discourses about gender identity. Chapter 1: Introduction Over the last few decades the role of men in British society has changed considerably. Traditional notions of masculine images, such as males being the sole breadwinner or provider has come under attack, undermining traditional images of the masculine identity. Males have also faced a changing Image in advertising. Traditionally, females were the ones that have been associated with sex in advertising, but today males are also being used to connote or imply sexual situations in advertisements. Modern day advertisements feature provocative images of men and women in reveal outfits and postures selling a variety of products, most of which have no association with sex. There has too been an increase in product advertisements in mens magazine, most popular out of these is beauty and accessions. Suggesting that men today, have developed a conscious self-awareness of the way they look. Men in are taking great pride in their appearance, replacing beer or health supplements and abs tonners. M en now have a keen eye for fashion, and indulge in grooming/beauty products- this identity has today been coined as metrosexual. Adapting the characteristics of men, this new man has blurred the distinction of masculinity. Traditional masculinity referred to heterosexual men, interesting in extreme sports, cars and DIY. This request the question is the term masculinity (means to be macho) changing? Or is there more then one masculine identity? Metrosexuality was first developed by Mark Simpson in his book Male Impersonators. According to Simpson (2003), metrosexuality is a new, narcissistic, self-conscious kind of masculinity produced by film, advertising, and glossy magazines to replace traditional repressed, unmoisturised, unreflexive, unmediated masculinity. However, this term has become widely used in the United States media and in the advertising industry in the late 1990s, referring to straight men who posses feminine traits and care about fashion, grooming, cleaning and using beauty products (Mereditch and Wells; 2003). However, very little academic research exists on the meaning of metrosexuality for masculinity. This study examines modern masculinity and metrosexuality of men in the 21st century mens lifestyle magazines, within the UK, drawing particular attention FHM. However, there are limited studies on masculinity and mens images (Windholz, 1999/2000; gates 2001; Tincknell and Chambers, 2002). Although media across the globe are widely discussing the newly emerged phenomenon- metrosexuality- there is almost no academic research on this phenomenon. Since metrosexuality and masculinity are so closely related to each other, this study aims to explore both issues within mens lifestyle magazines. Chapter 2: Definitions of Masculinity Whilst, we have identified the main attributes that can be grouped under the term traditional masculinity, we still do not have an recognized definition of what masculinity itself might be. Craig contests that masculinity is what a culture expects of its men (1992:3). This description suggests that masculinity exists only in a cultural context, as something that stems from traditions, codes and in particular expectations commonly held by society. Similarly, Mosses definition of masculinity as the way men assert what they believe to be their manhood (1996:3) insinuates that masculinity is widely understood as a way of behaving in accordance with ones sex-defined characteristics, either as a manifestation of ones sexual identity, or by the way of a responsibility towards the general order provided by understanding of gender. Gilmore (1990; 1) defines manhood as the approved way of being an adult as the approved way of being an adult male in any given society. Within the cultures, where value is attracted to a notion of manhood, Gilmore further claims that there is three particular criterias that are repeatedly associated with the masculine role, firstly, to impregnate women and secondly, to protect dependents from danger (1990; 223). Berger, Wallis and Watson (1995) states that masculinity, the asymmetrical pendant to more critically investigated femininity, is a vexed term, variously inflected, multiply defined, not limited to straightforward descriptions of maleness. Masculinity takes a variety of forms for men and it differs according to sexuality, race, class and age. It is noticed the society and media hold very distinct stereotypes towards different ethnic and race groups. For Caucasians, the most common dominate ideology of masculinity represents ideals of strength, toughness, coolness, attractiveness, heterosexuality and whiteness (OShaughnessy 2003). However, these ideals are very difficult for men to attain in reality. With the increased attention given to mens bodies and the resurgence of their imagery with the media, men nowadays pay more attention to the media and work to improve their physical appearance (Wienke, 1998; Shilling, 1993). These effects are further pushed forward with the new ideal met rosexual, which simply suggests that men who possess feminine traits are ideal. As men are now facing so many identities, so what makes a man? A closer investigation is presented next. Chapter 3: Gender and Masculinity In general, the characteristics associated with men are grouped under the term traditional masculinity by many writers. Three of its main character traits are strength, command and ambition- all useful in getting ahead, and more often than not viewed in a positive light. Even the less positive attributes associated with traditional masculinity such as competitiveness, aggression and stubbornness maintain an air of respectability in that they remain symptomatic of power and control rather than weakness. Theorists in the field of gender studies have sought to understand how these masculine traits came to be associated with the male role first and foremost, and why they continue to permeate society and popular discourse as common sense notions of gender roles. Consequently, gender as a concept is open to much greater debate than sex, and it is clear that masculinity, as one aspect of gender identity, can take on an entire range of potential meanings. Mort observes that we are not dealing with masculinity, but with a series of masculinities (1988; 195; his emphasis). As well as recognizing that class, race and sexual orientation, and several other factors all enter the equation at the level of identity, the term masculinities refers to the fact that no two peoples performance of so-called masculine characteristics will ever be exactly the same. As Horrocks states, there is clearly not a homogenous monolithic identity possessed by all men in all contexts (1994:3). Byne suggests that, as human beings, we are motivated to create an identity for ourselves that allows us to make sense of our position in the apparent world. In order to be understandable, this must accord with the already existing conventions, as we perceive them; no matter how we seek to position ourselves in relation to these, we still accept that they exist. Conversely, men must strive to meet an extremely demanding stereotype of the male role as provider, achiever and conqueror- a task that is, in its self unattainable, and which causes men much self-doubt and anguish. This, Kaufman conclude, also inspires fear for it means not being a man, which means, in a society confusing gender and sex, not being a maleà ¢Ã¢â€š ¬Ã‚ ¦losing power and ungluing basic building blocks of our personalities (p.149) Together, these two behaviours are more destructive than either on its own, combining to both cause the problem and make it impossible to escape from. Chapter 4: Masculinity in the United Kingdom British Men According to Benynon (2002), there are three ideal versions of contemporary masculinities in the United Kingdom. The old man is relatively uninterested in fashion, is married and holding down a regular job, and remains somewhat sexist and homophobic in outlook. The new man is narcissistic, progressive and ambivalent in his sexuality, yuppie- influenced and generally anti-sexist. When he first emerged he was viewed variously as the same as the same old wolf, but in designer clothing, a revolutionary in his relations with women and his willingness to display the emotional side of his nature, and a marketing opportunity, for new visual codes. The new lad is defensive about fashion, ambivalent in his attitude towards women (he has pornographic notions of them rather than relationship with them) and he believes life should be one huge alcoholic and drug induced festival. (Beynon, 2002, p.118) Among the above three ideals, the new man seems to be the most popular ideal in the United Kingdom. These ideals can be illustrated by the most influential British celebrity football player, David Beckham. David Beckham defines a new trend of men in the United Kingdom. In a recent study reported in The Observer (Campbell 2003), One David Beckham: Celebrity, and the Soccerati, co-authored by Andrew Parker of Warwick University and Ellis Cashmore of Staffordshire University, highlights how Beckham successfully combines a mixture of traditional and modern values to create an inspirational healthy role model. The study praises Beckhams different public personae including the national ambassador, aggressive competitor, loving husband, doting father, fashion model and gay icon. This study further concludes that Beckhams massive popularity could influence young males, encourage greater tolerance and acceptance of a new concept of masculinity. As suggested by the author of the study, Beckham has helped create a complex new concept of masculinity by defying expectations in areas such as what clothes men should wear or how men should style their hair. Indeed, Beckham fits all of the contemporary masculinity ideals he is a combination of new man (nurturer and compassionate partner), new lad (football legend, fashionable father, conspicuous consumer) and old man'(loyal dedicated, bread- winning) (Cambell, 2003). Chapter 5: Gender Representation in Advertising Research has revealed that advertising does not exist in a vacuum but instead is very much interrelated with the existing social relationships within society (Duffy, 1994). Goldman (1992) suggested that we tend to take for granted the deep social assumptions embedded within advertisements as we are so used to the quantity of advertisements around us and the routine ways in which we read them. More importantly, we do not see or recognise advertising as a sphere of ideology. In a consumer society, advertising acts as a magnet, luring individuals into embracing a consumption culture that is part of an economic and social institution that helps to perpetuate what Goldman called the supremacy of commodity relations. Interactions between individuals are now greatly being defined by the material possession of commodities. The consumer society is primarily about contentment and pleasure, but there are broad complications beyond the realm of Contentment and pleasure. One of the most important implications is the area of gender identity. Sex-role stereotype, like any other stereotype, allows us to make sense of the world that we live in. Gender, of course, is one of the most important forms of systematised behaviour in all societies, and every culture has accepted routine forms for communicating gender identity (Leiss, Kline Jhally, 1990, p. 215). Our everyday environment is articulated mostly by what we see in the media and the task of advertising is crucial. The target audiences self-identification with the gender images is a basic requirement for an advertisements effectiveness, and the meanings encoded in the images are persuasive cultural symbols for societal behaviour. The earliest research into the portrayal of men in sex roles in advertisements was carried out in the 1970s by many researchers an d drew many conclusions: men were portrayed as more self-governing than women. They were portrayed in different occupations in comparison to women who were usually shown as housewives, cleaning, cooking and caring for children. Specific products such as Alcohol and cigarettes were most frequently portrayed by men, while women were mostly depicted in advertisements for household products (Dominick Rauch, 1972; Schneider Schneider, 1979; McArthur Resko, 1975; Courtney Whipple, 1974). According to Fejes (1992), the results from these researchers carried out in the early 1970s, did not fluctuate much from those conducted in the late 70s and early 80s. In the last few decades, the role of men in the UK has changed considerably there has been an increasing visibility of the male body in the media and popular culture. Men are getting increased exposure not just of their bodies, but of their lifestyles, consumption preferences and emotional needs. Men are gradually gaining on women in the display of their bodies on billboards, fashion photography and magazines. Moreover, it is not just the number of images of men that has increased; it is the emergence of a new representation in popular culture where male bodies are depicted in an idealized and erotized manner (Moore 1988; Simpson, 1994). Furthermore, in the consumer markets around the world-the predominantly female-oriented market like cosmetics, personal grooming and even body enhancements are attracting seeing more male consumers. Through a content analysis of advertisements over six years in a magazine for men, this paper studies the trends in the representation of images, product s and sexual portrayal of men. Chapter 6: Men in Advertising Fejes (1992) noted that Skelly Lundstrom (1981) conducted a study on print advertisements analysing a total of 660 magazine ads from 1959, 1969 and 1979 to establish whether there was any change in the portrayal of men in print advertisements over the two decades. They found that there was a small and gradual movement towards more non-sexist portrayal of men. Fejes (1992) also noted that Lysonskis study (1985) showed similar results. Kervin (1990) too carried out a research study on the ads, focussing particularly on Esquire magazine. He examined whether the representation of men and the definition of masculinity had changed or remained over time. The study closely examined at ads from Esquire magazine for 50 years from the 1930s to the 1980s, and discovered that specific stereotypical representations of masculinity still remained after 50 years. What is fascinating, though, is her suggestion that these stereotypes exist because they complete certain needs and concerns of the men in society relating to their sense of powerlessness as individuals. She suggested that these stereotypes may be there to offer some form of compensation, in the form of admiration from others and possession of products for the men to define themselves adequately in society. She also discovered other new constructions of masculinity emerging over the years. The form of the male body is beginning to be portrayed as an erotic spectacle, suggesting that advertisers are adjusting to the changing attitude of consumers and exploiting it. Marian Salzman, Director of Strategic Content, JWT Worldwide, in her new book, The Future of Men (2003), interestingly, notices an important gap of the young male demographic that marketers and advertisers often fail to notice. Salzman, who conversed about the rise of the metrosexuals in 2003, deems the days of the metrosexual are numbered as men want their manliness back, and they are tired of taking their behavioural and fashion cues from their female companions and from mens magazines. But this may not be true, as Kelton Research discovered in his research which was performed on 600 men, found that men can now be classified into men who value their personal style and appearance without sacrificing their masculinity, and ubersexual men who care about their appearance from head to toe. Moreover, men may try to act laid-back when it comes to personal maintenance, but the reality is, nearly two out of three surveyed not only own a variety of grooming products, but use them again and again. More importantly, about 98% of these products- men have no qualms about strolling into a store to buy a grooming related product (Wellikoff, 2006). Chapter 7: The Macho The Metrosexual Lee (2003) noted that men of all sexualities are taking a wider interest in their appearance. Hairdresser is where they go for a haircut instead of the barber shop and they are turning to other form of cleanser as soap is too harsh on their skin. More men are going to the gym instead of engaging in outdoor activities such as sports and some of them are even indecisive when it comes to choosing something to wear. These men are called the metrosexual and David Beckham who has been credited as the man who is changing male behaviour is classified as the ultimate metrosexual. A few years ago, concern over weight and diet regimes was strictly womens issue and having a pot belly was accepted for a man. But now, it is completely acceptable for men to watch their weight too and follow diet plans. This new breed of man blurs gender lines. In the Future Man'(Salzman, 2003) concludes that British men are becoming metrosexuals who have embraced customs and attitudes once deemed by women. Salzman further connotes that men today are confident in their masculinity and in their sense of self. In addition, they look and feel good and are knowledgeable about fashion and accessories regardless of what people might consider these things unmanly. This new breed of man does oppose the traditional male role. ABC news reported that Leo Burnett, a Chicago advertising firm, conducted a global study of masculinity in 2005 and half of the men in their sample say that their role in society is unclear than in previous decades. More than seventy percent of them said that advertising is out of touch with mens reality. Reports seem to indicate there is a new form of manliness emerging that is both macho and sexual at the same time. Stephen Perrine, editor in chief of Best Life magazine in the United States, mentioned on ABC news, The new manliness is about being competent and of value. Its less of men looking into their own navels. He also listed actors like Huge Jackman and Brad Pitt as the role models for this new manliness (ABC news, 2006). Research Questions Advertising is an incorporated part of any economy in the world. And where there is rapid growth and changes in the economic profile of a society, there is a parallel increase in consumption patterns. This study aims to examine the portrayal of men in advertising as the emerging trends indicate that the predominantly female-oriented markets like cosmetics, body enhancements and personal grooming, are being directed at more male consumers. By studying the changes taking place in the portrayal of gender roles in advertising, it would allow us to get an insight into the changes that are taking place in society at given times and trends over periods of time. RQ1: What are the changes in the images (as per the categories) of men in FHM Magazine from 1998 to 2005? RQ2: What is the classified level of dressing (as per the categories) of the male models in FHM magazines used for the various categories of pictures? RQ3: What are the differences in the race of male models in FHM magazines in the categories of photographs/illustrations? RQ4: What are the differences in the types of products advertised in FHM magazines from 2000 to 2010? RQ5: What is the classified level of dressing (as per the categories) of the male models for the various categories of products? RQ6: Has the portrayal of men in Print advertisements changed in any way over the last six years? Methodology For the purpose of this study a content analysis was chosen and deemed appropriate as it will provide an overview on the coverage and frequency of use of male models in the advertisements selected. This quantitative research method is also useful for evaluating empirically the changing trends in society, while allowing us to summarize results and report findings in accurate, quantitative manner. The unit of analysis enables replication of the study over periods of time, thus providing an opportunity for comparison and review. Sampling Selection and Sample Size Six years (72 issues) of FHM magazine, from the United Kingdom were selected for this study. These magazines were published over a six year period from 2005 through to 2010. Through a systematic random sampling method of these 72 issues, one was selected from each year making it a total of 6 issues in the sample size. The unit of analysis is all full and half page advertisements or posters that have male or female models. Those advertisements without any models were excluded from the categorization. Categorization System The advertisements and posters from each year were systematically coded by placing them in pre-defined categories. Category of dressing Description Demure dress Everyday, casual clothing, including walking shorts and sports outfits. Suggestive dress Excluding evening gowns, which expose cleavage. Mini skirts, short shorts, muscle shirts, hiked skirts that expose thighs Partially clad Models in bathing suits, wearing undergarments and three-quarter length or shorter lingerie. close- up shots of models bare shoulders. Models in nothing except a towel. Nudity Unclothed Models, including; translucent lingerie/ undergarments and silhouettes. Extent of Contact Description No contact Positioned side by side. Not touching. Tame contact Holding hands. Hands on shoulders or around waist. Intimate contact Kissing. Very intimate contact Depiction and suggestion of sexual behaviour. Category of Race Description Caucasian of European or North American Origin Others Races that does not fit into the above category or race can not be established. Category of product Description Clothing All cosmetics, skin care, hair care, oral care products. Beauty Clothing manufactures, department stores and fashion houses Transport All cars, motorcycles and airlines. Technology-related All electrical products, cameras, phones and websites. Food-and food related All food and equipment, drinks, health- supplements, cooking oils, cutleries and utensils. Accessory All watches, sunglasses, jewellery, footwear and bags. Tourism- related All holiday packages and hotels. Other All products that do not fit in the above categories. Category of Content Description Family man Fatherly role depicted with wife and Children. Can be seen wearing a Wedding band. Working man Depicting an occupational role, e.g. at work. Mans man/ Engaging in conservative mens Classic man activities. Drinking beer, smoking, football etc. Can be portrayed as overcoming physical challenges e.g. mountain climbing. Carefree man Portrayed with unbridled laughter and enjoying the moment with a woman or a group of friends. The gentleman Alone or in the company with just one woman. Playboy Depicted in the company with one or more women. Women are shown to be objects of desire.

The Secret of Ella and Micha Chapter 23

Ella We decide to visit Grady before we part ways and head off on our separate adventures. Amy, his nurse, called me and told me that Grady was still in the hospital, but that he was allowed to have visitors. We make the hour drive around the mountains and to Monroe Hospital, trying to enjoy our last few days together. It's a bright, sunny day, and the trees on the side of the road are green. I hang my head out the window, watching the road, feeling like there's so much waiting for me in life. â€Å"What are you doing?† Micha teases, turning the music down. â€Å"Trying to be a dog?† I shake my head and look up at the bright blue sky. â€Å"No, I'm just enjoying the nice, warm day.† He laughs at me and turns the music back up. My head remains out the window until we reach town, then I return to my seat. When we pull up to the hospital, blue and red lights light up the parking lot and my stomach constricts thinking about the night they showed up to take my mother's body away. Micha squeezes my hand, letting me know he's there for me. â€Å"You ready for this?† I nod and we walk hand-in-hand across the parking lot and through the automatic glass doors. A lot of people are sitting in the waiting room and there is a baby crying loudly on a woman's lap. The smell of cleaner collides with my nostrils as we walk up to the front desk where a secretary is talking on the phone. She's young with dark hair woven in a bun on top of her head. I catch her eyes skimming across Micha as she hangs up the phone and turns to us. She overlaps her hands and sets them on the counter. â€Å"Can I help you?† â€Å"Yeah, can you tell us what room Grady Morris is in?† Micha asks with a polite smile. She taps her fingers on the keyboard and then reads the screen. â€Å"He's on the second floor in room 214.† We nod graciously and head for the elevator. Micha swings his arm around me, guiding me closer as we reach the floor and I slip my hand into the back pocket of his jeans, craving his comfort. When we enter the room, my insides twist until I notice Grady is sitting up in his bed, eating a cup full of green Jell-O. He looks pale under the florescent light, his arms nearly bones, and his eyes are more sunken in then the last time I saw him. A machine is hooked up to him, beeping in the corner, and an IV is taped to the back of his hand. Some of his items from home are hanging on the wall, making them not so bare. Somehow, he manages to genuinely smile. â€Å"Just what I wanted. To see my two favorite people in the whole wide world.† I loosen up and Micha and I pull up chairs beside his bed on opposing sides of one another. Grady pushes the tray out of the way and sets his hands in his lap. â€Å"So do you want to tell me what's up?† he asks and Micha and I exchange confused looks. â€Å"With the cuddly entrance you two made.† â€Å"Micha made me do it,† I joke, sliding a glance at Micha. â€Å"He was being a baby. Said he needed to be coddled.† Micha winks at me. â€Å"Yep, and you fell for it.† Grady shakes his head and a frail laugh escapes his lips. â€Å"Ah, it's good to see you two back together.† He grows silent, fixing his attention on me. â€Å"You look happier than the last time I saw you.† â€Å"I am happier,† I tell him, resting my arms on his bed. â€Å"You're still not there though,† he says with concern. â€Å"I know,† I say. â€Å"But I'll keep working on it.† He seems content with my answer. â€Å"I have something for you over in the corner.† Micha and I track his gaze to a small box nestled in the corner of the room. I walk over to it and peer down inside. My smile expands as I pick up that broken vase I destroyed when I was a child. It's black, with a red pattern around the top, but the bottom is shattered out, so it can never hold flowers again. I turn to him with the vase in my hands. â€Å"You kept this?† He shrugs. â€Å"Just because it's broken doesn't mean it loses its importance. And I figured I'd give it to you one day when you realized it was okay to make mistakes.† Tears build up in the corners of my eyes. â€Å"Thank you, Grady. And I mean that. Thank you for everything. For giving me a small amount of comfort during my childhood and letting me know that not everything has to be difficult.† â€Å"You're welcome,† he says simply. I go over to the bed and hug him, trying not to cry, but a few tears slip out and I quickly wipe them away before I pull back. We talk a little more about the stuff we're doing, then the nurse shows up and shoos us out so she can change his sheets. Micha and I leave, knowing it will probably be the last time we see him again. I cry the whole drive home, clutching on to the broken vase. But with Micha at my side, I know I'll be alright. Micha â€Å"Now are you sure you packed everything up?† My mom asks for the billionth time. I never told her what happened with my dad. I didn't want her to have to worry more than she already does. That's one moment I'll keep locked away forever. I pick up my guitar case from my bedroom floor and swing my bag over my shoulder. â€Å"Yes, I have everything packed, Mom. Now will you relax? You're driving me crazy.† â€Å"I'm sorry,† she apologizes. â€Å"Oh wait. Do you have enough money?† I shake my head. The woman's going to worry herself to death. â€Å"Of course.† Tears puddle in the corners of her eyes and she gives me a hug that nearly squeezes the air out of me. â€Å"Micha Scott you're the best son a mother could ask for.† I press my lips together, trying not to laugh at her overdramatic reaction. â€Å"I'm going on the road for a few months, mom, not dying.† She pulls away, wiping the running mascara underneath her eyes. â€Å"It doesn't mean I'm going to miss you any less.† â€Å"Yeah, we'll see if you say that after I'm back for a week and you're finding bras in your bed again.† She swats my arm and points at the door. â€Å"Okay, now you can go.† Laughing, I head out the back door. Naomi isn't here yet, so I sit down on the steps, staring at Ella's house, wondering if she's going to come out. She's never been good at good-byes so when her bedroom window slides open, I'm surprised. But I'm even more astonished when she scales out of the window and down the tree. She has the sexy, strapless dress on, and her auburn hair is covering her bare shoulders. She doesn't say anything as she flings her arms around my neck. Her breath is hot against my ear and she buries her face into the side of my neck. I drop my guitar case and bag to the ground, pick her up, and embrace her with everything I have in me. â€Å"I'm going to miss you,† she whispers softly. I run my hand up and down her back, shutting my eyes, and breathing her in. â€Å"It'll be okay. I'll be back and annoying you before you know it.† She looks at me with her big green eyes and then seals her lips over mine, kissing me indefinitely. My hands feel every part of her body, memorizing every curve, and the smoothness of her skin. I back us up against the tree into the shade, and slip my hand underneath her dress, feeling her there too. â€Å"Alright Romeo, it's time to go.† Naomi honks the horn of the SUV. Sighing heavily, I release Ella and she puts her feet back on the ground. â€Å"I'll call you every day.† I kiss her one last time, then get into the car. She watches me the entire way down the driveway, with her arms folded, fighting to stay composed. When we turn onto the road she walks to the end of the driveway, keeping her eyes on me for as long as possible. But eventually we slip away from each other.

The Impact of Inflation on Capital Budgeting and Working Capital

A major impact on both financial theory and the practice of financial decision making has been the economic instability, especially in prices, evidenced in the U. S. economy since the mid 1960’s. Inflation in the past few years has not been a major macro economic problem, but its spectere, as demonstrated by the Fed’s recent increases in interest rates, is never for the agendas of financial decision makers. Macro economic instability has necessitated that expectations about the future rate of inflation be taken into consideration in making decision(s) about which capital projects will be undertaken by a firm. Nominal cash flows determine its degree of profitability. However, in making the capital budgeting decision both real and nominal concepts must be considered. The purpose of this paper is to continue the discussion of the role of inflation in capital budgeting, and to focus on the individual components of the process to draw specific conclusions with respect to the interaction between the cost of capital, inflation, and the cash flow variables within a DCF – IRR framework. Much research has been published examining the impact of inflation on the capital budgeting decision making process, and, although inflation is not currently a serious problem, bitter lessons from the 1975-1985 period of rapid price increases, coupled with the potential of future inflation, argue for continued research in this field. In a famous article, Rappaport and Taggart [14] examined various methods for incorporating the effect of inflation into capital budgeting. They provided an analysis which showed the differential impact of using a gross profit per unit approach, a nominal cash flow approach (where individual forecasts are incorporated into each component of cash flow) and a real cash flow approach in which a general price deflator is used to deflate nominal cash flows. In another early article dealing with the subject, Van Horne [16] showed that to be consistent, inflation in forecasting cash flows must also be reflected in a discount rate containing inflation; that is, a bias was introduced if nominal cash flows were discounted at the real and not nominal cost of capital. Cooley, Roenfeldt and Chew revealed the mechanics by which inflation adjustments can be incorporated into the capital budgeting process [6]. At the same time, Nelson [12] demonstrated the theoretical impact of inflation on capital budgeting and showed how inflation would shift the entire NPV schedule of a capital budget downward for a set or projects. Bailey and Jensen [1] have analyzed how price level adjustments affect the process in detail and specifically how various price level adjustments might change the ranking of projects. Rappaport and Taggart attempt to combine the simplicity of a gross profit per unit methodology of adjusting for inflation with the more realistic nominal case flow and real cash flow approaches. A gross profit per unit focus on Revenues – Cost of Sales divided by units, and can treat inflation by simply inflating this gross profit per unit as opposed to measuring inflation for both revenues and cost of sales. This is done by making the simplifying assumption that gross margin as a percent of sales is constant over time, [14, p. 2] which they point out is the same as assuming that EBIT is a constant percentage of sales over time, or that revenues and costs increase at the same rate. In this paper we examine a number of issues raised by Rappaport and Taggart in the area of inflation and capital spending. Specifically, we will analyze the following areas: 1. What is the relationship between the cost of capital and inflation? 2. What is the relationship between inflation in the ag gregate and the price a firm places on its specific product that results from a capital budgeting decision? Assuming costs rise at the aggregate or average rate of inflation, what can we say about expectations of the price of output of the firm? 3. What role do depreciable and non-depreciable assets play in the interaction of the variables? How does the presence of plant and equipment as a depreciable asset and the presence of net working capital as a nondepreciable asset impact on the role of inflation in the capital budgeting process?

Autism Spectrum Disorder ( Asd ) - 909 Words

Autism spectrum disorder (ASD) refers to a group of neurodevelopmental disorders that is characterized by abnormalities relating to social, behavioral, cognitive and language skills. The genetic architecture of ASD is comprised of a variety of rare mutations. These mutations include monogenic conditions involving autistic symptoms. Furthermore, single nucleotide variants and de novo copy number variants add to disease susceptibility. Inherited Factors Related to ASDs Autosomal recessive loci are assisting scientists in understanding the inherited factors related to autism. Scientists are hopeful that the discovery of these mutations will offer them an opportunity to detect neurodevelopmental mechanisms in disease; thus, providing researchers with some amount of convergence that may be responsive to treatment intervention. Genetic Research Sheds Light on Factors Contributing to the Development of an ASD Research indicates that there could be almost 1000 genes contributing to an individual’s predisposition of developing an autism spectrum disorder. Although the genetic revolution enables scientists to identify a patient’s genetic etiology, the treatments available for ASD have remained the same. For instance, the US Food and Drug Administration has approved aripiprazole and risperidone for the treatment of irritability in people who have an autism spectrum disorder; however, there are currently no drugs available to treat the two core characteristics of autism. These twoShow MoreRelatedAutism Spectrum Disorder ( Asd )1722 Words   |  7 Pagesin every sixty-eight births are diagnosed with the Autism spectrum disorder in other words (ASD), which is about one percent of the world’s population. 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Staats University of Central Oklahoma â€Å"Autism Spectrum Disorder (ASD) formerly known as just Autism, is a disorder that affects about 1 in 68 children here in the United States.† (Facts about ASD) This is a pretty high prevalence and the number is continuing to rise. â€Å"Autism is a developmental disability that can cause significant impairments in behavioral, communication, and social aspects of everyday life.†(Facts about ASD). The intellectual functioning ofRead MoreAutism Spectrum Disorder ( Asd )1569 Words   |  7 Pagesdiagnoses for autism spectrum disorder (ASD) occur has seen a dramatic growth in numbers. With diagnoses for ASD increasing, more siblings are also being found to have grown up with a sister or brother with autism spectrum disorder. Previous studies have shown no consensus on whether or not siblings of persons with ASD are at risk for negative effects. 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