Healthy Food Options for College Students

Healthy Food Options for College Students Priya Gunasekaran Purpose Statement/ Research questions The purpose of this study is to investigate the effect of college students living arrangements (independent variable) of food consumption (dependent variable), based on a college campus (the research site). Fruits and vegetables vs processed foods (control variable) focuses on modifying college students dietary intake and preferences in dining halls. The independent variable(s) living arrangements was defined as college students living in residential halls, living in a rented apartment (off campus), and living with their family. (El Ansari et al., 2012; Laska et al., 2010; Ridell et al., 2011). The dependent variable(s) will be food consumption defined as measuring the amount of foods consume through meals. (El Ansari et al., 2012). The control and intervening variable(s), fruits and vegetables (identify the control and intervening variables) will be defined as the daily average intake serving of fruits and vegetables consumed. Boek et al., 2012; El Ansari et al., 2012; Graham et al. , 2013; ODonnell et al., 2014; Yeh et al., 2010 ). This study will contribute to enhancing healthier food options for college students as well as to meet their nutritional needs. Also, a food frequency survey will be utilized to access how often do college students consume healthier options vs processed food based on their living arrangements. Research Questions Does living arrangement impact college students food consumption on healthier foods vs processed foods at campus dining halls? Null Hypothesis: There is no difference between choosing processed foods or healthier foods in college students food consumption based on living arrangement. Alternative Hypothesis: There is a difference between choosing processed foods or healthier foods in college students food consumption based on living arrangement. Hypothesis: College students with better food consumption are likely to consume more fruits and vegetables than processed foods that are unhealthy. Descriptive Questions 1. How does living arrangement affect college student food choices? 2. What are the factors that influence food consumption on college students? 3. How do college students rate on fruits and vegetable consumption vs processed foods based on their living arrangements? Inferential Question 1. How does food consumption depend on living arrangements on college students? 2. Does the consumption of fruits and vegetables help college student make smart, healthy food choices than choosing processed foods? References Boek, S., Bianco-Simeral, S., Chan, K., Goto, K. (2012). Gender and Race are Significant  Determinants of Students Food Choices on a College Campus. Journal of Nutrition  Education and Behavior, 44372-378. Retrieved from:  https://www.ncbi.nlm.nih.gov/pubmed/22607739 Boucher, D., Gagne, C., Cote, F. (2015). Effect of an intervention mapping approach to  promote the consumption of fruits and vegetables among young adults in junior college:  A quasi-experimental study. Psychology Health, (11), 1306. Retrieved from:  https://www.ncbi.nlm.nih.gov/pubmed/25970738 El Ansari, W., Stock, C., Mikolajczyk Rafael, T. (2012). Relationships between food  consumption and living arrangements among university students in four European  countries A cross-sectional study. Nutrition Journal, Vol 11, Iss 1, P 28 (2012), (1), 28.  Retrieved from: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3420253/ Fernandes, A. C., de Oliveira, R. C., Rodrigues, V. M., Fiates, G. R., da Costa Proenà §a, R. P.  (2015). Perceptions of university students regarding calories, food healthiness, and the  importance of calorie information in menu labelling. Appetite. Retrieved from:  https://www.ncbi.nlm.nih.gov/pubmed/25865662 Graham, D. J., Pelletier, J. E., Neumark-Sztainer, D., Lust, K., Laska, M. N. (2013). Research:  Perceived Social-Ecological Factors Associated with Fruit and Vegetable Purchasing,  Preparation, and Consumption among Young Adults. Journal of The Academy of  Nutrition and Dietetics, 1131366-1374. Retrieved from:  https://www.ncbi.nlm.nih.gov/pubmed/23958116 Laska, M. N., Larson, N. I., Neumark-Sztainer, D., Story, M. (2010). Dietary patterns and  home food availability during emerging adulthood: do they differ by living situation? Public Health Nutrition, 13 (2), 222-228. Retrieved from: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2931267/   ODonnell, S., Greene, G. W., Blissmer, B. (2014). The Effect of Goal Setting on Fruit and  Vegetable Consumption and Physical Activity Level in a Web-Based Intervention.  Journal of Nutrition Education Behavior, 46 (6), 570-575. Retrieved from:  https://www.ncbi.nlm.nih.gov/pubmed/24857600   Riddell, L. J., Ang, B., Keast, R. S., Hunter, W. (2011). Research report: Impact of living  arrangements and nationality on food habits and nutrient intakes in young adults.  Appetite, 56726-731. Retrieved from: https://www.ncbi.nlm.nih.gov/pubmed/21349307   Yeh, M., Matsumori, B., Obenchain, J., Viladrich, A., Das, D., Navder, K. (2010). Validity of  a Competing Food Choice Construct regarding Fruit and Vegetable Consumption among  Urban College Freshmen. Journal of Nutrition Education and Behavior, 42 (5), 321-327.  Retrieved from: https://www.ncbi.nlm.nih.gov/pubmed/20655281  

Rebel Without a Cause Essay

In the late hours of the night Jim Stark, the main character of Nicholas Ray’s, Rebel Without a Cause, can be found resting his head against a piece of crumpled wrapping paper, lying on the cold pavement, droning out all his troubles with the sound of a toy monkey’s clamour. Throughout the entirety of the film Jim constantly seems to be droning out his problems, whether it be with a toy monkey of with a rebellious facade, which subconsciously distracts him from his true issues. Jim Stark’s defiant nature is rooted at his angst and eagerness in which he holds within himself. The only manner in which he feels he can accurately expose his emotions is through rebellion. In the beginning of the film when Jim shouts to his arguing parents in despair, â€Å"You’re tearing me apart! You say one thing, he says another, and everybody changes back again,† he is unleashing the built up confusion that is festering inside of him. Being that Jim is a somewhat complicated teenager his thoughts often seem to be consumed with questions. Jim questions his masculinity, his choices, the meaning of his life and his purpose. This confusion within him leads him to become desperate for answers and since his parents do not seem to offer him a solution he rebels in order to find one on his own. Jim chooses to rebel in various different manners. The most dramatic forms of rebellion involve his parents and his peers, Judy, Plato, Buzz and Buzz’s gang. With his parents Jim questions their roles, specifically his fathers feminine mannerisms. Being that Jim’s mother seems to play a more masculine role while Jim’s father plays a more feminine role, Jim becomes confused and attempts to correct this problem through rebellion. A clear depiction of this is when Jim encounters his father in a frilly yellow apron cleaning up a tray of spilled food. At the sight of this Jim becomes infuriated with his father and tells him to stand up and be a man. This scene is later repeated later in the film when Jim returns home after the death of Buzz. After asking his father for guidance as to whether of not he should go to the police Jim’s father is unable to offer him a straight answer and resorts to everything that Jim’s mother has to say. This leads Jim’s mother to contemplate moving again and Jim responds by saying, â€Å"Dad, stand up for me. † At this point Jim is practically begging his father to be more of a man and to stand up for him against his mother. Jim’s father does not respond, propelling Jim to yank him up shouting, â€Å"Stand up. † This scene is a clear representation of Jim’s rebellion against his father. Jim feels as if he is lacking a fatherly figure and will resort to being violent towards his father in order to â€Å"man him up. † Another moment in which Jim’s rebellion shines through is in the deadly chicken game with his rival Buzz. Wearing a bright red jacket, to represent his destructive nature, over his pristine white shirt, that represents his true purity, Jim heads out the cliff where him and Buzz will drive stolen cars close to the water and jump out beforehand, the winner being the one who jumps out last. Buzz, who sports a yellow shirt representing his true cowardly ways, seems to push Jim into doing this strange activity. When Jim asks, â€Å"Why do we do this? † Buzz says â€Å"You got to do something. † In this moment it becomes obvious that Jim feels that by rebelling through the participation in this chicken game, he is developing some sort of meaning to his life. This game will create a name for himself amongst his peers and this influences him to participate. Because Jim is vulnerable and wants to fit in he gives in. His rebellious nature in this scene is derived from the need to fit in, which all teenagers go through. Often adolescents will attempt to prove themselves to their friends by doing something risky in order to be one with the crowd. Even though Jim knows that this is wrong, he is rebelling against his uncertainties and the unanswered questions he has within him because he views rebellion as the only viable answer. His overpowering emotions and his desire to fit in create a wicked mutineer out of him. Film critic Leo Goldsmith from Reverse Shot says in reference to the film, â€Å"Under Ray’s dissecting eye, the suburban home itself becomes a battleground where parent and child must scream over each other to be heard. † The beginnings of all of Jim’s problems seem to rest on the warzone in which he is living at home. This angst, resentment and anger that he feels towards his father translate throughout everything his does in his life and lead him to rebel. Because Frank is unable to fulfill his role of guiding Jim, Jim feels that he must find his way on his own, making his a rebel with a very good cause.

Richard III

Analysis of Richard III PassageMethoughts that I had broken from the Tower And was embarked to traverse to Burgundy, And in my company my brother Gloucester, Who from my cabin tempted me to walk Upon the hatches. Thence we looked toward England And cited up a 1000 fearful times, During the wars of York and Lancaster That had befall'n us. As we paced along Upon the dizzy terms of the hatches, Methought that Gloucester stumbled, and in falling Struck me, that thought to remain him, overboard Into the toppling surges of the chief. O Lord, methought what hurting it was to submerge, What awful noise of Waterss in my ears, What sights of ugly decease within my eyes. Methoughts I saw a 1000 fearful wracks, A thousand work forces that fishes gnawed upon, Wedges of gold, great ground tackles, tonss of pearl, Incomputable rocks, unappreciated gems, All scattered in the underside of the sea. Some ballad in dead work forces ‘s skulls, and in the holes Where eyes did one time inhabit, there were crept— As 'twere in contempt of eyes—reflecting treasures, That wooed the slimed underside of the deep And mocked the dead castanetss that lay scattered by. ( I: IV:9-33 ) Clarence ‘s prophetic dream sequence in Act I scene Four Begins and ends with premonition, as we see the slaying of Clarence and besides visualize the eerie and supernatural glance of an underworld beneath the ocean as we see Clarence distressingly drown. The transition begins with Richard and Clarence puting canvas to Burgundy, reminiscing on the horrors of the conflicts they had won and lost together throughout the war of the roses. As their ship begins to destabilize, Clarence is cast overboard after seeking to forestall Richard from falling. The text leads us to believe this is inadvertent despite logic stating us to instantly presume this was planned by Richard. As Clarence distressingly drowns, he begins to depict the dark, supernatural underbelly of the ocean. Multitudes of lost wealth and hoarded wealth are seen alongside decomposing cadavers and the liquors of 1000s of work forces, work forces whose deceases, it has been suggested, Clarence was partially responsible fo r as a consequence of the recent overthrow of the monarchy. Clarence ‘s dream sequence is laced with both dramatic linguistic communication and baleful boding throughout. An array of poetic devices and literary techniques are employed to successfully reenforce major issues and subjects of the drama as a whole within this transition. Numerous subjects are reinforced and introduced in this transition such as the apposition of earthly wealth and human mortality, the upseting trust that Clarence has for Richard, horror and calamity, and besides the motive of the dark and the supernatural. Furthermore if we read the transition from a modern position we can integrate a Freudian reading when analyzing what seems to be Clarence ‘s subconscious head. Whilst watching Richard III, the character of Richard is hard to side with nevertheless at the same clip there is a certain appeal and inventiveness about him that is difficult to dislike. There are cases throughout the drama which help to demo Richard as a antic linguist and a sympathetic Machiavellian hero. However, at the same clip the dramatic sarcasm used in the signifier of Clarence ‘s weakness and naivete is perchance the most powerful illustration throughout the full drama which shows the cold and evil inner nucleus of Richard ‘s character. When Clarence dreams of Richard killing him, the text seems to propose that Richard did this by accident as Clarence says that Richard â€Å"in falling, Struck me, that thought to remain him, overboard.† [ [ 1 ] ] The manner Clarence has made a point of stating how Richard merely pushed him â€Å"in falling† is interesting as it makes us oppugn the dependability of Clarence ‘s history. This dramatic sarcasm plants because from an audience ‘s position we are already cognizant of the dark nature and pitilessness of Richard, moreover we know that Richard is in the procedure of engineering the slaying of his brother Clarence. These factors make us oppugn the â€Å"accidental nature† of Clarence ‘s narrative despite it being a dream. Could this dream in fact be a message straight from Clarence ‘s subconscious trying to warn him of his impending decease? We could in fact read this transition as Shakespeare trying to show a sixteenth century equivalent to Freud ‘s construct of the subconscious head. The audience is now to the full anticipating the impending decease of Clarence, and the incapacitated audience is forced to sympathize with him and get down to contemn Richard. The experience of this scene could be summed up by a quotation mark from critic Charles Barber, who believes â€Å"Clarence ‘s incredulity in his ain dream creates the feeling that Rich ard ‘s immorality is excessively monstrous for those around him to accept or conceive of, and therefore it amplifies our horror of Richard.† [ [ 2 ] ] The antecedently mentioned construct of Shakespeare meaning to demo the workings of Clarence ‘s subconscious is besides fascinating as it demonstrates a sample of a theory that was non to go popularly recognised for 100s of old ages. This element adds deepness and verisimilitude to the drama and besides adds to our hatred for Richard. Freud describes the unconscious head as â€Å"a reservoir of feelings, ideas, impulses, and memories that are outside of our witting awareness.† [ [ 3 ] ] It would look that these feelings are more perceptive in some ways than Clarence ‘s witting 1s. Somehow Clarence ‘s unconscious has picked up more about Richard ‘s character than his witting head. This poses an interesting inquiry, even to a modern audience, about the antic complexness of our heads. An audience who embraces this reading is likely to happen this idea provoking and be intellectually stimulated by this construct. If we take this transition to intend that th at Clarence ‘s unconscious head is seeking to state him something, so we besides read that his witting head is disregarding it for non merely does he presume his dreamed decease was an accident, but he subsequently goes on to province how his brother â€Å"loves me dear† and says to the liquidators ( hired by Richard ) that â€Å"if you be hired for meed, travel back once more, And I will direct you to my brother Gloucester, Who shall honor you better for my life.† [ [ 4 ] ] Clarence ‘s refusal to move upon this portents and moreover disregard his ain ego is important in demoing the power and use Richard is capable of. When the audience listens to Clarence ‘s history of his dream, the transition should render as extremely important as it foreshadows many of the events yet to come in the drama. When Clarence begins to submerge this is in fact an eerie prefiguration of his eventual decease, and more specifically submerging minutes subsequently in the scene. One critic has besides read this dream as besides boding the nightmare Richard himself experiences prior to the conflict of Bosworth in Act V scene V. [ [ 4b ] ] There is much boding throughout the drama, such as when Queen Margaret, a enchantress like character, is introduced. Queen Margaret begins to state curst prognostications as a acrimonious effort to revenge all of those who have antecedently wronged her. It is besides interesting to observe that through this transition, Shakespeare has included a subject that was popular amongst Renaissance literature, whereby earthly wealth is shown in apposition with human mortality. [ [ 4c ] ] This was a common concern among authors of the clip as earthly wealth ‘s value was questioned in many ways because of the realization that we can non purchase â€Å"life† and wealth will intend nil in the hereafter. While absorbing the address, we notice that there are infinite images in this transition that barrage us with this subject. The lost hoarded wealths are described to a great extent and often such as the â€Å"wedges of gold, great ground tackles, tonss of pearl, incomputable rocks, and unappreciated jewels.† However it becomes clearer why Shakespeare has made a point of making this when we consider this subject of human mortality versus earthly wealth. When we so go on to see â€Å"Some [ gems ] ballad in dead work forces â⠂¬Ëœs skulls, and in the holes Where eyes did one time inhabit† decease and wealth are non merely in apposition, they are basically merged as one. The manner the gems have been incorporated into the oculus sockets of the skull makes the apposition even more dramatic as they about seem as one entity because of the manner we associate the gems as eyes slotting into the sockets of a skull. This transition is besides important in the manner it introduces the motive of the Gothic into the drama. Clarence ‘s dream sequence accompanied with the eerie cursing of Queen Margaret subsequently in the drama, are both scenes which contribute to the Gothic elements of this drama through mentions to the supernatural and the unknown, and minutes of horror. Horror as a literary term can be described as â€Å"The feeling of repugnance that normally occurs after something terrorization is seen, heard, or otherwise experienced.† [ [ 5 ] ] We see horror in the transition when Clarence describes in item the scenes of the underworld and the nature of his painful drowning. Clarence explains â€Å"what pain it was to submerge, What awful noise of Waterss in my ears, What sights of ugly decease within my eyes.† This dramatic address forces the audience to get down to see the submerging themselves as Clarence uses powerful imagery such as the H2O in his ears and the hurting that he experienced. Furthermore the grotesque and macabre images of â€Å"a thousand work forces that fishes gnawed upon† besides help to dismay the audience. Supernatural elements that besides contribute to the Gothic feel of the drama are seen in another subsequent prognostication manner dream of Clarence ‘s where he sees the shade of Prince Edward, a Lancastrian whom Clarence had helped to kill. Edward begins to cuss Clarence as liquors begin to drag him below to the underworld. After analyzing Clarence ‘s dream in Act I scene IV, it can be concluded that Shakespeare has employed a scope of literary techniques and thoughts that help to reenforce and present of import subjects that permeate the full drama. Techniques such as dramatic sarcasm encourages us to appreciate the immorality of Richard, and the inclusion of a subconscious aid add deepness and machination to the drama. Furthermore the transition is a utile penetration into the drama as a whole through the debut of other of import subjects and issues of the twenty-four hours such as horror, the supernatural, and the apposition of earthly wealth and human mortality.BibliographyBarber Charles, Notes on Richard III, ( London, Longman, 1999 ) Devendra, Varma The Gothic Flame, ( New York: Russell and Russell, 1966 ) Radcliffe, Ann On the Supernatural in Poetry, Exert taken from New Monthly Magazine vol.16 No.1 hypertext transfer protocol: //www.litgothic.com/Texts/radcliffe_sup.pdf [ 22.4.09 ] Shakespeare, William, Richard III, ( London, The Arden Shakespeare, 2006 ) Strachey, James ( Trans. ) , ed. Anna Freud, The Necessities of Psychoanalysis, ( London: Vintage Books, 2005. ) [ [ 1 ] ] William Shakespeare, Richard III, ( London, The Arden Shakespeare, 2006 ) I.IV.19-20 [ [ 2 ] ] Charles Barber, Notes on Richard III, ( London, Longman,1999 ) p.75 [ [ 3 ] ] James Strachey ( Trans. ) , ed. Anna Freud, The Necessities of Psychoanalysis, ‘the unconscious ‘ ( London: Vintage Books, 2005. ) p.46 [ [ 4 ] ] William Shakespeare, Richard III, ( London, The Arden Shakespeare, 2006 ) I.IV 217-218 p.183 [ [ 4b ] ] Barber Charles, Notes on Richard III, ( London, Longman, 1999 ) p.96 [ [ 4c ] ] Ibid. [ [ 5 ] ] Varma Devendra, The Gothic Flame, ( New York: Russell and Russell, 1966 ) p.17

Essay about Aristotle vs Plato - 1665 Words

Aristotle is considered by many to be one of the most influential philosophers in history. As a student of Plato, he built on his mentor’s metaphysical teachings of things like The Theory of Forms and his views on the soul. However, he also challenged them, introducing his own metaphysical ideas such as act and potency, hylemorphism, and the four causes. He used these ideas to explain his account of the soul and the immateriality of intellect. Prior to Aristotle, philosophers like Parmenides and Heraclitus argued about the existence of change. Aristotle used the terms act and potency to respond to Parmenides arguments about change’s non-existence and bridge the gap between Parmenides and Heraclitus’ polar views.†¦show more content†¦He rejected his predecessor’s beliefs that there was only one principle, as he believed that in order for something to change and not itself be changed in the process it must consist of two principles; one that changes and one that remains the same. Aristotle believed that these substances were form and matter. It was Aristotle’s claim that form is the constant, unchanging principle in a person. It is because of form that we have consistency and permanence (Feser 10/27/10). Just as importantly, there is matter, the principle which allows a substance to be changed and prevents it from being stagnent in one place or time. It is because of matter that we have change and imperfections (Feser 10/27/10). We can see the idea of Hylemorphism represented in Aristotle’s other doctrine, act and potency. Matter is a things potential, or its ability to be â€Å"in potency;† while form is a things ability to change matter from potential to being â€Å"actualized† (Internet Source 1). In response to the numerous metaphysical questions of his day, Aristotle derived his theory of The Four Causes. These causes attempted to explain the cause or purpose of something; or the â€Å"why?â⠂¬  These causes are the Formal Cause, Material Cause, Efficient cause, and Final Cause. The first called the Formal Cause deals with a thing’s form which holds its true nature or essence. Second, the Material Cause explains the matter that a thing is madeShow MoreRelatedPlato vs. Aristotle2421 Words   |  10 PagesBy Gerard Chretien Plato vs. Aristotle Numerous experts in modern time regard Plato as the first genuine political philosopher and Aristotle as the first political scientist. They were both great thinkers in regards to, in part with Socrates, being the foundation of the great western philosophers. Plato and Aristotle each had ideas in how to proceed with improving the society in which they were part of during their existence. 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Plato, a student of Socrates, opposed the idea of average citizens to participate in politics because he believed that political practice was skill or â€Å"technÄ“ that can only be achieved by a few people. He believed that â€Å"kings must be those among them who have proved best both in philosophy and where war is concerned.† (Republic, 491) and that these â€Å"philosopherRead More Aristotle vs. Plato Essay1408 Words   |  6 PagesAristotle vs. Plato Excellence is a function which renders excellent the thing of which it is a function is Plato’s definition of virtue. What does this definition really mean though? Plato and Aristotle both had their own unique arguments devoted to the topic at hand, and their own ways of describing what virtue really is. Defining virtue may seem to be an easy taste, but to truly understand the arguments behind the definition can prove to be very challenging.   Ã‚  Ã‚  Ã‚  Ã‚  Before discussing virtueRead MorePlato Vs Aristotle : Determining Good1668 Words   |  7 Pages Plato vs. Aristotle: Determining Good In this paper, I will present both Plato and Aristotle’s arguments for what their personal views are on determining good. Plato believed that knowing good was equal to doing good. He said that if a person knows the right thing that will automatically lead him to do the right thing. Aristotle on the other hand believed that knowing good was not enough to be good. He believed that one had to practice good if one is to be good. Plato was idealistic. He believedRead MorePlato vs. Aristotle: Virtue1656 Words   |  7 Pages201 November 12, 2013 Anna Umstead Plato and Aristotle, arguably two of the most influential Greek philosophers, discussed their differing views on virtue extensively throughout many of their works. Although they agree that virtue is a desirable characteristic that will lead to happiness, the ultimate good, there exists between the two philosophies salient differences. While Plato believes only philosophers are capable of true, inherent virtue, Aristotle believes all men can be virtuous with practiceRead More Plato vs Aristotle Essay1835 Words   |  8 PagesFirst there was Plato and then Aristotle. Aristotle was a pupil of Plato. Despite being taught by Plato they had different theories and views. Their ethics were very typical and traditional of ancient Greece but Aristotle detailed virtue ethics and the path to happiness. 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