Howard Florey

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Howard Florey was the first Australian to win the Nobel Prize for Physiology or Medicine. He shared the 145 award with the German refugee chemist Ernst Chain and the Scottish microbiologist Alexander Fleming. Working together at Oxford University, Florey and Chain built a research team that transformed penicillin (discovered by Fleming in 1) from a laboratory curiosity into a widely available drug.

Penicillin is one of the most efficient remedies ever discovered, and in the 140s its effects seemed almost miraculous. It revolutionized medicine, allowing once lethal infections, pneumonia, diphtheria, syphilis, meningitis, gas gangrene--to be cured. For infections that were resistant to penicillin, other antibiotics were soon found, including cephalosporin, which was also developed by the Oxford group.

Florey was born in Adelaide to a wealthy family. Rather than enter his fathers shoe-making business, he resolved to study medicine, and in 11 won a Rhodes scholarship to Oxford University. In the mid-10s, he became intrigued by the problem of extracting pure penicillin from the Penicillium mold without destroying its potency. He later assembled a multidisciplinary team--including his wife Ethel to work on manufacturing the drug. The technical difficulties of carrying out such a project in wartime Britain were enormous, and at first the team struggled to produce enough penicillin to cure a few infected mice. The amounts available to treat the earliest patients were so limited that the researchers concentrated the drug back from urine, then reinjected it. But (thanks in part to collaboration with well-funded U.S. researchers) by the time of the D-Day landings in 144, penicillin was available in sufficient quantities to save the lives of many wounded Allied and German soldiers.

In his approach to practical science, Florey was a true experimentalist, and is credited with establishing the nexus between physiology (normal function) and pathology (disease) that defines the discipline of experimental pathology.

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The Nobel and other accolades gave Florey great influence, which he used well. He visited Australia often, and his efforts were central to the establishment of the Australian National University as a postgraduate research university, a visionary idea for its time. Florey assumed responsibility for the initial phase of the ANUs John Curtin School of Medical Research, contributing greatly to the recruitment of a stellar group of founding professors. Though he continued living in England, he was chancellor of the ANU (making annual trips to Canberra), when he died at age 6 from cardiovascular disease. A typical Australian stoic, he suffered angina in silence for many years. Today, coronary bypass surgery would probably have given him a decade more of productive life.

Florey was a familiar figure to Australians of his time, but the 100th anniversary of his birth, in 18, attracted little public interest, even in his home town of Adelaide. When I spoke there at a well-advertised event in his honor, the Crows football team were on a winning streak and the press seemed terminally obsessed with Sir Donald Bradmans 0th birthday. Australia has not, so far, been looked on as a land of opportunity for the intellectual, Florey said in 158. That is changing, but young Australians need to be reminded that their country has produced great achievers in science, the arts and the world of ideas. A sophisticated society can support a broad pantheon of heroes.

Peter Doherty and Rolf Zinkernagel won the 16 Nobel Prize for Physiology or Medicine for their work on viral infections and immunity, carried out at the John Curtin School of Medical Research.

BORN Sept. 4, 188, in Malvern, Adelaide

1 Attends Oxford University on a Rhodes scholarship

15 Becomes Professor of Pathology at Oxford

14 His department publishes Antibiotics

160 Becomes first Australian president of the Royal Society

165 Becomes life peer as Baron Florey of Adelaide and Marston

DIED Feb. 1, 168, in Oxford

Florey gathered a team of scientists at Oxford University in Britain in the 10s, when working together on scientific discoveries as a group was not at all common.

His team commenced a careful investigation of the properties of anti-bacterial substances that are produced by mould. One member of the team, Ernst Chain, found an article about Alexander Flemings work while flicking through a medical journal, and this prompted them to begin looking at penicillin.

Individual members of the group concentrated their attention on areas in which they had the most knowledge, but they often met to exchange ideas. Chain worked on purifying penicillin with Edward Abraham. Norman Heatley improvised methods for extracting penicillin using ether and bedpans (see penicillin production below). A. D. Gardner and Jena Orr-Ewing studied how penicillin reacted with other organisms. Howard Florey looked with Margaret Jennings at the impact of penicillin on animals. Ethel Florey later worked with her husband on clinical trials of penicillin.

In May, 140 they performed one of the most important medical experiments in history. The work was so urgent that they came in to begin the experiment on the weekend, and on Saturday 5 May, Floreys team tested penicillin on eight mice injected with a lethal dose of streptococci bacteria. Four of the mice were treated with penicillin, while four were used as controls. By the next day, the treated mice had recovered and the untreated mice were dead. In the early days of World War II, the lives of eight mice may seem insignificant. But their rescue by penicillin led to the treatment of Allied soldiers as early as D-Day, in June 144, and probably influenced the outcome of the war.

In 14 Florey travelled to North Africa to test the effects of penicillin on wounded soldiers. His trials were seen as a miracle. Instead of amputating wounded limbs or simply leave them to heal, he suggested soldiers wounds be cleaned and sewn up, and that the patients then be given penicillin. Thanks to Florey and his team, the drug was available to treat Allied troops by the end of World War II. It has since revolutionised medical science, saving millions of lives. Please note that this sample paper on Howard Florey is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Howard Florey, we are here to assist you. Your cheap research papers on Howard Florey will be written from scratch, so you do not have to worry about its originality.

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Othello

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Preliminary English (Advanced) Assessment Task

"Othello"

Othello is a motion picture that was directed by Oliver Parker (18) which is based on the William Shakespeare play written in 160, with Lawrence Fishburne staring as Othello. This motion picture is cinematic. It relies not only on the spoken word but also on the visual images, movement of scenes, composition, camera angles, sound, music and skills of the actors playing the characters. This motion picture has been generally effective in presenting the ideas that Shakespeare conveys in the original text. The motion picture has been glamorized through the use of elaborate costumes.

The motion picture begins in the Italian city of Venice, a night on which it is very dark and misty which is a consistent mood for the opening scenes. The music is cold and eerie creating a sense of mystery and suspense with a feeling that something sinister is about to happen.

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As appose to Shakespeare's written text, this motion picture emphasizes more on visual images rather than the spoken word to deliver its central theme across. This motion picture portrays Iago in a better light than the audience would feel than from reading the text. Through his fabrication, deceitfulness and evil nature the audience would establish that Iago would be a gloomy man, with a sinister appearance always looking to cause trouble and spin the situation to his favor after reading the text. But in this production Iago is portrayed as a fair man, with light complexion, always looking to help his fellow man. His clean shaven appearance and glamorized costumes show he is a wealthy man with a respectable heritage. Little do the other characters know, but Iago is a dire man which they all find out in the horrific finale.

Throughout the entire motion picture, there is constant development of the use of camera and lighting which also enhance the viewing experience for the audience. At the end of each scene, there is always an intimate conversation between Iago and Roderigo. This acquaintance is central to the events which occur later in the text and motion picture, as they are plotting the demise of Othello. The voices Iago and Roderigo use are quiet with varying tempo; they speak in prose rather than in poetry which implies they are speaking about an idea. The camera focuses in, only showing these two characters and the emotions expressed on their faces. The pausing and dim lighting creates tension and a feeling of unrest, that these two are plotting an alliance together to over through Othello.

A prominent scene in the motion is where Iago is performing a monologue where the camera continually draws closer. It focuses on his face creating passion in his slow quiet voice with his eyes never leaving the audience. To have made such an impact when this play was performed in Shakespeare's time, they would have had only Iago on the stage with all the light off except for a spotlight aimed straight at him. His voice would have been loud and confident so that the whole theatre could hear him.

During the motion picture there are constant flashback scenes which show imagery of the past. This feature would be lost in Shakespeare's time as it would be impossible to show this. This feature gives the audience an enhanced understanding into the past of these characters thoughts.

A major source of light in the motion picture is candles which are scattered around every room. In the scene where Othello is about to kill Desdemona, he turns out all of the candles on his way to her bed chamber making the area all shadowy. This may symbolize that he is about to turn off Desdemona's light source by strangling the life out of her. This produces a threatening sensation where the audience knows that a tragedy is about to occur.

The music plays big role in creating an atmosphere in the motion picture. Music is an essential element in order for the audience to be captured in the production making them feel as though they are apart of the scenery, involved in the play. The music which is played in a particular scene gives great result to the acting skills. In a cheerful or joyful scene, gentle, flowing music is required to get the most out of it. Whereas in a violent, conflicting scene, loud, sharp and fast music is essential to get the hearts racing and the audience on the edge of their seat. When an important episode of dialogue is being performed the atmosphere is hushed so that every word and every pause can be heard to generate the dramatic desired effect.

With every successful motion picture, there is always a talented cast of actors and supporting actors. Oliver Parker has done a fantastic job in securing the correct actors for each character and has reaped the rewards through professionally produced motion picture. Lawrence Fishburne was the perfect Othello, his strong presence, on stage demeanor and his ability to transform himself into the real Othello. As appose to past actors who may have played Othello, Lawrence was naturally colored. Back in the time of Shakespeare, no colored men were allowed to perform on stage so they had to paint the actor in boot polish to give the appearance he was black. The fact Othello was black, may have been the motive for the slanderous attack on his personality. He was always referred to as the Moor, a black ram, a devil.

As the motion picture progressed, and as his situation became direr, Roderigo's appearance became increasingly worse, with his untamed beard running wild. From reading the text the audience would generally feel that Roderigo was a nice guy who got caught up in a scheme and his feelings of love towards Desdemona. I was first introduced to Roderigo in the opening scene additionally with Iago. At first, along with my class mates, I thought Iago was Roderigo. With his seedy exterior and receding hair I believed the darker featured man was Iago because of the way he was described and portrayed in the text.

Just from reading the text Othello, it is possible to gain an understanding and knowledge of what Shakespeare was trying to convey. However, the motion picture Othello gives the audience a highly improved perception of the characters, environment and overall message of what Othello is all about.Please note that this sample paper on othello is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on othello, we are here to assist you. Your cheap research papers on othello will be written from scratch, so you do not have to worry about its originality.

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Team Leadership

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How do groups cohere? Historically, strong leadership and a shared culture have been the primary factors in determining collective unanimity within social groups. Managers today might not have absolute power of life or death over their staff, being restricted to hiring and firing in their power to enforce the hierarchy, and their corporate mythology might shade by comparison with that of, say, ancient Rome; yet, although managers today need to unite different people without the traditional binding agents of shared ethnicity or religion, unifying them in pursuit of tasks which can sometimes appear dreary even to the most committed worker, it is becoming abundantly clear that negative motivation the threat of unemployment is at best a limited management tool. Although the knowledge that keeping one's job is contingent on performance necessarily informs every worker's consciousness, fear alone breeds hatred, discord and consequently inefficiency. It is a truth almost universally accepted that a happy worker is a good one aside from such prerequisites as a pleasant working environment and the avoidance of overwork, it seems clear that a good team-spirit is the key to healthy morale. Working as a team increases people's sense of purpose, their feeling of belonging and consequently their productivity. In fact, a properly functioning team is absolutely essential for any business with more than one employee. If the rugby pack doesn't push together, they lose the game. Fortunately, for the twenty-first-century corporate manager, a support-structure, a science and industry of positive motivation, fitted for the contemporary market, has evolved. And one of its principal methods is that delineated in this section. The companies on show here specialize in removing workers from their normative contexts and involving them in challenging, unusual and entertaining activities, by which shared experience the group knits together, eliciting previously untapped interpersonal relationships and individual potential. It is important that we recognize the constructive use-value borne by play in relation to work, since the two exist not in opposition, but in symbiosis. The cooption of constructive play by the corporations is their masterstroke; for by simulating the activities of family and friendship within its aegis, the corporation inculcates comparable loyalties and energies among its workforce.

Gamesman Productions are currently leading the way in the provision of innovative team-building games to the corporate event industry. Neil Harvey, the owner (who previously made scenic props for such shows as 'The Phantom of the Opera'), aims to create a 'toy-box' sensibility in all Gamesman products, to effect a high visual impact and encourage a ludic attitude. Thus it is that Mr. Harvey's new game, 'Hell's Bells', uses imaginative play rather than the more divisive impulse of competition as its driving force. 'Hell's Bells' is designed to throw light on team dynamics, focusing on project management skills and team communication issues. For the manager, this is a handy side-effect of corporate team games, which become a means of observing one's colleagues at close hand, in a different light from usual, throwing their strengths and weaknesses into relief. 'Hell's Bells' itself is an unprecedented and impressive development, in which the participants have to construct a series of automata whose correct alignment will enact automatically a medieval story, which is the culmination of the game and the convergence of cryptic clues and riddles scattered throughout. The game can accommodate fifteen to two hundred participants, lasting from a minimum of two hours to significantly longer, depending on how it is supervised, keeping everyone involved and, of course, thoroughly entertained.

Now, a more martial model of group play is that perennial favourite of the corporate market, paintballing. Holmbush Paintballing has over ten years of experience at organizing paintballing events to boost morale and help to create firm business relationships with staff and clients alike. Situated on the prestigious ,500 acre Holmbush Estate, they offer tailored 'Paintball' events for all sizes of companies, both small and Blue Chip, supplying an action-packed, adrenaline-fuelled corporate day out. Paintball highlights the absolute necessity of communication and teamwork from all levels of staff. Players have the opportunity to practice and develop their leadership skills. Everybody is encouraged to be highly motivated to achieve success, and their decision-making and risk management skills are tested to the limit. Players have to combine their individual talents and create real working relationships, breaking down traditional work-place barriers in order to achieve the set objectives. Holmbush provides all the equipment necessary - which includes full camouflage uniforms, full-face masks and the paintball guns and all players are given a full half-hour safety briefing before any of the weapons are issued and the players go to any of the twelve different playing areas, each of which provides a different objective for the players to achieve. All the staff are fully trained in-house and are enthusiasts of the game. Each team is assigned a Marshal who guides you throughout the day, ensuring safety and fair play while in the varying 'Combat Zones'. At the end of the day the Marshals hold a Presentation where the teams' results are discussed and an award is given for the first and second placed teams.

A different kind of marksmanship can be found at the National Shooting Centre at Bisley Camp, the home of competitive shooting since 180. The Centre offers world class facilities for all shooting disciplines. This includes target rifle, gallery rifles, black powder pistols and air guns to name but a few. The Centre also plays host to international competitions. The National Clay Shooting Centre, which is incorporated within the National Shooting Centre, will open in July 001, with evening shoots held twice a week in the summer. The impressive new clay layouts have been built with the aid of a Lottery Grant from Sport England for the Commonwealth Games in 00 and include nine down the line as well as English and Olympic skeet, ABT, double trap and universal trench. A magnificent new clubhouse provides a focal point for the complex and includes catering facilities with a terrace that overlooks the ground and finals layout. The superb new layouts are equipped with seventy-two Materelli traps, covered stands, computer controlled scoring and acoustic release, all against a backdrop of over 000 acres of unspoilt Surrey heath land.

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Julius Caesar: Brutus as a Tragic Character

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JULIUS CAESAR by Brian Sia

William Wallace, is one of the most renowned freedom fighters in history. However, his arrogance was his most fatal threat. He thought he could go up against King Edward's forces, but his army was decimated during the battle of Falkirk. No man is perfect. With every great man comes an even greater flaw. Marcus Brutus is no exception. He is what Shakespeare called a "tragic character" a central character who possesses a critical flaw, and inevitably, meets his downfall.

Brutus' primary flaw is most certainly his undying love for his country, Rome. He would go to any lengths "if it be aught toward the general good" (p.1), no matter the consequences, even if it means taking his own life, or the life of his best and most loyal friend. Upon considering the idea of joining the conspiracy, he claims that he is willing to "set honour in one eye, and death i' th' other…..and look on both indifferently" (p.1). Unlike Cassius and the other conspirators, Brutus' intentions to kill Caesar are not related to jealousy, authority, money or respect. He honestly believes that when Caesar is crowned, he will abuse his power, and therefore, become a serious threat to Rome. ("I know no personal cause to spurn at him, but for the general. He would be crown'd how that might change his nature" P.4).

Brutus compares Caesar to "a serpent's egg, which, hatch'd, would, as his kind, grow mischievous", and that he must be stopped at all costs before he is unleashed. Brutus believes that he can free his country from tyranny and bring liberty back to Rome. It is this extreme patriotism that forces Brutus to join the conspiracy and murder his best friend. As Brutus explains his actions to the people, he says that it was "not that I loved Caesar less, but that I loved Rome more" (p.7). In the end, it is this sheer loyalty and devotion to his country that vanquishes the honourable Brutus. You could even consider Brutus a martyr, as he stood ready to surrender his life for Rome. ("As I slew my best lover for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death" p.80).

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This everlasting faithfulness for his nation can be traced back to Brutus' idealistic and stubborn nature. Once he has set his sights on something, he will never turn back. Brutus' dogmatic character is clearly evident when he refuses to tell his noble and trustworthy wife about the conspiracy. He has decided that it be best for her not to know of the terrible secrets he is harbouring, despite her pleads and requests "Within the bonds of marriage, tell me, Brutus, it is expected that I know no secrets" (p.48) and "Giving myself a voluntary wound, here, in the thigh can I bear that with patience, and not my husband's secrets" (p.4).

Furthermore, when he is plotting with the conspirators, Brutus discards all of the other's suggestions as he believes he is right, and he won't take no for an answer, even though they are the ones who seem to be thinking clearly. In response to including the influential Cicero, Brutus' claims that "he will never follow any thing that other men begin", and in reply to assassinating Mark Antony, he says that their "cause will seem too bloody" (p.4). This becomes perhaps the most devastating flaw in the plans of the conspirators, and also in Brutus' character. He claims that Mark Antony "can do no more than Caesar's arm when Caesar's head is off" (p.4), however, here is where Brutus is utterly mistaken. Brutus believes that once they have slaughtered Julius Caesar, the people of Rome will see their noble cause, and they will not be branded traitors, but glorious heroes. Once Brutus believes something, he will see it through until the end. He is so confident he would march along the streets, his hands bathed in blood, crying out "Peace, freedom and liberty!" (p.6). Brutus claims that they should "kill him boldly" and "carve him up as a dish fit for the gods" (p.4), as if slaying Caesar would please the heavens. ("Our reasons are so full of good regard, that were you, Antony, the son of Caesar, you should be satisfied" p.74).

It is these two flaws that make Brutus blind to see his final lethal flaw that he is actually very gullible and easily persuaded. Right from the beginning Cassius is aware of this and takes advantage of Brutus through his susceptible nature. "Like a Colossus, and we petty men walk under his huge legs, and peep about to find ourselves dishonourable graves" (p.15), says Cassius to manipulate Brutus, and make him see things from his point of view. Next he uses flattery, claiming they are the "underlings" even though the name "'Brutus' will start up a spirit as soon as 'Caesar'". "Caesar…..why should that name be sounded more than yours? Write them together, yours is a fair name…..weigh them, it is as heavy", Cassius continues as he gradually corrupts the mighty and most noble Brutus, who is oblivious to all this.

Mark Antony also manages to deceive Brutus with his persuasive words. ("Friends I am with you all, and love you all, upon this hope that you shall give me reasons why, and wherein, Caesar was dangerous" p.74). He too uses flattery, claiming that he "shall not love Caesar dead so well as Brutus living; but will follow the fortunes and affairs of the noble Brutus…with all true faith". Of course, he is simply flattering Brutus, and later betrays him by turning the people of Rome against the conspirators and brands them as traitors.

So you see, every man, no matter how great, has his flaws. Even the most honourable and noble Brutus, whose sole purpose and beliefs were to serve Rome, became a tragic character. Identical to William Wallace, Brutus gave his life in support of his country and ultimately, came to his demise, regardless of his eternal love for Rome, its people, and the "general good".

Please note that this sample paper on Julius Caesar: Brutus as a Tragic Character is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Julius Caesar: Brutus as a Tragic Character, we are here to assist you. Your cheap research papers on Julius Caesar: Brutus as a Tragic Character will be written from scratch, so you do not have to worry about its originality.

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Montana 1948 EssayMaturity

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may come at any age and time in a person's life. One moment he or she may be a carefree child, and then suddenly realize that they have been transformed into a mature adult by a powerful and traumatic experience. An experience they will remember their whole lives. In To Kill a Mockingbird by Harper Lee, the adolescence of Jem and Scout is threatened one fateful night by a dangerous man bent on taking their lives. After this startling experience, they were never the same again. As a result, they rapidly matured into adults. Similarly, young David Hayden, the narrator of Montana 148 by Larry Watson, also encounters an equally traumatic event. He discovers that his uncle has been sexually assaulting Native American women in his town. This is a heavy burden for a twelve year old boy, especially since it reveals that his beloved Uncle Frank is the bad-guy. However, one discovers, as the novel develops, that David matures and grows in order to deal with this situation. He must come to understand what has happened and how the immoral actions of Frank will affect his family and its name. But most importantly, he must know that his integrity will be changed. He will learn shocking things that would mean nothing to a child, but everything to an adult. Larry Watson suggests that traumatic experiences transform children into adults. Therefore, disturbing experiences lead to changes of mind, growth in morals, and an emerging sense of adulthood. David changes his mind about Uncle Frank through the traumatic experiences regarding the discovery of Frank's secret actions. Uncle Frank used to be David's idol and David adored him. But that all changed when David's housekeeper and baby sitter, Marie Little Soldier, becomes violently ill and is in need of a doctor. Wes Hayden, David's father, calls his brother Frank, who is the town doctor, to come and see her. Strangely enough, Marie Little Soldier refuses to be alone in the room with Frank. Later on, Marie tells David's mother horrible things that Frank has been doing to Native American women. David's mother, Gail, tells Wes as David overhears. She says, 'Wesley, your brother has been raping these women. These girls. These Indian girls…' [David states] I was beginning already to think of Uncle Frank as a criminal…Charming, affable Uncle Frank was gone for good (47, 4). David always thought goodly of his uncle, until he heard these ghastly statements. All the attractiveness and appeal of Frank dissipated once David learned of his filthy behavior. David knew this information would change him forever. He takes another step toward adulthood by hearing and understanding what his uncle has done. David also knows that his opinion of Frank is changing. Young David Hayden grows in morals due to the shocking events of the summer of 148. Consequently, David learns a great lesson about morals from all the episodes that occur. Marie is found dead a few days after Frank goes in to see her. Frank claims she died of pneumonia. David's next door neighbor, Daisy McAuley, goes to their house to comfort Gail. Daisy treats David maternally and wants him to leave the scene of the crime. So she tell him to go over to her house and have a piece of pie. While he's there, David encounters the deputy sheriff, Len McAuley. Len is drunk and reveals the fact that he thought he saw Frank walking into David's house a little while before Marie was found dead. David discloses this and the fact that, he too, saw Frank. David confesses to his parents, …While I was sitting there I saw someone cutting across our backyard. There's a knothole you can see out of. I was pretty sure it was Uncle Frank. Then I got out and watched him go down the tracks. He was going toward town… (7). After receiving the shock of knowing his uncle is a fiend, David experiences a growth in morality. He chooses to tell his parents what he knows, or at least part of what he knows, about Uncle Frank. This shows that he is developing in the area of honesty. Before, David would have kept all this to himself, rather than face his parents with knowledge he knows will displease them.Through dreadful experiences, David feels an emerging sense of adulthood. David and his parents are not on good terms with David's grandparents because Wes locked Frank in his basement. Julian, David's grandfather, is very unhappy that Wes would lock up his own brother despite the fact that Wes saves Frank the humiliation of going to jail. David faces an even more intimidating threat when he notices that a few of the hired hands from his grandfather's ranch come to his house to try and break Frank free. He comments, These men must have figured, with Grandpa's help, that Frank was in the basement, and that rear door was the way they were going in after him… (1). David is close to being an adult because he realizes how he must act and the gravity of the situation in which he and his family are involved. By now, David has issued forth a sense of development and maturity. He is far from the child who once looked forward to visits from his uncle and visits to his grandfather's ranch. As an adult, he is concerned with the welfare of his family and his parents' well being, emotionally. David exemplifies this and stands by his family when they are in need. He does not desert them or feel shameful. He stays loyal and true to those he cares for and loves. Thus, he has shown his ability to act as an adult would. One can never be too sure when the innocence of childhood is lost, the sure thing is that everyone becomes an adult eventually, and that's when they lose their innocence. In many cases, this change from child to adult is a harsh one, often it is the realization that the world is not perfect. The shootings at Columbine is just one example. Those children were faced with the severe reality that death does not apply only to older people, but to anyone in the world. This revelation caused many of them to cease their immaturity and become an adult. And it was a very difficult task for many of them. One must be careful for corruption rears its ugly head where you least expect it. The loss of innocence signifies a person's metamorphosis from a child to an adult. Therefore, it is the events and happenings in life that trigger this change.

Please note that this sample paper on Montana 1948 EssayMaturity is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Montana 1948 EssayMaturity, we are here to assist you. Your on Montana 1948 EssayMaturity will be written from scratch, so you do not have to worry about its originality.

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