Examining Alternatives to Globalization Essay Example | Topics and Well Written Essays - 750 words

Examining Alternatives to Globalization - Essay Example In this regard, most of the anti-globalization proponents establish certain degree of advocacy with relevant reforms that are capable of acquiring remedies for the aforementioned concerns. They agree on allowing the developing countries to gain free access to the industrialized agricultural markets under protection and to other consumer products and technologies that have typically become less affordable due to enhanced global competitions. Hence, the opponents of globalization tend to express contention against tight restrictions imposed upon intellectual property rights by trade agreement or global agreement on investment (Ehrke). Instead of granting WTO further liberalization, globalization opponents approve of realizing potentials through incorporation of democratic measures and control to be set up with social and environmental standards (Ehrke). This way, though most politicians or economists take the opposite perspective, the terms of globalization may be adjusted accordingly to meet the demands and interests of the greater majority whereas provision for debt relief (Ehrke) may be foreseen to enable developing countries to catch up on reviving the economy which consequently finds its way to treat poverty and hunger since there would be sufficient allocation to sustain the latter. Open markets may also constitute more flexible options to trade and when coupled with legalization of a democratic approach, an increased level of freedom to expose new knowledge and possibilities of exploring avenues of industrial and economic growth for all nations involved. Consumers who are unable to afford certain commodities due to irrationally strict policies that prevent some appropriate balance in the flow and distribution of goods, both internationally and locally, are very susceptible to experience inadequacy of nutrition leading to poor health. This vivid reflection of poverty eventually gives encouragement to the idea of immigration especially by the citizens of the third world countries. Consumerism, immigration, and nutrition thus at a point, are naturally placed in a cause-and-effect relationship. The most compelling perspective in the critique is the concern manifested by the opponents of globalization with how reforms bear impact on consumerism primarily. With the liberty to have the secured markets available for the multitude of consumers around the world, such move entails higher probability of choosing from product alternatives with larger range of values or modifiable costs that could raise affordability levels for the general mass particularly the one within the marginalized sectors. One would essentially notice the humanitarian side of the advocacy in this respect while anti-globalization supporters also find a great deal of favor at intensifying attention on properly regulating international financial systems as applied through improved monitoring or supervision of banks, stock markets, as well as the system of taxation (Ehrke). Mo reover, because globalization varies directly with the generation of issues that burden the environment with risks or factors correspondingly affecting human health and the

Discussion Assignment Example | Topics and Well Written Essays - 500 words - 14

Discussion - Assignment Example r to determine the admissibility for tax-exempt status the purpose in the corporate charter must be established, as well as, the way the company operates. Additionally, charitable institutions are exempted from sales and income tax, as well as, Ad valorem property tax. Charitable institutions are defined as institutions that do not have the capital, shareholders or capital stock. Additionally, they dispense help or charity to people who need and to people who apply for it. Charitable institutions do not make any profits or gains in a private sense to any individual who is connected to the institution. For charitable organizations to be exempted under the federal law, the institution must be operated and organized for charitable purposes. Additionally, none of the earnings made by the organization should insure for the purposes of benefiting the individual. For an organization to be exempted from tax the net earnings may not inure to the benefit of any corporation or individual. According to section 501 (c) (3) not all income tax is exempted, for example, in case the charity gets revenue from another business that are not related to charity then they are taxable. Therefore, the lessons I have learned from this module is that charity organizations are made for the benefit of helping people and in case they operate besides their charity work then their income is taxable. Additionally, property that is owned by the federal or state governmental hospitals is exempted from tax. In the case of Provena Covenant Medical Center V Department of Revenue, the medical center applied for tax-exempt status that was based on debt-collection amounts and tactics that the hospital offered. However, the Illinois Department of Revenue denied this application. On Appeal, the Supreme Court further denied the application on tax exemption stating that the Department of Illinois was correct in denying the religious and property tax exemptions because the hospital was charging uninsured

Eternal Love Through Death in John Keats Bright Star Essay Example for Free

Eternal Love Through Death in John Keats Bright Star Essay Love, being one of the most debated topics in literature, often serves as a source of inspirations for many of writers and poets, including John Keats. Throughout his life, he wrote countless love poems and letters, addressing his lover – Fanny Brawne. The star, apart from being the symbol of steadfastness and constancy, it is also a metaphor representing Keats himself. Through Keats’ idea of â€Å"Mansion of life†, the poem is consisted of two floors where the first floor displays his passionate love for Brawne while the second floor talks about his inner desire for death. Keats first expresses his ideal, however paradoxical love. There are two essential yet conflicting qualities in this poem – the reality verses the ideal and the immortal verses the mortal. On one hand, he would like to be like a star, steadfast and unchanging. On the other, he dislikes the solitude of the star as it has to watch â€Å"the moving waters† and â€Å"the new soft-fallen mask/Of snow† from afar like a â€Å"sleepless Eremite†. He continues to state that if he â€Å"has to live ever†, he would rather â€Å"pillow’d upon my fair love’s ripening breast†. The ideas to be eternal and to love simultaneously do not go hand in hand. To love, one has to be human and therefore not an immortal, steadfast star. In the last line of the poem, Keats acknowledges that he would like to â€Å"live ever† in love, but he has to be human in order to experience love, which hints that the love between Keats and Brawne will not last and will eventually fade away as time goes by. The other possible alternative to immortalize their love is â€Å"swoon to death†. One of Keats’ letters from 3 May 1818 to Fanny Brawne echoes the idea of â€Å"swooning† and it says â€Å"†¦I love you; all I can bring you is a swooning admiration of your Beauty.†(Poet.org) This can be interpreted that he wants to die while experiencing intense, ecstatic love or according to the letter, overwhelmed by her beauty. While I was reading Bright Star, I could not help but catch the similarity between Keats and Shakespeare’s idea of love. In the opening of Shakespeare’s sonnet 116, â€Å"Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O no! it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth’s unknown, although his height be taken.† (Shakespeare) Shakespeare talks about his ideal love and marriage. Keats, being a reader of Shakespeare, is in some way affected or inspired by him. Shakespeare describes love as an â€Å"ever-fixed marks† that â€Å"is never shaken† even in the wildest storms. Keats transformed Shakespeare’s â€Å"ever-fixed† into steadfastness. Keats then moves on to talk about a more sexual and sensuous love. With more explicit descriptions of â€Å"my [his] fair love’s† body parts, those descriptions hint the idea of sex and orgasm. He imagines himself â€Å"pilliow’d upon my fair love’s ripening breast†. The word â€Å"ripening† gives a notion of youth, implicating that the lady is young and energetic. Keats also describes the rising and falling of her chest when she takes her â€Å"tender-taken breath†. If he could, he would â€Å"so live ever†. However, it is impossible to live forever and the only solution would be â€Å"swoon to death†. Keats did not explicitly tell the readers what it means to be â€Å"swoon to death† and leave us a lot of room for imaginations. The word â€Å"swoon† and other erotic images of the lady’s body parts bring us to the subtext of the poem – sex. La petite mort is a French idiom or euphemism for org asm, meaning little death. According to Oxford Dictionaries, â€Å"swoon† means â€Å"to enter a state of ecstasy or rapture†. Whether he intended to talk about sex at the end of the poem is still indefinable as we have no idea of what Keats was thinking when he wrote the poem. Though Keats did not write any overly sexual poetry, there is always a strong erotic indication in many of his works. If the sexual subtext is intended in the poem, I believe that it creates a nice denouement to the poem. Keats’ obsession with death and his love for Fanny are intertwined seamlessly throughout the poem. In one of his letters, he states â€Å"I have two luxuries to brood over in my walks, your loveliness and the hour of my death† (Poet.org). Not only is Keats intimidated by death, to some extent he is also intrigued by it. Even though he is worried about the approaching death, to him the promise of death is comforting and soothing. The only resolution to achieve the paradoxical ideal of being eternal as well as experiencing love is death. Through death, immutability and steadfastness can be achieved. Keats has seen many people died in his lifetime. His father died when he was eight; his mother died from tuberculosis when he was 14; his brother Tom died also from tuberculosis when he was 19. Along with his family’s deaths, he has also seen a lot of patients died as he was also a medical student. Therefore, constantly seeing people die in a way reminds him of the tran sience and the mutability of life. There are some religious references in the second quatrain of the poem. All these references, other than conveying the loneliness and the solitude of the star, also illustrate his longing for the promising death. The poem was written in 1819, the same year when Keats contracted with tuberculosis. The word â€Å"ablution† is heavily loaded with connotations, both religion and about death. From the Oxford Dictionary, â€Å"ablution† refers to the washing or cleansing of the body†. In Christianity, there are different forms of ablution and one of them is the preparation before the burial of a dead person. Here Keats is hinting that his death is near and the priest will cleans his body after his death with â€Å"the moving waters†. Further Keats also mentions the â€Å"soft-fallen mask/Of snow† in the following two lines. Seasons always act as symbols of different stages of human life in literature. Spring refers to birth or new beginning; summer means m aturity; autumn represents old age while winter symbolizes death. In line 7-8, with â€Å"the mountains and moors† covered in snow, such explicit image suggests that death is approaching. Though death is coming, Keats is not browbeaten. Yet, he is fascinated with death as it helps him to accomplish the co-existence of eternity and love. Bright Star is a poem that can be read on many different levels. To me, the poem is not merely a declaration of his ardent love for Fanny Brawne. It is also an expressive lyric poem addressing his awe as well as obsession with death. The main themes of the poem are smoothly woven together and this showcases Keats’ expressiveness and his wit. Works Cited Keats, John. Bright Star. n.d. Oxford Dictionaies. Oxford Dictionaries. http://www.oxforddictionaries.com/. Poet.org. Selected Love Letters to Fanny Brawne by John Keats. 17 October 2013 http://www.poets.org/viewmedia.php/prmMID/21012.

Exercise for Balance in the Elderly | Research

Exercise for Balance in the Elderly | Research CHAPTER 1 INTRODUCTION The ageing process is considered as a biological reality, and which cannot be controlled by human being. It is dynamic in nature. The beginning of the old age is about 60 or 65 years and it is equivalent to retirement age. According to the developed countries, old age means at the point when the active contribution is no longer possible (Gorman et al., 2007). As a natural part of aging, physiological and psychological changes can occur and it can affect the lifestyle and health of old age people. Most of the older adults commonly affected by the problems like osteoarthritis, osteoporosis, fractures, diabetes, hypertension, poor vision, hearing impairment, cardiovascular diseases, COPD, poor kidney function, cancers, urinary incontinence, anxiety, depression and balance problems.(Nabili,2010) One of the leading health concerns, in case of elderly is falling and which is related to balance Problems. (Cochrane library).  Balance problems and falls are common, and falls can occur due to impaired balance among elderly .Worldwide, the number of persons over 60 years is growing faster than any other age group. In the middle of the 20th century 14 million people were in the age group of 80 years or older. By, 2050 it will be about 400 million in world wide. Approximately 28-35% of people over the age of 65 fall each year, and this proportion increases to 32-42% for those aged more than 70 years. 40% elderly people living in long term care setting experienced recurrent falls during each year and it is high as compaired to community older adults. Falls may lead to, increased dependence, loss of autonomy, confusion, immobilization and depression. (WHO). According to the centre for control of diseases and prevention (CDC) , one in every 3 adults over the age of 65 falls each year. Walking difficulty and poor balance are common impairments in old age group and which is the high risk for falling. In 2011American geriatric society recommended that all adults aged 65 or older should screen for falls. (Shubert, 2011). Falls can occur in all age groups especially in older adults. The prevalence and incidence of falls more commonly occurs after the age of 65 and (30-60) percentage in annually. As compaired to men, women are more prone to get falls. A study was conducted in Cape Town of South Africa to identify the risk factors of falls. The subjects were selected randomly aged more than 65 years. Total number of samples was 837 from different groups like whites, black Africans and Indians. The study result shows that, incidence of falls was high in women and prevalence of falls was different for different groups. (Kalula, 2010) The risk factors for falls are mainly Gait disturbance, muscle weakness, Dizziness, postural hypotension, visual Impairment, and syncope, use of an assistive device, visual deficit, arthritis, impaired activities of daily living, depression, and cognitive impairment. (WHO, 2006) As age increases, individuals experience decreased strength and balance, which is a risk factor for falls. Balance is the ability to maintain an upright posture during dynamic and static tasks. Maintaining balance requires interactions between central and peripheral factors. (Knerl, 2009) Balance problems are commonly reported by elderly people. Good balance has been associated with independence in daily activities. Deterioration in balance may leads to reduced physical activities and fear of falling. Balance assessments serves several purposes, such as quantitative, description of ability, monitoring subject’s progress overtime and evaluating the effectiveness of intervention.(Sihvonen,2004) For old age people 65 or older, in 2010 the total direct medical cost was 30 billion dollars due to fall injuries and by 2020 it is expected to be about 54.9 billion. Implementation of effective intervention could reduce the health care costs of fall related injuries.(CDC) From the Health Day News, exercise programme means to prevent falls in the seniors, but according to new review it says that exercise programme helps to prevent injuries also. Balance training has been identified as one of the top 10 worldwide in the fitness industry. In 2008 Physical activity guidelines for Americans recommend that balance exercises for 3 days in a week was effective for active and inactive elderly aged more than 65. Gait and balance disorders are common in elderly. As a health care team, physicians or nurses have the responsibility to ask about the previous history of falls. Due to the lack of standardized measures,evidence for the effectiveness of balance training is limited. Yet the exercise and physical therapy are included in effective options for gait and balance. NEED FOR THE STUDY With the exponential growth in older population, exercise is a key target(WHO,2002) and it is a subset of Physical activity that is planned , structural and repetitive and it is considered to be the important rehabilitation programme to improve the functional ability of old age people (Cochrane library). Dr.Nick cavil says that â€Å"A people get older and their bodies decline in function, physical activity helps to slow that decline. In older adults reduced balance is associated with, decreased physical functioning and increase risk of falling. This review analyses the effect of exercise on balance in older adults. (Cochrane editorial unit). In 1960’s an astronaut called John Glenn disqualified from his service, because he experienced balance problems during his working. Then after the rehabilitation programme, at the age of 77, he performed well. As per Indiana University, exercises that speedup swaying that may help to forestall balance problems in later. For the exercise programme safe environment is recommended, for that first step, to acquire sufficient fitness and Self-confidence. Gait balance training is effective, in clinical balance outcomes in elderly. These interventions are probably safe. (Howe, 2011). One in every 3 adults over the age of 65 falls each year . Balance is critical when it comes to avoiding falls at any age. Balance exercise improves strength and flexibility on both sides of the body, not only do they reduce the risk of sips , trips, and falls but also increases the likelihood that seniors will be able to recover balance or reduce the injuries . After 50 years of age , begins to lose 10% of our strength per decade of life , which leads to balance problems. Balance exercise help to reduce the decade of life. (CDC). A study to evaluate the effectiveness of an enhanced balance training programme to improve the mobility of older adults with balance problems. The study was conducted in Bromley Hospitals NHS Trust general hospital; the design adopted for the study was prospective singled blind randomized controlled trial. The subjects participated in the study were 199.The interventional group received balance training programme and control group received physiotherapy. The outcome measures were Berg balance scale,Frenchay Activities Index (FAI), Falls Handicap Inventory (FHI), and European Quality of Life questionnaire were measured regularly at 6,12 and 24 weeks.Both groups showed improvements. (Intervention: 22.5-16.5 seconds, P =.001; control: 20.5-15.8 seconds, P =.054). As by conclusion, the results shows that exercise programmes had an effect on balance among elderly. (Steadman, et.al 2003) Older adults can improve their quality of life by participating in balance exercises. Their by they can improve their mobility and get fit. The researcher says that as age increases, there is a chance of losing muscle mass and strength. Exercise programme helps to improve the postural alignment in sitting and standing position. Many of the older adults, admitted to the hospitals due to decreased balance problem and it results in falls related injuries, so the investigator reveals that exercise programme helps to reduce the falls by improving balance among elderly. According to American journal of epidemiology 30% of community – dwelling seniors /citizens will experiences falls at least once a year due to balance problems. so, as a health care professionals we are responsible to make out the solution. During cinical posting in medical and surgical ward in KMCH, the investigator came across so many persons with fall related injuries due to balance problems, and most of them were in the age group of more than 60.So in order to reduce the rate of falls and to improve the balance the researcher selected the exercise programme as an intervention for elderly people. STATEMENT OF THE PROBLEM Effectiveness of exercise program on balance among elderly in selected old age home at Coimbatore. OBJECTIVES Objectives of the study were to assess the balance score among elderly. determine the effectiveness of exercise programme in improving balance scores. identify the association between the balance scores with selected demographic and clinical variables of elderly people. OPERATIONAL DEFINITIONS Balance:-Ability of an individual to maintain the line of gravity of a body within the base of support with minimal postural sway during different activities such as bending forward, transfer and closing eyes. Exercise programme:- Systematically planned programme for the old age people to improve the balance, of 5 exercises namely sit to stand, heel to toe walk, one leg stand, sideways walking and step up. Elderly:-Both male and female in the age group of 60-80 years. HYPOTHESIS There is a significant improvement in balance following exercise programme among elderly. ASSUMPTIONS Balance impairments are important risk factor for fall. Balance impairments are higher in elderly people. CONCEPTUAL FRAMEWORK A conceptual frame work in nursing is the backbone, on which the nursing research is built. A theoretical explanation of the phenomenon or problem and serves as the basis for the formulation of research hypothesis. The conceptual framework adopted for this study is wiedenbach’s Theory, (1970) which is established by Ernestinewiedenbach, who was early nursing leader. Wiedenbach focuses on individualizing care for each patient. This is done by assessing the individual needs of each patient, so the nurse knows when to step in and help the patient. Central purpose Central purpose of this study is to improve the balance among elderly people. Prescription The investigator plan the prescription that will fulfil the central purpose (improve the balance among elderly).Thus the investigator, selected the method, exercise programme for elderly people, and which is considered to be the effective measure of improving the balance. Realities Agent investigator Recipient elderly people with decreased balance Goal improvement in balance Means provision of exercise (make them to do) Frame work old age home. Identification This includes identification of balance problems among old age people and also importance of exercises and its effects to improve the balance among elderly. Ministration Provision of exerciseprogramme (balance exercise) for elderly with balance problem. Validation Evaluation of the effectiveness of exercise programme on balance with the use of berg balance scale

picturing society :: essays research papers

In the article, Family Photograph Appreciation, Richard Chalfen discusses a teenage view of the relation between family snapshots and home videos. He first explains the value of personal photos using an example of natural or humanly coerced disasters and the mourning of visual traces of the past, or in other words, photographs. Family photographs are a very important aspect of peoples lives and without them we may never remember our past. By looking at snapshots, slides, home movies, etc, we stimulate our memory of important dates and events. He asks many questions about memory and video verses photography which will be discussed with teens he has interviewed.   Ã‚  Ã‚  Ã‚  Ã‚  Chalfen has structured an exploratory project that asked a small sample of thirty teenagers, living in the Cambridge/Boston areas of Massachusetts to evaluate the relative merits of using still photography and/or videography as a preferred medium of family photography. (Richard Chalfen) He conducted the interviews with two teens at a time while having a meal in a small restaurant. He was interested in their opinions on comparing photography and videography, which came out to be very interesting.   Ã‚  Ã‚  Ã‚  Ã‚  The teens explained to him about the effects of video tapes and how they were a way of â€Å"being there† all over again. Some of them felt it was more realistic than flipping through a picture album. Here we will introduce a few more of the theories made by teens during their interviews. Videotapes seem to supply the viewer with more information and makes it easy to remember. You get sound and movement to enhance the overall effect which brings you to see the whole experience. In many interviews the teens did not feel that videos were the best way to go. By looking at photographs it set off a whole lot of memories, not just what happened play by play like a home video. By looking at photographs you can use your imagination and over the years the stories from one picture will grow and change. You don’t have to think when you watch videos but by looking at photographs you search your memory for the details. One girl explained that she can look at photos over and over but watching a video will get boring after a few times. Perhaps we can conclude from this that there is a higher liking of still photographs over videography by most teens. They seem to be willing to put some work into collecting this important information.   Ã‚  Ã‚  Ã‚  Ã‚  To explain the difference, Chalfen discusses some examples, such as the two acting as memory aids in their own significant way.

something :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Def Jam Records is the most dominant and successful record label in the music industry today. Def Jam lives and breathes by one rule: continuity, and the men behind the legendary label are: Kevin Liles, Lyor Cohen, and founder/CEO Russell Simmons are the brains and life behind the label. Def Jam is the home of many of raps greatest names like LL Cool J, Run-DMC, Jay-Z etc. these are the names and this the label that brought rap music to the mainstream without changing or sugar-coating anything just to get to the top.   Ã‚  Ã‚  Ã‚  Ã‚  Lyor Cohen co-president of Island Def Jam music who oversees black music at Universal Records. In a January 2001 interview in â€Å"The Source† magazine Cohen says â€Å"we tend to our own gardens here, we don’t look into our neighbors garden. We are happy to see them do whatever they want to do, drive whatever they want to drive. No matter how much they â€Å"bling-bling† we don’t care about that†. This is what makes Def Jam so successful, they don’t â€Å"lean† with the trends that other labels and artists set, they make their own trends and do a great job at it. Cohen, ex-manager of Run-DMC, and longtime partner of Russell Simmons has been with Def Jam since almost Day one. Cohen Says â€Å"not only are we selling the most records consistently for the longest period of time† he points out â€Å" we have the most diversified hip-hop empire period.† Cohen is an up in your face businessman and complime nts the laid back demeanor of his two other partners. Cohen who seeked out most of the â€Å"power artists’ that Def Jam has on their legendary label, he also oversees money and the contract of all the artists on the label. His greatest asset, according to insiders is his ability to persuade white execs for extra money. But Cohen’s a big talker who can be heavy handed and it makes working with the powerhouse a bit hard to work with.   Ã‚  Ã‚  Ã‚  Ã‚  Kevin Liles who is over Def Soul Records, who started out as an intern, is now part of the three-headed monster and when the 5’3 giant barks people listen. Liles states in the January 2001 â€Å"The Source† magazine â€Å" Def Jam is more than a company name and logo it’s a lifestyle. It all comes back to foundation, Def Jam just keeps it in the trenches†. Liles says later in the interview â€Å"we spent 18 years building a brand that represents the best of hip-hop.

Blood Promise Chapter Eighteen

Unsurprisingly, I woke up with a headache. For a few addled seconds, I had no idea what had happened or where I was. As drowsiness wore off, the events on the street came slamming back to me. I sat upright, all of my defenses kicking into action, despite the slight wooziness in my head. Time to figure out where I was now. I sat up on an enormous bed in a darkened room. No-not just a room. More like a suite or a studio. I'd thought the hotel in Saint Petersburg was opulent, but this blew it away. The half of the studio I sat in contained the bed and usual bedroom accessories: a dresser, nightstands, etc. The other half looked like a living room area, with a couch and a television. Shelves were built into the walls, all of them filled with books. Off to my right was a short hall with a door at the end. Probably a bathroom. On my other side was a large picture window, tinted, as Moroi windows often were. This one had more tint than any I'd ever seen. It was almost solid black, nearly impossible to see through. Only the fact that I could differentiate the sky from the horizon-after a fair amount of squinting-let me know it was daytime out there. I slid off the bed, my senses on high alert as I tried to assess my danger. My stomach felt fine; there were no Strigoi in the area. That didn't necessarily rule out some other person, however. I couldn't take anything for granted-doing so was what had gotten me in trouble on the street. There was no time to ponder that, though. Not quite yet. If I did, my resolve here was going to falter. Sliding off the bed, I reached into my coat pocket for the stake. Gone, of course. I saw nothing else nearby that would pass as a weapon, meaning I'd have to rely on my own body to do my fighting. Out of the corner of my eye, I caught sight of a light switch on the wall. I flipped it on and froze, waiting to see what-or who-the overhead lights would unveil. Nothing unusual. No one else. Immediately, I did the first obvious thing and checked the door. It was locked, as I'd expected, and the only way of opening it was a numeric keypad. Plus, it was heavy and made of what looked like steel. It reminded me of a fire door. There was no getting past it, so I turned back around to continue my exploration. It was actually kind of ironic. A lot of my classes had gone over detailed ways of checking out a place. I'd always hated those; I'd wanted to learn about fighting. Now it appeared those lessons that had seemed useless at the time had real purpose. The light had brought the suite's objects into sharper relief. The bed was covered in an ivory satin duvet, filled to maximum fluffiness with down. Creeping over to the living room, I saw that the TV was nice-really nice. Large-screen plasma. It looked brand-new. The couches were nice too, covered in matte green leather. It was an unusual color choice for leather, but it worked. All of the furniture in the place-tables, desk, dresser was made of a smooth, polished black wood. In a corner of the living room, I saw a small refrigerator. Kneeling down, I opened it up to find bottled water and juice, assorted fruits, and bags of perfectly cut cheeses. On top of the refrigerator was more snack-type food: nuts, crackers, and some type of glazed pastry. My stomach growled at the sight of it, but no way was I going to eat anything in this place. The bathroom was done in the same style as the rest of the studio. The shower and large Jacuzzi tub were made of black polished marble, and little soaps and shampoos lined the counter. A larger mirror hung over the sink, except†¦ it wasn't actually hanging. It was embedded so tightly into the wall that there was absolutely no way it could be removed. The material was strange too. It looked more like reflective metal than glass. At first I thought that was strange, until I raced back out to the main room and looked around. There was absolutely nothing here that could be turned into a weapon. The TV was too big to move or break, short of cracking the screen, which looked like it was made of some high-tech plastic. There was no glass in any of the tables. The shelves were embedded. The bottles in the refrigerator were all plastic. And the window†¦ I ran over to it, feeling along its edges. Like the mirror, it was fitted perfectly into the wall. There were no panes. It was one smooth piece. Squinting again, I finally got a detailed view of my outer surroundings and saw†¦ nothing. The land appeared to be rolling plains, with only a few scattered trees. It reminded me of the wilderness I'd traveled while going to Baia. I was no longer in Novosibirsk, apparently. And peering down, I saw that I was fairly high up. Fourth floor, maybe. Whatever it was, it was too high to jump without breaking a limb. Still, I had to take some sort of action. I couldn't just sit here. I picked up the desk's chair and slammed it into the window-and achieved little effect on either the chair or the glass. â€Å"Jesus Christ,† I muttered. I tried three more times and still had no luck. It was like they were both made of steel. Maybe the glass was some kind of bulletproof industrial strength stuff. And the chair†¦ well, hell if I knew. It was all one piece of wood and showed no signs of splintering, even after what I'd just put it through. But since I'd spent my whole life doing things that weren't that reasonable, I kept trying to break the glass. I was on my fifth try when my stomach warned me of a Strigoi's approach. Spinning around, I kept a hold of the chair and charged the door. It opened, and I slammed into the intruder, with the chair's legs pointing out. It was Dimitri. Those same conflicted feelings I'd felt on the street returned to me, love mingled with terror. This time, I pushed through the love, not flinching in my attack. Not that it did much good. Hitting him was like hitting the window. He shoved me back, and I staggered, still holding onto the chair. I kept my balance and charged once more. This time, when we collided, he grabbed a hold of the chair and ripped it from my hands. He then tossed it into the wall, like it weighed nothing. Without that meager weapon, it was back to relying on my own body's strength. I'd been doing it for the last couple of weeks with our Strigoi questioning; this should have been the same. Of course, I'd had four other people then as backup. And none of those Strigoi had been Dimitri. Even as a dhampir, he'd been hard to beat. Now he was just as skilled-only faster and stronger. He also knew all my moves, seeing as he'd taught them to me. It was almost impossible to surprise him. But just like with the window, I couldn't stay inactive. I was trapped in a room-the fact that it was a big, luxurious room didn't matter-with a Strigoi. A Strigoi. That's what I had to keep telling myself. There was a Strigoi in here. Not Dimitri. Everything I'd told Denis and the others applied here. Be smart. Be vigilant. Defend yourself. â€Å"Rose,† he said, deflecting one of my kicks effortlessly. â€Å"You're wasting time. Stop.† Oh, that voice. Dimitri's voice. The voice I heard when I fell asleep at night, the voice that had once told me he loved me†¦ No! It's not him. Dimitri is gone. This is a monster. Desperately, I tried to think of how I could win here. I even thought of the ghosts I'd summoned on the road. Mark had said I could do that in moments of wild emotion and that they'd fight for me. This was as wild as emotion could get, yet I couldn't seem to call them. I honestly had no clue how I'd done it before, and all the wishing in the world couldn't make it happen now. Damn. What good were terrifying powers if I couldn't use them to my advantage? Instead, I pulled the DVD player off its shelf, cords ripping from the wall. It wasn't much of a weapon, but I was desperate now. I heard a strange, primal battle scream, and some distant part of me realized I was making it. Again, I ran at Dimitri, swinging the DVD player as hard as I could. It probably would have hurt a little-if it had hit him. It didn't. He intercepted it again, taking it from me, and throwing it down. It smashed to pieces on the floor. In the same motion, he grabbed a hold of my arms to stop me from hitting or reaching for something else. His grip was hard, like it could break my bones, but I kept struggling. He tried reason again. â€Å"I'm not going to hurt you. Roza, please stop.† Roza. The old nickname. The name he'd first called me when we'd fallen prey to Victor's lust charm, both of us wrapped naked in each other's arms †¦ This isn't the Dimitri you knew. My hands were incapacitated, so I struck out with my legs and feet as best I could. It didn't do much. Without full use of the rest of my body for balance, I had no force to throw into my kicks. For his part, he looked more annoyed than truly concerned or angry. With a loud sigh, he grabbed me by the shoulders and flipped me around, pressing me against the wall and immobilizing me with the full force of his body. I struggled a little but was as pinned as the Strigoi had been when the others and I had gone hunting. The universe had a sick sense of humor. â€Å"Stop fighting me.† His breath was warm against my neck, his body right up against mine. I knew his mouth was only a couple inches away. â€Å"I'm not going to hurt you.† I gave another fruitless shove. My breath was coming in ragged gasps, and my head injury throbbed. â€Å"You'll have to understand if I have a hard time believing that.† â€Å"If I wanted you dead, you'd be dead. Now, if you're going to keep fighting, I'll have to tie you up. If you stop, I'll let you stay unrestrained.† â€Å"Aren't you afraid I'll escape?† â€Å"No.† His voice was perfectly calm, and chills ran down my spine. â€Å"I am not.† We stood like that for almost a minute, deadlocked. My mind raced. It was true that he probably would have killed me already if that were his intent, yet that gave me no reason to believe I was even remotely safe. Nonetheless, we were at a draw in this fight. Okay, draw wasn't entirely accurate. I was at a draw. He was toying with me. My head was throbbing where his blow had landed, and this pointless fighting would only take a further toll. I had to regain my strength in order to find a way to escape-if I lived that long. I also needed to stop thinking about how close our bodies were. After our months of being so careful not to touch, this much contact was heady. I relaxed in his hold. â€Å"Okay.† He hesitated before letting me go, probably wondering if he could trust me. The whole moment reminded me of when we'd been together in the little cabin on the periphery of the Academy's grounds. I'd been raging and upset, brimming with spirit's darkness. Dimitri had held me down then, too, and talked me out of that horrible state. We had kissed, then his hands had lifted my shirt, and-no, no. Not here. I couldn't think about that here. Dimitri finally eased up, releasing me from the wall. I turned around, and all my instincts wanted to lash out and attack him again. Sternly, I reminded myself to bide my time so that I could gain more strength and information. Even though he'd let me go, he hadn't moved away. We were only a foot apart. Against my better judgment, I found myself taking him in again, like I had on the street. How could he be the same and yet so different? I tried my best not to focus on the similarities-his hair, the difference in our heights, the shape of his face. Instead, I concentrated on the Strigoi features, the red in his eyes and pallor of his skin. I was so fixated on my task that it took me a moment to realize he wasn't saying anything either. He was studying me intently, like his eyes could look right through me. I shivered. It almost-almost!-seemed as though I captivated him the same way he captivated me. That was impossible, though. Strigoi didn't possess those kinds of emotions, and besides, the thought of him still having any affection for me was probably just wishful thinking on my part. His face had always been hard to read, and now it was overlaid with a mask of cunning and coldness that made it truly impossible to know what was on his mind. â€Å"Why did you come here?† he asked at last. â€Å"Because you hit me on the head and dragged me here.† If I was going to die, I was going to go in true Rose style. The old Dimitri would have cracked a smile or given an exasperated sigh. This one remained impassive. â€Å"That's not what I meant, and you know it. Why are you here?† His voice was low and dangerous. I'd thought Abe was scary, but there was no competition at all. Even Zmey would have backed off. â€Å"In Siberia? I came to find you.† â€Å"I came here to get away from you.† I was so shocked that I said something utterly ridiculous. â€Å"Why? Because I might kill you?† The look he gave me showed that he thought that was indeed a ridiculous thing to say. â€Å"No. So we wouldn't be in this situation. Now we are, and the choice is inevitable.† I wasn't entirely sure what this situation was. â€Å"Well, you can let me go if you want to avoid it.† He stepped away and walked toward the living room without looking back at me. I was tempted to try to do a sneak attack on him, but something told me I'd probably only make it about four feet before getting backhanded. He sat down in one of the luxurious leather armchairs, folding his six-foot-seven frame up as gracefully as he'd always done. God, why did he have to be so contradictory? He had the old Dimitri's habits mixed with those of a monster. I stayed where I was, huddled against the wall. â€Å"Not possible anymore. Not after seeing you now†¦Ã¢â‚¬  Again, he studied me. It felt strange. Part of me responded with excitement to the intensity of his gaze, loving the way he surveyed my body from head to toe. The other part of me felt dirty, like slime or muck was oozing over my skin as he studied me. â€Å"You're still as beautiful as I remember, Roza. Not that I should have expected anything different.† I didn't know what to say to that. I'd never really had a conversation with a Strigoi, short of trading a few insults and threats in the midst of a fight. The nearest I'd come was when I'd been held captive by Isaiah. I actually had been tied up then, and most of the talking had been about him killing me. This†¦ well, it wasn't like that, but it was still definitely creepy. I crossed my arms over my chest and backed up against the wall. It was the closest I could come to some semblance of a defense. He tilted his head, watching me carefully. A shadow fell across his face in such a way that it made the red in his eyes hard to see. Instead, they looked dark. Just like they used to, endless and wonderful, filled with love and bravery†¦ â€Å"You can sit down,† he said. â€Å"I'm fine over here.† â€Å"Is there anything else you want?† â€Å"For you to let me go?† For a moment, I thought I saw a bit of that old wryness in his face, the kind he'd get when I made jokes. Studying him, I decided I'd imagined it. â€Å"No, Roza. I meant, do you need anything here? Different food? Books? Entertainment?† I stared incredulously. â€Å"You make it sound like some sort of luxury hotel!† â€Å"It is, to a certain extent. I can speak to Galina, and she'll get you anything you wish.† â€Å"Galina?† Dimitri's lips turned up in a smile. Well, kind of. I think his thoughts were fond, but the smile conveyed none of that. It was chilling, dark, and full of secrets. Only my refusal to show weakness before him stopped me from cringing. â€Å"Galina is my old instructor, back from when I was in school.† â€Å"She's Strigoi?† â€Å"Yes. She was awakened several years ago, in a fight in Prague. She's relatively young for a Strigoi, but she's risen in power. All of this is hers.† Dimitri gestured around us. â€Å"And you live with her?† I asked, curious in spite of myself. I wondered exactly what kind of relationship they had, and to my surprise, I felt†¦ jealous. Not that I had reason to. He was a Strigoi, beyond me now. And it wouldn't be the first time a teacher and student had gotten together†¦ â€Å"I work for her. She was another reason I returned here when I was awakened. I knew she was Strigoi, and I wanted her guidance.† â€Å"And you wanted to get away from me. That was the other reason, right?† His only answer was a nod of his head. No elaboration. â€Å"Where are we? We're far from Novosibirsk, right?† â€Å"Yes. Galina's estate is outside the city.† â€Å"How far?† That smile twisted a little. â€Å"I know what you're doing, and I'm not going to give you that sort of information.† â€Å"Then what are you doing?† I demanded, all of my pent-up fear bursting out as anger. â€Å"Why are you holding me here? Kill me or let me go. And if you're going to just lock me up and torture me with mind games or whatever, then I really would rather you kill me.† â€Å"Brave words.† He stood up and began pacing once more. â€Å"I almost believe you.† â€Å"They're true,† I replied defiantly. â€Å"I came here to kill you. And if I can't do that, then I'd rather die.† â€Å"You failed, you know. On the street.† â€Å"Yeah. I kind of figured that out when I woke up here.† Dimitri made an abrupt turn and was suddenly standing in front of me, moving with that lightning-fast Strigoi speed. My Strigoi-nausea had never gone away, but the more time I spent with him, the more it faded to a low-level sort of background noise that I could more or less ignore. â€Å"I'm a little disappointed. You're so good, Rose. So very, very good. You and your friends going around and taking down Strigoi caused quite a stir, you know. Some Strigoi were even afraid.† â€Å"But not you?† â€Å"When I heard it was you†¦ hmm.† He turned thoughtful, eyes narrowing. â€Å"No. I was curious. Wary. If anyone could have killed me, it would have been you. But like I said, you hesitated. It was your ultimate test of my lessons, and you failed.† I kept my face blank. Inside, I was still beating myself up over that moment of weakness on the street. â€Å"I won't hesitate next time.† â€Å"There won't be a next time. And anyway, as disappointed as I am in you, I'm still glad to be alive, of course.† â€Å"You aren't alive,† I said through gritted teeth. God, he was so, so close to me again. Even with the changes to his face, the lean and muscled body was the same. â€Å"You're dead. Unnatural. You told me a long time ago you'd rather die than be like this. That's why I'm going to kill you.† â€Å"You're only saying that because you don't know any better. I didn't either back then.† â€Å"Look, I meant what I said. I'm not playing your game. If I can't get out of here, then just kill me, okay?† Without warning, he reached out and ran his fingers along the side of my face. I gasped. His hand was ice cold, but the way he touched me†¦ again, it was the same. Exactly the same as I remembered. How was this possible? So similar†¦ yet so different. All of a sudden, another of his lessons came to mind, about how Strigoi could seem so, so like those you'd once known. It was why it was so easy to hesitate. â€Å"Killing you†¦ well, it's not that simple,† he said. His voice dropped to a low whisper again, like a snake slithering against my skin. â€Å"There's a third option. I could awaken you.† I froze and stopped breathing altogether. â€Å"No.† It was the only thing I could say. My brain couldn't come up with anything more complex, nothing witty or clever. His words were too terrifying to even begin to ponder. â€Å"No.† â€Å"You don't know what it's like. It's†¦ amazing. Transcendent. All your senses are alive; the world is more alive-â€Å" â€Å"Yeah, but you're dead.† â€Å"Am I?† He caught hold of my hand and placed it over his chest. In it, I could feel a steady beating. My eyes widened. â€Å"My heart beats. I'm breathing.† â€Å"Yeah, but†¦Ã¢â‚¬  I tried desperately to think of everything I'd ever been taught about Strigoi. â€Å"It's not really being alive. It's†¦ it's dark magic reanimating you. It's an illusion of life.† â€Å"It's better than life.† Both of his hands moved up and cupped my face. His heartbeat might have been steady, but mine was racing. â€Å"It's like being a god, Rose. Strength. Speed. Able to perceive the world in ways you could never imagine. And†¦ immortality. We could be together forever.† Once, that was all I'd ever wanted. And deep inside of me, some part still wished for that, wished desperately to be with him for all time. Yet†¦ it wouldn't be the way I wanted it. It wouldn't be like it used to be. This would be something different. Something wrong. I swallowed. â€Å"No†¦Ã¢â‚¬  I could barely hear my own voice, barely even form the words with him touching me like that. His fingertips were so light and gentle. â€Å"We can't be.† â€Å"We could.† One of his fingers trailed down the side of my chin and came to rest on the artery in my neck. â€Å"I could do it quickly. There'd be no pain. It'd be done before you even knew it.† He was probably right. If you were forced to become Strigoi, you had the blood drained from you. Then a Strigoi would usually cut himself and bring that blood to your lips. Somehow, I imagined I'd pass out before I was even half-drained. Together forever. The world blurred a little. I don't know if it was because of my head trauma or the terror coursing through my body. I had envisioned a hundred scenarios when I set out after Dimitri. Becoming a Strigoi hadn't been one of them. Death-his or mine-had been the only thought consuming me, which had been stupid on my part. My sluggish thoughts were interrupted when the door suddenly opened. Dimitri turned, shoving me away hard so that he stood protectively in front of me. Two people entered, shutting the door before I could even consider running for it. One of the newcomers was a Strigoi, a guy. The other was a human woman carrying a tray, her head bowed down. I recognized the Strigoi immediately. It was hard not to; his face haunted my dreams. Blond hair, about the length of Dimitri's, hung over the side of a face that looked like he'd been in his early twenties when he turned. He had apparently seen Lissa and me when we were younger, but I had only seen him twice before. Once had been when I fought him on the Academy's grounds. The other time was when I'd encountered him in the cave that other Strigoi were using as a hangout. He was the one who had bitten and turned Dimitri. The guy barely spared me a glance and instead turned the full force of his anger on Dimitri. â€Å"What the hell is going on?† I had no trouble understanding him. He was American. â€Å"You're keeping some pet up here?† â€Å"It's none of your concern, Nathan.† Dimitri's voice was ice. Earlier, I'd thought he conveyed no emotion in his words. Now I realized it was just more difficult to detect. There was a clear challenge in his voice now, a warning for this other guy to back off. â€Å"Galina gave me permission.† Nathan's eyes drifted from Dimitri to me. His anger turned to shock. â€Å"Her?† Dimitri shifted slightly, putting himself directly in front of me now. Some rebellious part wanted to snap that I didn't need a Strigoi's protection, except†¦ well, I kind of did. â€Å"She was at the school in Montana†¦ We fought†¦Ã¢â‚¬  His lips curled back, showing his fangs. â€Å"I would have tasted her blood if that fire-using Moroi brat hadn't been around.† â€Å"This doesn't have anything to do with you,† replied Dimitri. Nathan's red eyes were wide and eager. â€Å"Are you kidding? She can lead us to the Dragomir girl! If we finish that line off, our names will be legendary. How long are you going to keep her?† â€Å"Get out,† growled Dimitri. â€Å"That's not a request.† Nathan pointed at me. â€Å"She's valuable. If you're going to keep her around as some blood whore plaything, at least share. Then, we'll get the information and finish her.† Dimitri took a step forward. â€Å"Get out of here. If you lay a hand on her, I will destroy you. I will rip your head off with my bare hands and watch it burn in the sun.† Nathan's fury grew. â€Å"Galina won't allow you to play house with this girl. Even you don't have that much favor.† â€Å"Don't make me tell you to leave again. I'm not in a patient mood today.† Nathan said nothing, and the two Strigoi stood there in a staring match. I knew Strigoi strength and power were partially related to age. Nathan had obviously been turned first. I didn't know by how much, but watching them, I got the feeling that Dimitri might be stronger or that it was at least a very, very even match. I could have sworn I saw a glimpse of fear in Nathan's red eyes, but he turned away before I could get a good look. â€Å"This isn't over,† he snapped, moving toward the door. â€Å"I'm talking to Galina.† He left, and for a moment, nobody moved or spoke. Then Dimitri looked at the human woman and said something in Russian. She'd been standing there, frozen. Leaning over, she carefully placed her tray on the coffee table by the couch. She lifted a silver lid up, revealing a plate of pepperoni pizza loaded with cheese. Under any other circumstances, someone bringing me pizza in a Strigoi home would have been ludicrous and funny. Now, in the wake of Dimitri's threat to turn me Strigoi and Nathan's desire to use me to get to Lissa, nothing was funny. Even Rose Hathaway had limits when it came to making jokes. Next to the pizza was a huge brownie, thick with frosting. Food I loved, as Dimitri well knew. â€Å"Lunch,† he said. â€Å"Not poisoned.† Everything on the tray looked amazing, but I shook my head. â€Å"I'm not going to eat.† He arched an eyebrow. â€Å"Do you want something else?† â€Å"I don't want anything else because I'm not going to eat anything at all. If you aren't going to kill me, then I'll do it myself.† It was occurring to me that the suite's lack of weapons was probably for my own protection as much as theirs. â€Å"By starving to death?† There was dark amusement in his eyes. â€Å"I'll awaken you long before then.† â€Å"Why aren't you just doing it now?† â€Å"Because I'd rather wait for you to be willing.† Man, he really did sound like Abe, except that breaking one's kneecaps seemed kind of soft-core in comparison. â€Å"You're going to be waiting a long time,† I said. Dimitri laughed out loud then. His laughter had been rare as a dhampir, and hearing it had always thrilled me. Now it no longer had that rich warmth that had wrapped all around me. It was cold and menacing. â€Å"We'll see.† And before I could form a reply, he moved in front of me again. His hand snaked behind my neck, shoving me against him, and he tilted my face up, pressing his lips against mine. They were as cold as the rest of his skin†¦ and yet there was something warm in there, too. Some voice in me screamed that this was sick and horrible†¦ but at the same time, I lost track of the world around me as we kissed and could almost pretend we were back together in the cabin. He pulled away as quickly as he'd moved in, leaving me gasping and wide-eyed. Casually, like nothing had happened, he gestured to the woman. â€Å"This is Inna.† She looked up at the sound of her name, and I saw she was no older than me. â€Å"She works for Galina too and will check in on you. If you need anything, let her know. She doesn't speak much English, but she'll figure it out.† He said something else to her, and she meekly followed him to the door. â€Å"Where are you going?† I asked. â€Å"I have things to do. Besides, you need time to think.† â€Å"There's nothing to think about.† I forced as much defiance into my words as I could. It must not have sounded very fierce, though, because all my speech earned me was one mocking smile before he left with Inna, leaving me alone in my luxurious prison.