Ortho Tri-Cyclen and Acne Essay -- Medicine Medical Birth Control Pape

Ortho Tri-Cyclen and Acne What does Ortho Tri-Cyclen do for the treatment of acne and how does it work? In 1960, the medical world of the United States was revolutionized by the introduction of The Pill. For the past forty years, The Pill has been the most popular form of reversible birth control. But beside the stellar contraceptive effectiveness rate ranging from 97-99.9% (when taken as directed), many other non-contraceptive benefits exist in conjunction with this method of birth control. Studies have proven that a women’s incidence of ovarian and endometrial cancers, benign cysts of the ovaries and breasts, and pelvic inflammatory disease, all decrease with pill use. Heavy bleeding and severe cramps are also minimized (www.fda.gov/bbs/topics/CONSUMER/CON00027.html). Recent claims state that birth control may also effectively treat some types of acne. Though, back in 1966, The Rocky Mountain Medical Journal published an article illustrating the effectiveness of estrogen-progestin combination in the treatment of stubborn acne, and maintaining that the cyclic admin istration of oral contraception is a useful measure for many women. It was not until January 2, 1997 that marked another big step in the world of the birth control pill when, for the first time, an oral contraceptive was approved for marketing by the United States Food and Drug Administration (FDA) as an effective treatment for acne. Ortho Tri-Cyclen, originally introduced in 1992 by the Ortho-McNeil Pharmaceutical Corporation, is the first low dose birth control pill approved for a noncontraceptive indication. (www.pslgroup.com/dg/fa6a/htm.) Ortho Tri-Cyclen is the only birth control pill that has been clinically proven for the treatment of mo... ... acne vulgaris. Journal of American Acad Dermatology, 37(5Pt1), 746-54 Olson WH, Lippman JS, Robisch DM, (1998). The duration of response to norgestimate and ethinyl estradiol in the treatment of acne vulgaris. Internal Journal of Fertil Womens Med, 43(6), 286-90 Redmond GP, (1998). Effectiveness of oral contraceptives in the treatment of acne, Contraception, 58(3 Suppl), 29S-33S Redmond GP, Olson WH, Lippman JS, Kafrissen ME, Jones TM, Jorizzo JL, (1997). Norgestimate and ethinyl estradiol in the treatment of acne vulgaris: a radomized, placebo controlled trial. Obstetrics and Gynecology, 89(4), 615-22 Van Hoff MH, Hirasing RA, Kaptein MB, Koppenaal C, Voorhorst FJ, Schoemaker J, (1998). The use of oral contraceptives by adolescents for contraception, menstrual cycle problems or acne. Acta Obstetrics and Gynecol Scand, 77(9), 898-904

Phaedra vs Hippolytus

Euripides vs. Dassin The classic Greek legend of Phaedra probes the tragic consequences that occur when a woman becomes sexually obsessed with her stepson. In Phaedra (1962) director Jules Dassin presents Phaedra as a woman overwhelmed by passions she cannot control. This follows the interpretation of Phaedra developed by Euripides, who broke with older versions in which Phaedra was an evil sensualist seeking to corrupt her innocent stepson. Dassin adds political punch to the film by exploring the luxurious lives enjoyed by elite shipping families. Where as Hippolytus takes place in Troezen, a city in the northeastern Peloponnese.In the Hippolytus, Phaedras husband is serving a year of voluntary exile for murdering the Pallantids. Where as in Phaedra, he is a very wealthy and free man. A majority of Hippolytus revolves around the goddess Aphrodite. Where as in Phaedra there is no gods or goddess’s. Euripides’ play Hippolytus was written in 428 B. C. , and ever since it has been regarded as one of the great classical works. In his treatment of the Phaedra myth, Euripides presents Phaedra in a state of mental anguish and exhaustion brought about by her love for Hippolytus, which she strives to conceal.Euripides frames the events of the human characters with the presence of the gods Aphrodite and Artemis. Euripides’ Athenian audience was therefore provided with prior knowledge about Phaedra’s guilty secret, for her ‘passion’ is described as being imposed by the god Aphrodite. Euripides portrays Aphrodite as a terrifying and vindictive deity, unlike the voluptuous woman often depicted in visual art. Her opening monologue conveys an imperious attitude, and she sees the world and its people as her domain.Because Aphrodite is the goddess of love, her perception of the world seems reasonable, since her power extends to the everyday lives of the mortals over whom she rules. This is not, however, the benign emotion that today we m ight associate with the word â€Å"love. † Rather, Euripides depicts erotic love as a consuming and destructive force. As Aphrodite states, those who fail to accord the proper respect to her will face obliteration. The terrifying power of love is essential to understanding Aphrodite’s anger at Hippolytus and the development of the play.Aphrodite directs her fury at Hippolytus because he refuses to worship her. He is, as he explains in Scene I, not interested in erotic love and consequently reveres the goddess of love â€Å"from a long way off. † He instead remains chaste and worships Artemis exclusively. This, of course, infuriates Aphrodite who vows to punish him for his blasphemy. Because he will not honor erotic love, she decides that its power will destroy him, thereby proving her supremacy over humanity to all those who hear of Hippolytus’ destruction.Her vehicle for punishing him is Phaedra, his stepmother, who thus becomes a victim of love. Phaedra ’s position in the play as the agent through whom Aphrodite exacts her revenge creates an ethical problem. According to Aphrodite’s scheme, Phaedra must die, but unlike Hippolytus, she has not committed any offenses against the goddess of love. Phaedra therefore becomes a victim of love’s power, a pawn bewitched into loving her stepson who then commits suicide out of shame. Yet as Aphrodite explains, â€Å"Her suffering does not weight in the scale so much that I should let my enemies go untouched. Reconciling Aphrodite’s need for revenge and Phaedra’s innocence is an interpretive challenge of the play, and Euripides does not provide an easy answer. Out of this tension arises a central conflict of the play, specifically concerning the relationship between men and gods during the period in which Euripides wrote. This relationship seems tenuous at best and bears little resemblance to modern perspectives on religion. As such, an essential question to consider is what responsibilities gods had to people and people to gods.Euripides’s tragedy offers a few insights into this relationship. As evidenced by Aphrodite’s reaction to Hippolytus’ exclusive devotion to Artemis, humans were to worship all of the gods. This relationship, however, does not seem reciprocal. Rather, Aphrodite’s manipulation of Phaedra indicates that the gods had few obligations to humans. Free from the burdens of protecting men, the gods used men as their playthings while humans had to worship the gods to placate them and avoid incurring their wrath.Dassin’s Phaedra is the forty-something, second wife of shipping magnate Thanos Kyrilis, who wishes to reconcile with his estranged son Alexis, an art student living in London. The athletic and handsome Thanos is a cunning businessman involved in international commerce, but he is likable and adores his wife. He gives Phaedra expensive gifts and names his new prize ship in her hono r. Phaedra is not ignored or abused by an unattractive or deceitful husband. Dassin adds political punch to the film by exploring the luxurious lives enjoyed by elite shipping families.This is not done in a heavy-handed manner. The lavish villas, yachts, and fashionable attire of the super rich are simply allowed to speak for themselves without any editorial grumbling by Greek commoners. Dassin takes a further jab at the Greek shippers by setting up marital relationships between his characters that parallel real-life marriages involving the Onassis and Niarchos shipping clans. The tragedy takes form when Thanos cajoles a reluctant Phaedra to deliver a message to Alexis in London that his father wants his twenty-four-year-old son to be at his side.From their first encounter, Phaedra and Alexis engage in a playful flirtation inappropriate to their relationship. Alexis invites Phaedra to meet his â€Å"girl,† which turns out to be a pricey sports car in a dealership window. Thei r empathy, however, leads to Alexis meeting with his father in Paris. When business needs require Thanos to leave for New York City, Phaedra, persuades Alexis to remain. The supposedly mounting passion between Mercouri and Perkins lacks chemistry. All the sexual energy comes from the sultry Phaedra and her attraction to the bland Alexis is inexplicable.Nor is Dassin’s camera effective in addressing this sexual void. The film’s big sex scene is an unimaginative sequence of blurred shots of the embracing couple punctuated by shots of a rain storm at the window, a blazing fireplace, and glowing candles. After living together in Paris for more than a week, Alexis asks Phaedra to declare her love openly and return with him to London. Phaedra, however, feels compelled to rejoin her husband on the island of Hydra. Fearful of her lack of self control, she tells Alexis, â€Å"Don’t come. † Greece brings no respite to Phaedra’s emotions.Although still yearni ng for Alexis, she is tormented by her sense of shame and deceit. Her only confidant is Anna (Olympia Papoudaka), her aging personal maid, who is distraught by Phaedra’s anguish. Anna’s emotions have homoerotic aspects that feel far more genuine than the emotions Alexis has projected. The women take siestas together, but their sexual intimacy remains limited to the adoring Anna’s caresses. Thanos informs Alexis that the car he so admires is waiting for him in Hydra. Alexis demands to know what Phaedra desires him to do.The increasingly unstable Phaedra reverses what she had said earlier and implores Alexis to come as soon as possible, but her plans go awry when Alexis hews ever closer to his father while becoming ever more wary of her. The sexual dynamics intensify when Ercy, Alexis’s beautiful second cousin, a woman his own age, falls in love with him. Thanos and his circle are delighted at the prospect of a marriage that would further unite the shipping families. A now sullen and possessive Phaedra stands between Alexis and all that is â€Å"normal. Alexis reacts by playing the role of a carefree party boy at the local seaside tavern. He goes off with the first available woman, an act designed to cool Ercy’s ardor and belittle Phaedra. The film reaches its climax when the luxury ship named Phaedra, seen launched in the film’s opening scenes, sinks, killing most of its crew. Phaedra, obsessed by her own agenda, arrives at Thanos’s offices in the midst of the crisis. Ironically clad in white, she pushes her way through black-clad women anxious to know the fate of their men. Oblivious to the grief around her, Phaedra-in-white reveals her secret love to Thanos.An enraged Thanos manages to restrain himself from striking her, but beats Alexis viciously, ordering him, as he did Phaedra, to leave his sight forever. The blood-soaked Alexis returns to the family villa for a last embrace of his â€Å"girl. † Phae dra appears at the garage door and tells him they can now live openly as lovers; he replies that he wishes Phaedra dead. The rejected Phaedra returns to the main house where she takes an overdose of sleeping pills while the now frenzied Alexis, listening to music by Bach, drives his â€Å"girl† over a cliff.

Analysis Of John Proctor s The Crucible - 1223 Words

Grover, Katie No Teacher Yet Honors Sophomore English August 8, 2016 TITLE GOES HERE DO NOT FORGET In common vernacular, a crucible is used to heat substances in order to become more pure or perfect; however, when a town with strict theology and no tolerance is subject to the grueling torture of innocent lives dying for a false cause, the result is anything but perfect. Though John Proctor does find some relief in his redemption at the end, by no means does the drama have a happy ending. Though it is somewhat plausible to define Arthur Miller’s drama, The Crucible, as a comedy, there is overwhelming evidence in favor of the drama being labeled a tragedy. John Proctor’s inability to overcome his moral weakness of lust, the town’s tragic flaw of intolerance and jealousy, and Proctor’s inability to rationalize his life and the world around him combine in a heartbreaking way to form a tragedy. Moral weaknesses, especially John proctor’s, play a key role in classifying The Crucible as a tragedy. John struggles with his ma ny emotions and his brutal honesty in a grueling fight to clear his name. Proctor’s anger at having committed such a sin leads him to tell Abigail, â€Å"‘You’ll speak nothin’ of Elizabeth’† (Miller 22). His quick, harsh words to a girl that he once regarded fondly reveal his internal battle, as well as his newfound distaste of Abby. He wishes for Abby to forget what they did so that he might try to fix his suffering marriage. Proctor’s regret is amplified when heShow MoreRelatedAnalysis Of John Proctor s The Crucible 1344 Words   |  6 PagesAn Examination of John Proctor In 1692, Salem Massachusetts was overridden with mass hysteria. Allegations of witchery were widespread and people were killed for crimes they never committed. 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As the play progresses however, John Proctor capitulates, acknowledging his affair thinking it would clear his and his wife’s name fromRead MoreAnalysis Of John Proctor s The Crucibles 1212 Words   |  5 PagesCeline Christiansen Mrs. Evans English III H November 23, 2015 The Crucibles â€Å"I have given you my soul; leave me my name!† bellowed John Proctor to Danforth in Act IV. The Crucibles was written by Arthur Miller reminiscent of McCarthyism in the 1950s. Reputation and integrity is set forward in the story, as it causes the plot to develop and advance, and it is discernible all throughout the story, especially the end. Reputation is tremendously significant in theocratic SalemRead MoreThe Crucible By Arthur Miller998 Words   |  4 Pageswith confessions of a meeting with the devil, continuing with declaring a reunification with Jesus, and ending with of course, accusing others of witchcraft. The false confessions favor the dishonest and are motivated by jealousy and spite. The Crucible is a four-act dramatic play production that was first performed on January 22, 1953. Arthur Miller used dialogue within the characters to cover the multiple themes; conflicts and resolutions, plus the few directions for the different actions ofRead MoreThe Crucible By Arthur Miller1138 Words   |  5 Pages Arthur Miller’s The Crucible takes place in a puritan 17th century Salem town, where a distinct line separates right from wrong. Puritan ideals define the individuals living in Salem, and John Proctor, the protagonist, finds himself struggling to realize and act on these ideals. Miller portrays Proctor in different lights throughout the course of the play, as Proctor often finds himself engrossed in the heat of the hysteria driven town. 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