A Report On The Macroeconomy Of Vietnam - 1962 Words

A Report on the Macroeconomy of Vietnam: Analysis and Policy Recommendations Nhan Ho - @00351167 Macroeconomic overview of Vietnam Vietnam has gone through a successful development process, known to be one of south east Asia’s fastest growing economy and could possibly become a developed nation by 2020 (BBC News, 2014). Vietnam was once one of the poorest countries in the world in 1986 with per capita income below $100. As of present, Vietnam has transformed into a lower middle income country with per capita income of $1,960 by 2013 (The World Bank, 2014). Vietnam’s GDP per capita have been rising every year as shown in Fig. 1. Fig. 1 Vietnam’s GDP Per Capita from years 2004 to 2014 (Trading Economics, 2014). Vietnam has also had success in reducing poverty, from nearly 60% of people living in poverty falling to 20.7% in 2010 and presently below 10% (The World Bank, 2014). One of the causes of poverty was due to the lack of education (limited access) which was corrected over the years; primary school enrolments for the poor have increased by more than 90% and secondary school enrolments increasing by 70%. Not only were there rising levels of education but also diversification in off-farm activities, though there are still problems such as external shocks, inequality and macro instability that still create new challenges for Vietnam (The World Bank, 2013). As seen in Fig. 2, there was a high unemployment rate in 2010 but it has continued to improve asShow MoreRelatedCorporate Finance Practices in Frontier Markets and Malawis Economic Development3233 Words   |  13 Pagesan option for portfolio diversification (Investopedia, 2012). The list below reveals the more notable frontier markets on the globe: Table 1: A representative list of frontier markets Asia Eastern Europe Africa Middle East South America Vietnam Cyprus Nigeria Kuwait Colombia Sri Lanka Slovenia Kenya United Arab Emirates Panama Bangladesh Romania Cote dIvoire Qatar Ecuador Kazakhstan Croatia Tunisia Jordan Argentina Pakistan Estonia Mauritius Oman Venezuela Ukraine Read MoreChina: Building Capitalism with Socialist Characteristics13709 Words   |  55 Pagesacross Chinas provinces. Generally, all women were required to request permission for more than one child, and approval was given only if a first child had a birth defect or the mother had remarried.11 Some provinces reportedly went even further, and reports of infanticide, forced sterilization, and third trimester abortions were widespread. As a result, Chinas rate of population growth slowly began to subside. Along with these dramatic changes in the countryside, the early Deng reforms also began toRead MoreChina: Building Capitalism with Socialist Characteristics13701 Words   |  55 Pagesacross Chinas provinces. Generally, all women were required to request permission for more than one child, and approval was given only if a first child had a birth defect or the mother had remarried.11 Some provinces reportedly went even further, and reports of infanticide, forced sterilization, and third trimester abortions were widespread. As a result, Chinas rate of population growth slowly began to subside. Along with these dramatic changes in the countryside, the early Deng reforms also began to

What is Euthanasia Free Essays

Euthanasia is one of the most highly discussed topic in society today. It is not morally correct it has to do with killing someone and ruins the intrinsic value of a human being. That is my argument towards euthanasia. We will write a custom essay sample on What is Euthanasia? or any similar topic only for you Order Now Euthanasia goes against nature. Those that oppose say that it is mercy killing, but it is still killing. I am with the majority who are against this so-called mercy killing. Before presenting my arguments, it would be best to define the term â€Å"euthanasia†. Euthanasia can be defined in many ways. Here are categories that fall in with the term euthanasia. â€Å"The term involuntary euthanasia is where the decision is not made by the person who is to die; the patient’s life is ended without the knowledge and consent. It is basically a form of murder. Passive euthanasia is to speed up the process of death to a person and stopping some type of support to let that take its course.’ (academic, coup) Like: stopping a form of medical procedure, stopping nutrients of food and water and allowing the person to dehydrate or starve to death, with that not delivering CPR. â€Å"The term active euthanasia involves causing the death of a person through a direct action, in response from that person.† (ACADEMIC.COUP) A well-known example of that is the case of Dr. Kevorkian. He gave a lethal dose of medicine to kill a terminally ill patient. Dr. Jack Kevorkian was a retired pathologist who assisted in the deaths of over 130 people. The famous court case of Dr. Jack Kevorkian brought awareness to the controversial issue of euthanasia to the public. â€Å"In Michigan, Dr. Jack Kevorkian was convicted of the second-degree murder because he administered a controlled substance to end the life of Thomas Youk and had prepared a video showing his action and let the video be broadcast on national television (NY Times). A different yet similar situation and legal case would come about Saskatchewan, Canada when a wheat farmer named Robert Latimer would take the question of euthanasia into his own hands. â€Å"Robert Latimer murdered his young daughter, Tracy, on October 24th, 2008. Behind the reasoning of Latimer’s act which was immoral is that he couldn’t help to see his daughter suffering from a severe form of cerebral palsy and her disability. He killed her by placing Tracy in the back of his car and ran a hose from the exhaust to the cab, while he watched her die. Latimer was then convicted on November 4,1993 of first-degree murder. The year after he was convicted of second-degree murder.† (Inclusion Daily). So the question is: what’s the difference between his actions of killing his Tracy who suffers from serious pain, and a doctor who received given permission to kill an individual who is also suffering from pain? Eventually Dr. Jack Kevorkian, and Robert Latimer, were both charged with murder because they chose to practice euthanasia. If murder is prohibited by law because people take murder into their own hands to kill others, then why shouldn’t euthanasia be too since doctors kill their patients even if there is consent. A doctor must receive authorization to assist in the death of a patient who is overly sick. Because of this many have questioned why doesn’t Robert Latimer have the right to take his own daughters life, since a doctor would have had to ask him anyways to have the right to kill Tracy? Latimer apparently saved his daughter from suffering, which is the same reason many people. How to cite What is Euthanasia?, Papers

Dillard’s Moving Mountain Mapping a Landscape in Pilgrim at Tinker Creek Example For Students

Dillard’s Moving Mountain: Mapping a Landscape in Pilgrim at Tinker Creek Throughout Annie Dillard’s Pilgrim at Tinker Creek, the author uses a number of techniques and devices to create images of particular landscapes that are both vivid and unique. Dillard’s language in descriptions of the landscape suggests space and shape, assigns color and likeness, and at times, implies motion and vitality. One particularly striking example of Dillard’s crafting the landscape occurs when she famously â€Å"pat the puppy† (79) and becomes completely aware of her present sensory experiences, describing a mountain before her in such terms as these: â€Å"Shadows lope along the mountain’s rumpled flanks; they elongate like root tips, like lobes of spilling water, faster and faster. A warm purple pigment pools in each ruck and tuck of the rock; it deepens and spreads, boring crevasses, canyons. As the purple vaults and slides, it tricks out the unleafed forest and rumpled rock in gilt, in shape-shifting patches of glow. These gold lights veer and retract, shatter and glide in a series of dazzling splashes, shrinking, leaking, exploding. The ridge’s bosses and hummocks sprout bulging from its side; the whole mountain looms miles closer; the light warms and reddens; the bare forest folds and pleats itself like living protoplasm before my eyes, like a running chart, a wildly scrawling oscillograph on the present moment† (79). Dillard’s use of images, words and figurative and lyrical language in her description of mountain together create a sense of motion and vitality, as if the landscape she depicts is actively alive, shaping and forming itself before her. The vitality of this particular landscape, as observed during her moment of transcendence, perhaps suggests that such life may only be observed but at rare and fleeting moments. Imperative to the effect of the above passage is Dillard’s use of verbs in the present tense. As each sentence contains multiple verbs, all of which apply to the appearance of the mountain and its various components, Dillard’s description perhaps suggests that in her moment of pure observation, she views the landscape performing before her, or actively constructing itself. The activity of the landscape perhaps implies continuous and rhythmic movement or motion, an idea which culminates in Dillard’s final image of the oscillograph, which typically maps waves and currents. Dillard seems to give the mountain much of its animation through the play of light and shadow on its surface. For Dillard, inconsistencies in the light create movement, color and shape; while the light is subject to change due to time of day, shadow and cloud cover, the appearance of the mountain is likewise affected. Of shadows on the mountain, Dillard writes â€Å"they elongate like root tips, like lobes of spilling water, faster and faster† (79), suggesting present motion as well as future motion, as the speed of the shadows’ elongation grows progressively faster. Furthermore, the shadows may be expected to repeat such motions in successive days, as long as the Earth persists in its rotation. Dillard’s verb choice in mentions of the mountain’s physical components also implies present motion. In one instance, Dillard writes that the mountain’s â€Å"bosses and hummocks sprout bulging from its side† (79). That these protrusions â€Å"sprout,† suggests that they participate in an organic process of growth, much as plants sprout from seed and continue to grow. It is perhaps useful to note that this process typically occurs through contact with sunlight, the interaction Dillard uses to create a sense of motion on the mountain. Dillard’s use of verbs in the present tense to delineate active motion on the mountain is perhaps inseparable from her personification of the various components of the mountain and the light. That Dillard personifies things such as land and light perhaps serves to further animate the landscape and make her comparisons possible. As Dillard compares the forest at the base of the mountain to protoplasm, which is typically matter teeming with life, her personification of the landscape works to further suggest life. Dillard’s verbs suggest present motion, but her use of personification allows that motion to be further associated with life. In personifying the mountain and the light, Dillard writes, â€Å"shadows lope along the mountain’s rumpled flanks† (79), allowing that the shadows may â€Å"lope† as some creature of the land, and that the mountain may have â€Å"flanks† in much the same way. Rather than allow the shadows to participate in some non-human or animal action, Dillard specifically observes that the shadows â€Å"lope,† perhaps encouraging the thought the actions of the shadows may not be governed by such as the sun. Likewise, rather than the shadows loping on the â€Å"sides† of the mountains, they do so on its â€Å"flanks.† That the mountain should have metaphorical flanks would perhaps suggest that it possesses other parts of a living body, and is a living body itself. .ufe1ee5208fae7dc8440da0bd03c21f9e , .ufe1ee5208fae7dc8440da0bd03c21f9e .postImageUrl , .ufe1ee5208fae7dc8440da0bd03c21f9e .centered-text-area { min-height: 80px; position: relative; } .ufe1ee5208fae7dc8440da0bd03c21f9e , .ufe1ee5208fae7dc8440da0bd03c21f9e:hover , .ufe1ee5208fae7dc8440da0bd03c21f9e:visited , .ufe1ee5208fae7dc8440da0bd03c21f9e:active { border:0!important; } .ufe1ee5208fae7dc8440da0bd03c21f9e .clearfix:after { content: ""; display: table; clear: both; } .ufe1ee5208fae7dc8440da0bd03c21f9e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ufe1ee5208fae7dc8440da0bd03c21f9e:active , .ufe1ee5208fae7dc8440da0bd03c21f9e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ufe1ee5208fae7dc8440da0bd03c21f9e .centered-text-area { width: 100%; position: relative ; } .ufe1ee5208fae7dc8440da0bd03c21f9e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ufe1ee5208fae7dc8440da0bd03c21f9e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ufe1ee5208fae7dc8440da0bd03c21f9e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ufe1ee5208fae7dc8440da0bd03c21f9e:hover .ctaButton { background-color: #34495E!important; } .ufe1ee5208fae7dc8440da0bd03c21f9e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ufe1ee5208fae7dc8440da0bd03c21f9e .ufe1ee5208fae7dc8440da0bd03c21f9e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ufe1ee5208fae7dc8440da0bd03c21f9e:after { content: ""; display: block; clear: both; } READ: Epistemology: Annie Dillard and Sven Birkerts Essay exampleThroughout the passage describing the mountain, Dillard also employs a number of lyrical devices, which contribute the apparent rhythm and movement of the landscape. A particularly lyrically charged instance in Dillard’s description of the mountain is her account of the color of the light on its surface, in which she writes, â€Å"a warm purple pigment pools in each ruck and tuck of the rock† (79). In this instance, Dillard employs alliteration, rhyme and consonance, the ultimate effect of which is perhaps a suggestion of rhythm and movement. The alliterative segment â€Å"purple pigment pools† creates a melodic effect, and perhaps suggests that the flow of speech evident here is indicative of the flow of events occurring on the mountain. The pigment then, pools â€Å"in each ruck and tuck of rock,† which exemplifies Dillard’s use of rhyme and consonance. That â€Å"ruck† and â€Å"tuck† should rhyme seems to give the description of the light a rhythmic and somewhat repetitive quality, especially as both terms essentially imply a pleat or fold (OED). The seeming softness of the verbs contrasts with the apparent hardness of the â€Å"rock.† Together, â€Å"ruck,† â€Å"tuck† and â€Å"rock† embody consonance, which like alliteration, lends rhythm to the line of prose. Simile abounds in Dillard’s description of the mountain, with the likely object of continuing the conceit that the landscape is a living, moving entity. Dillard’s shadows â€Å"elongate like root tips† (79), a comparison which invites ideas of natural growth and being alive. Dillard’s conception of the forest as â€Å"living protoplasm† (79) works similarly, in that her perceived motions of the forest as a whole suggest multitudes of life within responsible for such action. Indeed, this image is consistent with Dillard’s writing throughout the rest of the work, as she commonly focuses on life on smaller, even microscopic scales. The oscillograph image introduced by Dillard at the end of the passage is perhaps complicated by the fact that it is neither alive nor produced by natural processes, but is instead an account or map of motion, usually waves or currents. The motion of currents and waves while not necessarily perfectly regular, usually follows a pattern or rhythm of continuous motion. Dillard’s description of the mountain evokes this same idea in that the mountain is teeming with constant motion. For Dillard, the motion of the forest resembles the image produced by an oscillograph, as does Dillard’s language for the reader. Dillard presents motion after motion at work on the mountain, varying and repeating literary techniques in order to create from language the movements she describes. Dillard works to establish a natural, organic motion on the mountain. In that moment of transcendence when Dillard is capable of entirely open observation, the mountain landscape is alive. Dillard’s language in her description of the landscape not only makes it vivid for the reader, but mimics the sense of rhythmic movement which she assigns to the land as well. Dillard’s use of repetition, sound devices, metaphor, images and active verbs create for the reader a sense of fluid, changing language on a page, which in turn describes an apparently fluid and changing landscape. The final image of the oscillograph, while indicative of an inorganic process, measures the activity witnessed by Dillard, reflecting itself upon the image of the forest. Perhaps an oscillograph of Dillard’s writing in this passage during her transcendent moment would also generate rhythmic waves and currents, progressing and yet doubling back, continues and full of movement and life. Works Cited Dillard, Annie. Pilgrim at Tinker Creek. New York: HarperCollins, 2007.