Red Supergiants are the Largest Stars in the Universe

Red supergiants are among the largest stars in the sky. They dont start out that way, but as different kinds of stars age, they undergo changes that make them big...and red. Its all part of star life and star death.   Defining Red Supergiants   When astronomers look at the largest stars  (by volume) in the universe, they see a great many red supergiants. However, these behemoths are not necessarily—and almost never are—the largest stars by mass. It turns out theyre a late stage of a stars existence and they dont always fade away quietly.   Creating a Red Supergiant How do red supergiants form? To understand what they are, its important to know how stars change over time. Stars go through specific steps throughout their lives. The changes they experience are called stellar evolution. It starts with star formation and youthful star-hood. After they are born in a cloud of gas and dust, and then ignite hydrogen fusion in their cores, stars usually live on something astronomers call the main sequence.  During this period, they are in hydrostatic equilibrium. That means the nuclear fusion  in their cores (where they fuse hydrogen to create helium) provides enough energy and pressure to keep the weight of their outer layers from collapsing inwards. When Massive Stars Become Red Supergiants A high-mass star (many times more massive than the Sun) goes through a similar, but a slightly different process. It changes more drastically than its sun-like siblings and becomes a red supergiant.  Because of its higher mass, when the core collapses after the hydrogen burning phase the rapidly increased temperature leads to the fusion of helium very quickly. The rate of helium fusion goes into overdrive, and that destabilizes the star. A huge amount of energy pushes the outer layers of the star outwards and it turns into a red supergiant. At this stage, the gravitational force of the star is once again balanced by the immense outward radiation pressure caused by the intense helium fusion taking place in the core. The star that transforms into a red supergiant does so at a cost. It loses a large percentage of its mass out to space. As a result, while red supergiants are counted as the largest stars in the universe, they are not the most massive because they lose mass as they age, even as they expand outward. Properties of Red Supergiants Red supergiants look red because of their low surface temperatures. They range from about 3,500 - 4,500 Kelvin. According to Wiens law, the color at which a star radiates most strongly is directly related to its surface temperature. So,  while their cores are extremely hot, the energy spreads out over the interior and surface of the star and the more surface area there is, the faster it can cool. A good example of a red supergiant is the star Betelgeuse, in the constellation Orion. Most stars of this type are between 200 and 800 times the radius of our Sun. The very largest stars in our galaxy, all red supergiants, are about 1,500 times the size of our home star.  Because of their immense size and mass, these stars require an incredible amount of energy to sustain them and prevent gravitational collapse. As a result, they burn through their nuclear fuel very quickly and most live only a few tens of millions of years (their age depends on their actual mass). Other Types of Supergiants While red supergiants are the largest types of stars, there are other types of supergiant stars. In fact, it is common for high mass stars, once their fusion process passes beyond hydrogen, that they oscillate back and forth between different forms of supergiants. Specifically becoming yellow supergiants on their way to becoming blue supergiants and back again. Hypergiants The most massive of supergiant stars are known as hypergiants. However, these stars have a very loose definition, they are usually just red (or sometimes blue) supergiant stars that are the highest order: the most massive and the largest. The Death of a Red Supergiant Star A very high-mass star will oscillate between different supergiant stages as it fuses heavier and heavier elements in its core. Eventually, it will exhaust all its nuclear fuel that runs the star. When that happens, gravity wins.  At that point, the core is primarily iron (which takes more energy to fuse than the star has) and the core can no longer sustain outward radiation pressure, and it begins to collapse. The subsequent cascade of events leads, eventually to a Type II supernova event. Left behind will be the core of the star, having been compressed due to the immense gravitational pressure into a neutron star; or in the cases of the most massive of stars, a black hole  is created. How Solar-type Stars Evolve People always want to know if the Sun will become a red supergiant. For stars about the size of the Sun (or smaller), the answer is no. They do go through a red giant phase, though, and it looks pretty familiar. When they begin to run out of  hydrogen fuel their cores begin to collapse. That raises the core temperature quite a bit, which means theres more energy generated to escape the core. That process pushes the outer part of the star outward, forming a  red giant. At that point, a star is said to have moved off the main sequence.   The star chugs along with the core getting hotter and hotter, and eventually, it begins to fuse helium into carbon and oxygen. During all this time, the star loses mass. It puffs off layers of its outer atmosphere into clouds that surround the star. Eventually, whats left of the star shrinks to become a slowly cooling white dwarf. The cloud of material around it is a called a planetary nebula, and it gradually dissipates. This is a far more gentle death than massive stars discussed above experience when they explode as supernovae.   Edited by Carolyn Collins Petersen.

The Birth Of Radical Monotheism - 1220 Words

Q: Why do scholars see in Second Isaiah [1] the birth of radical monotheism and [2] the belief that YHWH is the God of universal history. In order to properly answer the first question regarding the birth of radical monotheism, I felt the need to define the term â€Å"radical†. The definition that I found in the Oxford Living Dictionary(Oxford Living dictionary, https://en.oxforddictionaries.com/definition/radical) is as follows: 1. â€Å"(especially of change or action) relating to or affecting the fundamental nature of something; far-reaching or thorough† 2.â€Å"Characterized by departure from tradition; innovative or progressive† It took me a moment to figure out why I found this definition odd, despite its accuracy. I realized that I could†¦show more content†¦During The Sea and The Mountain, our first reading assignment, I found myself surprised that the founders of Judaism were polytheists; yet during this very same reading assignment I found myself shocked by the boldness of a single deity in a polytheistic world to announce that they were the one true God. I thought to myself, how could I possibly have been shocked by two complete opposite thoughts in one homework assignment? I recall thinking â€Å"this is the beginning of the One God school of thought.† (Kirchheim, Sakai Discussion Forum). Given the definition of radical coupled with my sincere awe of the boldness of the statement made in Exodus 20, I believe that the birth of radical monotheism lies in Exodus, thereby effectively disqualifying Isaiah from holding this title. During the stories in Exodus, the small community of Egyptian’s fundamental culture is depicted through the departure being a polytheistic culture into the transformation of a monotheistic one. The stories in Exodus gently guides the community via the soft and gentle innuendo of a single God. This transformation begins as: â€Å"So that you may know that there is no one like me in all the earth.† (Exodus 9:14) This is quite a non-confrontational way to begin proposing the idea of a single God. The words here are chosen very carefully with no outrageous claims that would have been unfathomable to someone living at the time such as being the only God in all of the heavens or universe, simplyShow MoreRelatedA Very Brief Look at Christianity1084 Words   |  4 Pagesmore than a third of the world’s population. In spite of having various branches, Christianity is a Monotheistic religion, meaning a religion based on the belief of one God. 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The premodern period, which ran until 1450, contained two events fundamental to the history of the Middle East, the Birth of Islam, and the split between Shi’ism and Sunnism. Monotheism had been gaining global relevance throughout the premodern period, with the rise of Christianity and Judaism as religious powers. By the time of Muhammad’ birth in 570, various religious traditions had been established by Christianity and Judaism, which would be adopted into Islam. Because the areaRead MoreEssay about Salman Rushdie’s Idea of Women in The Satanic Verses1945 Words   |  8 Pagesin Islamic societies always justify the horrible things they do to women by saying it is indeed God’s will. Later on in the book in the chapter â€Å"A City Visible but Unseen† Rushdie again shows the favoritism of males over females. When Hind gives birth to her second daughter, Anahita, she is so upset that she only has two girls that she refuses to have any more children and forces her husband to sleep in another bed to ensure she will not get pregnant with another girl. Later on her husband, Sufyan

Alvin Ailey Free Essays

Gerald L. Archard November 22, 2010 2nd block dance 2 Dance Pioneers, Companies, and Choreographers Alvin Ailey Alvin Ailey, Jr. was an African American modern dancer, dance teacher and choreographer, who founded the Alvin Ailey American Dance Theater. We will write a custom essay sample on Alvin Ailey or any similar topic only for you Order Now Ailey was a gifted creator of dance expressing the African American cultural experience and history. His choreographic works live on in performances by the company he founded. The Alvin Ailey American Dance Theater toured extensively and regularly in Europe and Asia during Ailey’s lifetime, making Ailey a familiar name worldwide. His works continue to inspire, uplift, educate, and communicate brilliance to all who witness them. One of his best known works, the choreographic masterpiece, Revelations, based on Ailey’s experience growing up as an African American in the South, consistently brings audiences to their feet in enthusiastic, spontaneous ovation. Ailey was born to his 17-year-old mother, Lula Cooper, in Rogers, Texas. His father abandoned the family when Alvin was only a few months old. Ailey’s mother was determined to make a better life for herself and child. She moved numerous times in Ailey’s early years. One of the constants in Alvin’s childhood was attendance at the True Vine Baptist Church. His mother sang in the choir. Ailey’s immersion in the experience of charismatic and enthusiastic worship filled with gospel music and traditional spiritual songs had a lasting affect. Later in life, he choreographed dances to some of the music he first heard as a churchgoing youngster. In 1943, he and his mother moved to Los Angeles, California. Alvin was fourteen years old then. His mother worked often. The teen used his freedom after school to explore the city. Ailey was drawn to the music from the big band jazz clubs while the musicians practiced for their evening shows. He was also drawn to the theater marquees announcing upcoming shows like Billie Holliday, Duke Ellington, and others. One day he spotted a handbill with a photo of Katherine Dunham, a dancer costumed in layers and layers of ruffles. At the time, Dunham’s dance troupe was the only group of dancers touring and performing dances from Africa, Haiti, and Latin America. Ailey’s curiosity was so intense that he found himself peeking in the stage door to catch sight of the performance of Dunham’s Tropical Revue. This was the beginning of Ailey’s lifelong passion for dance. Alvin began hanging around the stage door of the theater during the run of Dunham’s show. He was there so often that one of the dancers invited him backstage and into the auditorium to watch. This introduction led him to study dance. Initially, Alvin took dance classes in the style and method of choreographer and dancer Katherine Dunham, from a student of hers. However, he was not really comfortable with this style that involved abandoning oneself to sensuous full body movement. Later, he was introduced to dance teacher Lester Horton. Horton had a dance school in nearby in Hollywood and his style was more straightforward. After seeing the school performance of fellow Jefferson High School student and Horton protege, Carmen de Lavallade, Alvin signed on with Horton. Lavallade was to be a lifelong friend and colleague of Ailey’s. While studying with Horton, Ailey pursued college courses in the Romance languages. At various times Ailey was enrolled at the University of California, Los Angeles, Los Angeles City College, and the University of California, Berkeley. He studied the writings of James Baldwin, Langston Hughes, and Carson McCullers. His scholarly pursuits led him away from Lester Horton’s school. In late summer of 1951, Ailey left for San Francisco to work and go to school. He soon befriended a young singer and dancer by the name of Margareurite Angelos (Maya Angelou). The two worked up a nightclub act called â€Å"Al and Rita. † They performed occasionally, and Ailey earned a living waiting tables and dancing at the New Orleans Champagne Supper Club. It was here that he first began choreographing acts of his own. This experience also marked the end of his college pursuits. Ailey started his own dance company in 1958, featuring primarily African American dancers. The company was invited back to Ted Shawn’s summer dance festival in Massachusetts, in the summer of 1959. Following the stint, Susan Pimsleur, a concert manager offered to add the Ailey dancers to her roster. She laid out a plan for tours and concerts and designed a brochure, calling the company the Alvin Ailey American Dance Theater. A third concert at the 92nd Street YMCA was planned for January 31, 1960. It was during this performance that Ailey first staged his signature work, Revelations. The piece came from a very deep place within Ailey’s psyche. The performance was an intense expression of heavenly faith, earthly despair, and unquenchable humanity. From its very first performance that January day, the audience jumped to their feet with a resounding ovation. The producer of the dance program at the YMCA finally went on to the stage to silence the audience and announce that due to the overwhelming response of the audience, a second performance would be scheduled, an unprecedented fro that venue. In 1961, the United States Department of State approached Ailey, and invited him to travel in Southeast Asiaa for a thirteen week tour produced by the President’s Special International Program for Cultural Presentations. Ailey accepted the invitation. He gathered dancers including some from his Horton days, including de Lavallade, Truitte and others. This was the first of many successful tours by the company. In a three years, Ailey had created a company and a body of work that communicated powerfully and conveyed to the world the beauty and universality of art and its rightful place in American culture. Alvin wrote in program notes for one of the tours, â€Å"The cultural heritage of the American Negro is one of America’s richest treasures. â€Å"Ailey integrated his dance company in 1963. He also did some acting and directing. One notable production he directed was Langston Hughes’s Jericho-Jim Crow (1964). In summer of 1965, Ailey spotted Judith Jamison, a strikingly tall dancer with a strong foundation in ballet, at an audition he was attending. Ailey saw something special in her and tracked her down to invite her to join the company. She accepted, and today it is Jamison who runs the AAADT. Presented around the world by the Ailey’s dance theater, the choreographic masterpiece Revelations, which is based on Ailey’s experience growing up as an African American in the South, is among the best known and most frequently seen of modern dance performances. This piece ‘speaks’ to audiences of all stripes in such a profound and inspiring way that audiences often leap to their feet in ovation at the close of the performance. It is a timeless portrayal of the experience of the American south of the first half of the twentieth century. Ailey has been memorialized by the renaming of West 61st Street between Amsterdam and Columbus Avenues in New York City as â€Å"Alvin Ailey Way;† the Alvin Ailey American Dance Theater was located on that block at 211 West 61st Street from 1989 until 2005, when it moved to a new, bigger facility at the corner of West 55th Street and Ninth Avenue. In 1987, Ailey received the Samuel H. Scripps American Dance Festival Award. The citation on the award read, â€Å"To Alvin Ailey, dancer teacher and choreographer, whose work is generated from the heart and powered by passion; he stands as a model of artistic integrity. An American, informed by the Black experience, Mr. Ailey’s choreography presses through cultural lines and speaks a universal language. His dances, whether sassy, sad, witty or lyrical, have brought joy and a sense of purpose to people throughout the world. Alvin Ailey’s consistent artistic achievements have insured him a place as a giant in the history of American modern dance. † His longtime friend, Harry Belafonte presented the award. Ailey was awarded the Kennedy Center Honors in 1988. How to cite Alvin Ailey, Papers

Crisis Management-Free-Samples for Students Myassignmenthelp.com

Question: Discuss about the Crisis Management. Answer: Each and every healthcare professional has to face situations where they have to handle patients engaged in trivial crisis. Patients going through crisis are vulnerable to a large number of negative impacts which may include physical and mental harm (Mirabito, 2017). The effects of crisis may linger on the minds of the patients for a long time and hence experts need to ensure following proper evidence based framework for handling each of the episodes of the crisis. This will gradually help the expert to handle the patient properly and make him live a better quality life (Koweszko et al., 2017). This assignment will mainly be based on a case where a patient named Ben has been suffering from depression due to his job pressure and wants to end his life. He had taken several chances of suicide by cutting his hands and hence the expert of the acupuncture who is conducting the crisis management needs to use the James Gilliland Seven Stage Intervention Mode to proactively handle the crisis case with best outcomes. Ben is a veterinarian of 52 years old who has been suffering from depression form the last six months and is taking treatment under the acupuncture expert. He had visited the clinic suddenly where he was found vulnerable of conducting suicide and self harm as he is no longer able to take the stresses of his job anymore. He was broken down completely and stated that he has no reason or no one in his life to live for. He had already tried killing himself a lot of times and was in a severe crisis stage. He needed proper counseling so that he could be taken out from the strenuous phase. The first stage of the James Gilliland Seven Stage Intervention Model is the Engagement stage. In this stage, I would first wish him and would try to make him feel comfortable in my presence. In the first step, I would try to gain trust form the patient. Gaining proper trust is very necessary so that we can build a proper relationship which would make him feel comfortable and discuss his issues properly. A guest who is not comfortable can never portray all his problems and would neither be able to believe in what the expert would suggest him to do or act (Eby, Mitchell Zimmerman, 2016). I would attentively listen to the patient with empathy and genuineness so that he can feel that I am empathizing his situation and understanding his emotions properly. If the expert is not behaving this way, the patient in crisis may become more depressed as he would feel that he is not cared at all. Meanwhile, I will promise him to be the best companion and would be discussing with him about what h e can expect as outcomes of the discussion and the procedure I would follow to help him. The second stage is called the exploring the problem stage. In this stage, I would mainly be discussing the issue which the patient is facing in details. For this, I would be mainly trying to jot down important points that are causing depression in him. I would try to make him reveal the emotional and physical stresses that he experiences during his job hours and also what he feels after the job hours. I would also try to understand the intrapersonal as well as the interpersonal factors that are contributing to the development of depression in him. Knowing about this problem and the contributing factors are exceptionally important to understand his thinking process. Critically analyzing the thinking process will help the expert to understand the changes in the thinking required and how different positive aspects can be incorporated in his thinking and reasoning skill to make him overcome the vulnerable phase. The third step is associated with providing the support phase. This mainly describes the existing support that are already being provided to the client and the additional support that the expert needs to be in association with the client during the phase (Vasli et al., 2016). I, as an expert in the field of acupuncture, am already assisting the patient for several months with treatment of the four gates. With this treatment, I am mainly stimulating the source points on both of his hands between the thumb and index finger and also between big toe and second toe in both feet to mainly free the Qi blocks and help in free circulation and free movement of the Qi (Jacobs et al., 20170. However, I have realized that the acupuncture itself is not being able to handle the situation as the patient is highly stressed and cannot concentrate during the treatment. Therefore, I would need the help of a general physician who would be providing him with anti-depressants and also the help of a psychol ogist who would be counseling him. The next step is called examining alternatives for a short term basis. I realized that the patient is highly stressed form his work physically which is in turn making him mentally agitated and stressed. Therefore I asked him if he had any option of taking a small break of 14 days from the work. This break would help him to overcome his physical stress and would also help him to indulge time in his hobbies and things he wanted to do for himself from long time. Moreover, during this time, he should also visit his families and friends so that the feeling of loneliness can be overcome and he feels a sense of binding with everyone. This vacation would help him temporarily to release the stress which is creating depression in him and give him some happy moments (Zanello et al., 2017). The next step helps in making plans. A proper planning should be developed to help the patient come out from depression and to never develop any crisis period. The first important thing that needs to be done is to provide him with a proper time table that would have proper work life balance strategies. As he is engaged most of the time and is not taking any breaks for entertaining himself, he is getting stressed (Smith, 2014). Therefore, he would be advised to take part in activities he likes to perform. Secondly, he would be suggested to visit a counselor so that he can develop positive thoughts about his life and make him think rationally (Hare, 2017). This will reduce chances of his feeling low and depressed. Thirdly, he would be advised to take holidays and live without stress as these breaks would be helping him to rejuvenate his soul and body. All these would help him to cope up with present situations. Moreover, he should be also empowered about his will power and proper balan ce in his life and work, so that he can develop internally and be at peace. The sixth step would be obtaining commitment from the client. Ben should be first communicated proactively so that I can be sure that he is aligning with the different suggestions given to him. I would also communicate in order to understand that whether he is out from his vulnerability of harming himself. Only when I am convinced that I have successfully been able to make him understand the correct ways of handling the depression without self harming him, then only, I will ask for his commitment. I would also study his expressions and body language in order to judge whether the commitments given by him ensure genuine feelings or not (Visser et al., 2014). The last step is following up. In this step, I will mainly be fixing a future follow up phase so that I can ensure that Ben is following the suggestions, taking the correct outlook towards life and is overcoming depression. After an immediate follow up within two days, another follow up can be fixed after a brief period of days (Erber, 2014). A person going through crisis may lose the ability to think rationally and often may perform activities which would harm him physically or mentally increasing the sufferings of life. Hence, Ben should be handled with prior importance and following proper techniques of James and Gilliland Crisis Intervention, so that he can be taken out form his vulnerable situation and make him visualize the positive aspects of life. References: Eby, L. T., Mitchell, M., Zimmerman, L. (2016). Work and Family in Times of Crisis.The Oxford Handbook of Work and Family, 417. Erber, N. (2014). Outlining a Crisis Management Plan for a Community: Crisis Planning in Michigan.Michigan Journal of Counseling,41(1), 38. Hare, R. (2017). Balancing risk-taking and public safety in mental health.Kai Tiaki: Nursing New Zealand,23(8), 36. Jacobs, G. A. (2017). Through a Disaster Behavioral Health Lens.Integrating Emergency Management and Disaster Behavioral Health: One Picture through Two Lenses, 203. James, R Gilliland, B. (2013). Crisis intervention Strategies 7thEdition. Brooks/Cole,Belmont, CA Koweszko, T., Gierus, J., Wi?d?ocha, M., Mosio?ek, A., Szulc, A. (2017). An introduction to the model of crisis intervention procedure for borderline patients (CIP-BP): a case study.Archives of psychiatric nursing,31(3), 324-328. Mirabito, D. M. (2017). Social Work Theory and Practice for Crisis, Disaster, and Trauma.Social Work Treatment: Interlocking Theoretical Approaches, 117. Smith, Y. (2014). Rethinking decision making: An ethnographic study of worker agency in crisis intervention.Social Service Review,88(3), 407-442. Vasli, P., Dehghan?Nayeri, N. (2016). Emergency nurses' experience of crisis: A qualitative study.Japan journal of nursing science,13(1), 55-64. Visser, V. S., Comans, T. A., Scuffham, P. A. (2014). Evaluation Of The Effectiveness Of A Community?Based Crisis Intervention Program For People Bereaved By Suicide.Journal of Community Psychology,42(1), 19-28. Zanello, A., Berthoud, L., Bacchetta, J. P. (2017). Emotional crisis in a naturalistic context: characterizing outpatient profiles and treatment effectiveness.BMC psychiatry,17(1), 130.