Surrealism - The Movement and Artists Who Defied Logic

Surrealism - The Movement and Artists Who Defied Logic Surrealism defies logic. Dreams and the workings of the subconscious mind inspire art filled with strange images and bizarre juxtapositions. Creative thinkers have always toyed with reality, but in the early 20th century Surrealism emerged as a philosophic and cultural movement. Fueled by the teachings of Freud and the rebellious work of Dada artists and poets, surrealists like Salvador Dalà ­, Renà © Magritte, and Max Ernst promoted free association and dream imagery. Visual artists, poets, playwrights, composers, and film-makers looked for ways to liberate the psyche and tap hidden reservoirs of creativity. Features of Surrealistic Art Dream-like scenes and symbolic imagesUnexpected, illogical juxtapositionsBizarre assemblages of ordinary objectsAutomatism and a spirit of spontaneityGames and techniques to create random effectsPersonal iconographyVisual puns  Distorted figures and biomorphic shapesUninhibited sexuality and taboo subjectsPrimitive or child-like designs How Surrealism Became a Cultural Movement Art from the distant past can appear surreal to the modern eye. Dragons and demons populate ancient frescos and medieval triptychs. Italian Renaissance painter Giuseppe Arcimboldo  (1527–1593) used trompe l’oeil effects   to depict human faces made of fruit, flowers, insects, or fish. The Netherlandish artist Hieronymus Bosch  (c. 1450-1516) turned barnyard animals and household objects into terrifying monsters. Did Salvador Dalà ­ model his strange rock after an image by Hieronymus Bosch? Left: Detail from The Garden of Earthly Delights, 1503-1504, by Hieronymus Bosch. Right: Detail from The Great Masturbator, 1929, by Salvador Dalà ­. Credit: Leemage/Corbis and Bertrand Rindoff Petroff via Getty Images Twentieth-century surrealists praised The Garden of Earthly Delights and called Bosch their predecessor. Surrealist artist Salvador Dalà ­ may have imitated Bosch when he painted the odd, face-shaped rock formation in his shockingly erotic masterpiece, The Great Masturbator. However, the creepy images Bosch painted are not surrealist in the modern sense. It’s likely that Bosch aimed to teach Biblical lessons rather than to explore dark corners of his psyche. Similarly, Giuseppe Arcimboldo’s delightfully complex and freakish portraits were visual puzzles designed to amuse rather than to probe the unconscious. Although they look surreal, paintings by early artists reflected deliberate thought and conventions of their time. In contrast, 20th-century surrealists rebelled against convention, moral codes, and the inhibitions of the conscious mind.The movement emerged from Dada, an avant-garde approach to art that mocked the establishment. Marxist ideas sparked a disdain for Capitalist society and a thirst for social rebellion. The writings of Sigmund Freud suggested that higher forms of truth might be found in the subconscious. Moreover, the chaos and tragedy of World War I spurred a desire to break from tradition and explore new forms of expression.   In 1917, French writer and critic Guillaume Apollinaire used the term â€Å"surrà ©alisme† to describe Parade, an avant-garde ballet with music by Erik Satie, costumes and sets by Pablo Picasso, and story and choreography by other leading artists. Rival factions of young Parisians embraced surrà ©alisme and hotly debated the meaning of the term. The movement officially launched in 1924 when poet Andrà © Breton published the First Manifesto of Surrealism. Tools and Techniques of Surrealist Artists Early followers of the Surrealism movement were revolutionaries who sought to unleash human creativity. Breton opened a Bureau for Surrealist Research where members conducted interviews and assembled an archive of sociological studies and dream images. Between 1924 and 1929 they published twelve issues of La Rà ©volutionsur rà ©aliste, a journal of militant treatises, suicide and crime reports, and explorations into the creative process. At first, Surrealism was mostly a literary movement. Louis Aragon (1897–1982), Paul Éluard (1895–1952), and other poets experimented with automatic writing, or automatism, to free their imaginations. Surrealist writers also found inspiration in cut-up, collage, and other types of found poetry. Visual artists in the Surrealism movement relied on drawing games and a variety of experimental techniques to randomize the creative process. For example, in a method known as decalcomania, artists splashed paint on to paper, then rubbed the surface to create patterns. Similarly, bulletism  involved shooting ink onto a surface, and à ©claboussure involved spattering liquid onto a painted surface that was then sponged. Odd and often humorous assemblages of found objects became a popular way to create juxtapositions that challenged preconceptions. A devout Marxist, Andrà © Breton believed that art springs from a collective spirit. Surrealist artists often worked on projects together.The October 1927 issue of La Rà ©volution surrà ©aliste featured works generated from a collaborative activity called Cadavre Exquis, or Exquisite Corpse. Participants took turns writing or drawing on a sheet of paper. Since no one knew what already existed on the page, the final outcome was a surprising and  absurd composite. Surrealist Art Styles Visual artists in the Surrealism movement were a diverse group. Early works by European surrealists often followed the Dada tradition of turning familiar objects into satirical and nonsensical artworks. As the Surrealism movement evolved, artists developed new systems and techniques for exploring the irrational world of the subconscious mind. Two trends emerged:  Biomorphic (or, abstract)  and Figurative. Giorgio de Chirico. From the Metaphysical Town Square Series, ca. 1912. Oil on canvas. Dea / M. Carrieri via Getty Images Figurative surrealists produced recognizable representational art. Many of the figurative surrealists were profoundly influenced by Giorgio de Chirico (1888-1978), an Italian painter who founded the  Metafisica, or Metaphysical, movement. They praised the dreamlike quality of de Chiricos deserted town squares with rows of arches, distant trains, and ghostly figures. Like de Chirico, figurative surrealists used techniques of realism to render startling, hallucinatory scenes. Biomorphic (abstract) surrealists wanted to break entirely free from convention. They explored new media and created abstract works composed of undefined, often unrecognizable, shapes and symbols. Surrealism exhibits held in Europe during the 1920s and early 1930s featured both figurative and biomorphic styles, as well as works that might be classified as Dadaist. Great Surrealist Artists in Europe Jean Arp:  Born in Strassburg, Jean Arp (1886-1966) was a Dada pioneer who wrote poetry and experimented with a variety of visual mediums such as torn paper and wooden relief constructions. His interest in organic forms and spontaneous expression aligned with surrealist philosophy. Arp exhibited with Surrealist artists in Paris and became best known for fluid, biomorphic sculptures such as Tà ªte et coquille (Head and Shell). During the 1930s, Arp transitioned to a non-prescriptive style he called Abstraction-Crà ©ation. Salvador Dalà ­:  Spanish Catalan artist Salvador Dalà ­ (1904-1989) was embraced by the Surrealism movement in the late 1920s only to be expelled in 1934. Nevertheless, Dalà ­ acquired international fame as an innovator who embodied the spirit of Surrealism, both in his art and in his flamboyant and irreverent behavior. Dalà ­ conducted widely-publicized dream experiments in which he reclined in bed or in a bathtub while sketching his visions. He claimed that the melting watches in his famous painting, The Persistence of Memory, came from self-induced hallucinations. Paul Delvaux:  Inspired by the works of Giorgio de Chirico, Belgian artist Paul Delvaux (1897-1994) became associated with Surrealism when he painted illusionary scenes of semi-nude women sleep-walking through classical ruins. In L’aurore (The Break of Day), for example, women with tree-like legs stand rooted as mysterious figures move beneath distant arches overgrown with vines. Max Ernst:  A German artist of many genres,  Max Ernst (1891-1976) rose from the Dada movement to become one of the earliest and most ardent surrealists. He experimented with automatic drawing, collages, cut-ups, frottage (pencil rubbings), and other techniques to achieve unexpected juxtapositions and visual puns. His 1921 painting Celebes places a headless woman with a beast that is part machine, part elephant. The title of the painting is from a German nursery rhyme. Alberto Giacometti: Sculptures by the Swiss-born surrealist Alberto Giacometti (1901-1966) look like toys or primitive artifacts, but they make disturbing references to trauma and sexual obsessions. Femme à ©gorgà ©e (Woman with Her Throat Cut) distorts anatomical parts to create a form that is both horrific and playful. Giacometti departed from Surrealism in the late 1930s and became known for figurative representations of elongated human forms. Paul Klee. Music at the fair, 1924-26. De Agostini / G. Dagli Orti via Getty Images Paul Klee: German-Swiss artist Paul Klee (1879-1940) came from a musical family, and he filled his paintings with a personal iconography of musical notes and playful symbols. His work is most closely associated with Expressionism and Bauhaus. However, members of the Surrealism movement admired Klee’s use of automatic drawings to generate uninhibited paintings like Music at the Fair, and Klee was included in surrealist exhibitions.  Ã‚   Renà © Magritte. The Menaced Assassin, 1927. Oil on canvas. 150.4 x 195.2 cm (59.2 Ãâ€" 76.9 in). Colin McPherson via Getty Images Renà ©Ã‚  Magritte: The Surrealism movement was already well-underway when Belgian artist Renà © Magritte (1898-1967) moved to Paris and joined the founders. He became known for realistic renderings of hallucinatory scenes, disturbing juxtapositions, and visual puns. The Menaced Assassin, for example, puts placid men wearing suits and bowler hats in the midst of a gruesome pulp novel crime scene. Andrà © Masson: Injured and traumatized during World War I, Andrà © Masson  (1896-1987) became an early follower of the Surrealism movement and an enthusiastic proponent of  automatic drawing. He experimented with drugs, skipped sleep, and refused food to weaken his conscious control over the motions of his pen. Seeking spontaneity, Masson also threw glue and sand at canvases and painted the shapes that formed. Although Masson eventually returned to more traditional styles, his experiments led to new, expressive approaches to art. Joan Mirà ³. Femme et oiseaux (Woman and Birds), 1940, #8 from Mirà ³Ã¢â‚¬â„¢s Constellations series. Oil wash and gouache on paper. 38 x 46 cm (14.9 x 18.1 in). Credit: Tristan Fewings via Getty Images Joan Mirà ³: Painter, print-maker, collage artist, and sculptor Joan Mirà ³ (1893-1983) created brightly colored, biomorphic shapes that seemed to bubble up from the imagination. Mirà ³ used doodling and automatic drawing to spark his creativity, but his works were carefully composed. He exhibited with the surrealist group and many of his works show the influence of the movement. Femme et oiseaux (Woman and Birds) from Mirà ³Ã¢â‚¬â„¢s Constellations series suggests a personal iconography that is both recognizable and strange. Meret Oppenheim: Among the many works by Mà ©ret Elisabeth Oppenheim (1913-1985), were assemblages so outrageous, the European surrealists welcomed her into their all-male community. Oppenheim grew up in a family of Swiss psychoanalysts and she followed the teachings of Carl Jung. Her notorious Object in Fur (also known as Luncheon in Fur) merged a beast (the fur) with a symbol of civilization (a tea cup). The unsettling hybrid became known as the epitome of Surrealism.   Pablo Picasso: When the Surrealism movement launched, Spanish artist Pablo Picasso (1881-1973), was already lauded as a forefather of Cubism. Picasso’s Cubist paintings and sculptures were not derived from dreams and he only skirted the edges of the Surrealism movement. Nevertheless, his work  expressed a spontaneity that aligned with surrealist ideology. Picasso exhibited with surrealist artists and had works reproduced in  La Rà ©volution surrà ©aliste. His interest in iconography and primitive forms led to a series of increasingly surrealistic paintings. For example, On the Beach (1937) places distorted human forms in a dream-like setting. Picasso also wrote surrealistic poetry composed of fragmented images separated by dashes. Here’s an excerpt from a poem that Picasso wrote in November 1935: when the bull–opens the gateway of the horse’s belly–with his horn–and sticks his snout out to the edge–listen in the deepest of all deepest holds–and with saint lucy’s eyes–to the sounds of moving vans–tight packed with picadors on ponies–cast off by a black horse Man Ray. Rayograph,1922. Gelatin silver print (photogram). 22.5 x 17.3 cm (8.8 x 6.8 in). Historical Picture Archive via Getty Images Man Ray: Born in the United States, Emmanuel Radnitzky (1890-1976) was the son of a tailor and a seamstress. The family adopted the name â€Å"Ray† to hide their Jewish identity during an era of intense anti-Semitism.  In 1921, â€Å"Man Ray† moved to Paris, where he became important in the Dada and surrealist movements.Working in a variety of media, he explored ambiguous identities and random outcomes. His rayographs were eerie images created by  placing objects directly onto photographic paper. Man Ray. Indestructible Object (or Object to Be Destroyed), Oversized reproduction of 1923 original. Exhibition at Prado Museum, Madrid. Atlantide Phototravel via Getty Images Man Ray was also noted for bizarre three-dimensional assemblages such as Object to Be Destroyed, which juxtaposed a metronome with a photograph of a woman’s eye. Ironically, the original Object to Be Destroyed was lost during an exhibition. Yves Tanguy: Still in his teens when the word surrà ©alisme  emerged, French-born artist Yves Tanguy (1900-1955) taught himself to paint the hallucinatory geological formations that made him an icon of the Surrealism movement. Dreamscapes like Le soleil dans son à ©crin (The Sun in Its Jewel Case) illustrate Tanguy’s fascination for primordial forms. Realistically rendered, many of Tanguy’s paintings were inspired by his travels in Africa and the American Southwest. Surrealists in the Americas Surrealism as an art style far outlived the cultural movement that Andrà © Breton founded. The passionate poet and rebel was quick to expel members from the group if they didn’t share his left-wing views. In 1930, Breton published a Second Manifesto of Surrealism, which riled against the forces of materialism and condemned artists who didn’t embrace collectivism. Surrealists formed new alliances. As World War II loomed, many headed to the United States. The prominent American collector Peggy Guggenheim (1898-1979) exhibited surrealists, including Salvador Dalà ­, Yves Tanguy, and her own husband, Max Ernst. Andrà © Breton continued to write and promote his ideals until his death in 1966, but by then Marxist and Freudian dogma had faded from Surrealistic art. An impulse for self-expression and freedom from the constraints of the rational world led painters like Willem de Kooning (1904-1997) and Arshile Gorky (1904-1948) to Abstract Expressionism. Louise Bourgeois. Maman (Mother), 1999. Stainless steel, bronze, and marble. 9271 x 8915 x 10236 mm (about 33 feet high). On exhibit at the Frank Gehry-designed Guggenheim Museum in Bilbao, Spain. Nick Ledger / Getty Images Meanwhile, several leading women artists reinvented Surrealism in the United States. Kay Sage (1898-1963) painted surreal scenes of large architectural structures. Dorothea Tanning (1910-2012) won acclaim for photorealistic paintings of surreal images. French-American sculptor Louise Bourgeois (1911-2010) incorporated archetypes and sexual themes into highly personal works and monumental sculptures of spiders. Frida Kahlo. Self-Portrait as a Tehuana (Diego on My Mind), 1943. (Cropped) Oil on Masonite. Gelman Collection, Mexico City. Roberto Serra - Iguana Press / Getty Images In Latin America, Surrealism mingled with cultural symbols, primitivism, and myth. Mexican artist Frida Kahlo (1907-1954) denied that she was a surrealist, telling Time magazine,  Ã¢â‚¬Å"I never painted dreams. I painted my own reality.† Nevertheless, Frida Kahlos psychological self-portraits possess the other-worldly characteristics of surrealistic art and Magic Realism. The Brazilian painter Tarsila do Amaral (1886-1973) was midwife to a unique national style composed of biomorphic forms, distorted human bodies, and cultural iconography. Steeped in symbolism, Tarsila do Amaral’s paintings might be loosely described as surrealistic. However the dreams they express are those of an entire nation. Like Kahlo, she developed a singular style apart from the European movement. Although Surrealism no longer exists as a formal movement, contemporary artists continue to explore dream imagery, free-association, and the possibilities of chance. Sources Breton, Andrà ©. First Manifesto of Surrealism, 1924.  A. S. Kline, translator. Poets of Modernity, 2010. http://poetsofmodernity.xyz/POMBR/French/Manifesto.htmCaws, Mary Ann, editor. Surrealist Painters and Poets: An Anthology. The MIT Press; Reprint edition, 9 Sept 2002Greet, Michele. â€Å"Devouring Surrealism: Tarsila do Amaral’s Abaporu.†Papers of Surrealism, Issue 11, Spring 2015. https://www.research.manchester.ac.uk/portal/files/63517395/surrealism_issue_11.pdfGolding, John. â€Å"Picasso and Surrealism† in Picasso in Retrospect. Harper Row; Icon ed edition (1980)  https://www.bu.edu/av/ah/spring2010/ah895r1/golding.pdfHopkins, David, ed. A Companion to Dada and Surrealism. John Wiley Sons,  19 Feb 2016Jones, Jonathan.  Ã¢â‚¬Å"Its time to give Joan Mirà ³ his due again.†Ã‚  The Guardian.  29 Dec 2010.  Ã‚  https://www.theguardian.com/artanddesign/jonathanjonesblog/2010/dec/29/joan-miro-surrealism-tate-modernâ€Å"Paris: The Heart of Surrealism.† Matteson Art.  25 March 2009 mattesonart.com/paris-the-heart-of-surrealism.aspx La Rà ©volution surrà ©aliste [The Surrealist Revolution], 1924-1929. Journal Archive.  Ã‚  Ã‚  https://monoskop.org/La_R%C3%A9volution_surr%C3%A9alisteMann, Jon. â€Å"How the Surrealistic Movement Shaped the Course of Art History.†Ã‚  Artsy.net. 23 Sept  2016  Ã‚  https://www.artsy.net/article/artsy-editorial-what-is-surrealism MoMA Learning. â€Å"Surrealism.†Ã‚  https://www.moma.org/learn/moma_learning/themes/surrealismâ€Å"Paris: The Heart of Surrealism.† Matteson Art.  25 March 2009 mattesonart.com/paris-the-heart-of-surrealism.aspxâ€Å"Paul Klee and the Surrealists.† Kunstmuseum Bern - Zentrum Paul Klee  https://www.zpk.org/en/exhibitions/review_0/2016/paul-klee-and-the-surrealists-1253.htmlRothenberg, Jerome Rothenberg and Pierre Joris, eds.  A Picasso Sampler: Excerpts from:  The Burial of the Count of Orgaz, Other Poems  (PDF) ubu.com/historical/picasso/picasso_sampler.pdfSooke, Alastair. â€Å"The Ultimate Vision of Hell.â €  The State of the Art, BBC. 19 February 2016  bbc.com/culture/story/20160219-the-ultimate-images-of-hell Surrealism Period. Pablo Picasso.net  pablopicasso.net/surrealism-period/Surrealist Art. Centre Pompidou Educational Dossiers. Aug  2007  http://mediation.centrepompidou.fr/education/ressources/ENS-surrealistart-EN/ENS-surrealistart-EN.htm#origins

A Complete Guide to Parentheses and Brackets

A Complete Guide to Parentheses and Brackets A Complete Guide to Parentheses and Brackets A Complete Guide to Parentheses and Brackets By Mark Nichol This post discusses the functions of parentheses and brackets, which are used to set off portions of text from the whole for various purposes. Parentheses, almost exclusively appearing in pairs, are usually employed in the same manner as a pair of commas or dashes, though they suggest de-emphasis of the content within (as opposed to commas, which convey a neutral insertion of information, and dashes, which highlight the text between them). Parentheses, in addition to being employed to interject examples or a brief digression, enclose an abbreviation, acronym, or initialism or a translation, or a numerical equivalent of a spelled-out number. They also set off a cross-reference, as in â€Å"For more details, read the associated case study (pages 113–119)† or â€Å"Gene therapy is discussed briefly here. (See chapter 12 for more information.)† Parentheses may frame a plural ending to indicate that a word can be read as either singular or plural, as in â€Å"Enter the title(s) of the document(s) on the asset list,† or to allow for a gender-neutral reading, as in â€Å"Next, (s)he should consult with an adviser.† Note that one of a pair of parentheses is called a parenthesis. This term also pertains in general to setting text off from other text regardless of which punctuation signals the separation. (Two or more instances of parenthesis might be referred to as parentheses.) Text that is set off by complementary punctuation marks is sometimes (including often in posts on this site) referred to as a parenthetical phrase, or simply a parenthetical. A single close parenthesis is sometimes used in place of a period when enumerating, as in â€Å"The three types of rock are 1) igneous, 2) metamorphic, and 3) sedimentary.† (An open parenthesis is not used in isolation.) A few more guidelines about parentheses follow: Parentheses should not be used in immediate proximity to each other or within another set of parentheses; in the latter case, use brackets instead (or commas or dashes). Avoid including more than one sentence, or including an extensive sentence, within parentheses. Avoid situating a complete sentence in parentheses within another sentence. Avoid using parentheses too frequently. Consider employing commas or dashes instead, or otherwise revising text so that parentheses do not appear repeatedly in one piece of content. Parentheses framing text in italics, boldface, or another style treatment differing from the default text should not share that formatting, but should rather be in the the same type as the surrounding text. A complete sentence within parentheses should end with a period or other terminal punctuation before the close parenthesis, and the preceding text should be followed by terminal punctuation: â€Å". . . then it is fair game. (There are always exceptions, of course.)† If text enclosed in parentheses does not comprise a complete sentence and ends a framing sentence, the terminal punctuation of the framing sentence should immediately follow the close parenthesis. â€Å". . . then it is fair game (with exceptions).† Text in parentheses in the midst of a sentence is not punctuated, regardless of whether it is a complete sentence (unless the terminal punctuation is a question mark or an exclamation point), and the first word of a complete sentence in parentheses is not capitalized: â€Å". . . then (there are always exceptions, of course) it is fair game.† â€Å". . . then (with exceptions) it is fair game.† Bracket, in American English, refers to square brackets. (In British English, the term pertains to round brackets, or what in American English are called parentheses.) Brackets have limited uses, including adding contextual information within quoted material â€Å"She spoke to [Smith],† where the bracketed text replaces one or more spoken words to provide clarity (in this example, replacing the vague him) or to add a word or phrase omitted in the spoken or written quotation. Sometimes, the replaced word or phrase is retained, as in â€Å"She spoke to him [Smith],† but this unnecessary. when framing the word sic (â€Å"thus†), borrowed from Latin, confirming that in quoted material, an error or confusing wording is faithfully reproduced from the original text and not a transcription error, as in â€Å"The comment read, ‘You are definately [sic] out of your mind.’† (Note that sic is italicized, but the brackets are not.) parenthesizing within parentheses, as in â€Å"Submit form 13F (Petition for Appeal [formerly titled Petition for Grievance]) within thirty days.† (When possible, revise sentences to avoid this type of construction.) clarifying, in formal writing, that the first letter of quoted material is, the source material, in a different case, as in â€Å"[A]s you would have others do unto you† is the gist of the admonition,† where the quoted material is the second half of the original statement and, thus, as is lowercase in the source text. framing ellipses to indicate that a word or phrase has been omitted, although generally, the ellipses on their own are sufficient. modifying a quotation, perhaps for grammatical agreement, when partially paraphrasing, as when â€Å"I agree with his account of the incident, as improbable as it sounds,† is reported, â€Å"He said that he ‘agrees[s] with his account of the incident, as improbable as it sounds.’† Parentheses and brackets both have distinct functions in computing, linguistics, math, and science contexts that are not described here. In addition, similar symbols include curly brackets {/} and angle brackets , which have specialized uses not discussed in this post. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Punctuation category, check our popular posts, or choose a related post below:When to Capitalize Animal and Plant Names50 Synonyms for â€Å"Idea†Preposition Mistakes #1: Accused and Excited

International Finance Assignment Example | Topics and Well Written Essays - 1500 words

International Finance - Assignment Example The dataset includes information about stock return, return on equity, and return on assets, total bank assets and amihud index. The data set used in this study is related to several banks that do operate in various parts of the world and this enabled the understanding of the interaction of these two variables that include funding liquidity and market liquidity risk. Firstly correlation analysis was undertaken between certificate of deposits for banks (funding liquidity risk) and Amihud index (market liquidity risk).Regression analysis was as well undertaken between these two variables. In addition, for further studies, a regression analysis could be performed between the dependent variable which was certificates of deposit and the independent variables that include, total asset, stock returns, Amihud index and return on assets. Literature on the interaction between the funding liquidity risk and market liquidity risk was searched on internet through Google. Important journals related to the topic were selected and summarized. The key words such as measurement of market liquidity risk and funding liquidity risk; the relationship between market liquidity risk and funding liquidity risk were used when searching the literature online. The below results from correlation analysis indicate that there is a positive correlation between the market liquidity risk and the funding liquidity risk during the given period. The positive correlation is indicated by 0.08 as the coefficient value between these two variables. It is also seen that the correlation between these two variables is significant since the p value is less than 0.05.The variable of market liquidity and funding liquidity have been represented by Amihud index and the volume of assets. Basing on the regression analysis results below where, Amihud index was taken as dependent variable and the certificates of deposit represented independent variable.

Government Taxation Research Paper Example | Topics and Well Written Essays - 500 words

Government Taxation - Research Paper Example Income tax Every citizen in the United States is obliged to paying income tax regardless of the place the citizen stays in the country. Each state in the United States has its own state income and sets the amount that the citizens have to pay. A good number of states have extra state income tax while others they at all have no state income tax. Others still apply state income tax to dividend income as well as to interest. Other types of income tax applied in the states are personal income tax, and retirement income tax (Mikesell 2011). Income tax is very useful in the economy of the United States. It permits a progressive taxation on the quantity of cash an individual makes which is an essential scheme that helps in distributing wealth equally. The progressive taxation program also allows the government to stabilize the income stream even in times of depression (Mikesell 2011). Another advantage of income tax is that it is easy to collect since it is automatically r emoved from the paycheck of the citizen. Besides, income tax has its limitations in that the system is very complex. The tax code used is said to be favoring the poor and being unfair to the wealthy. Property tax This is another type of tax in the United States of America which is paid by property owners to the state. Often, the states that which do not have state income tax often have put the burden on the property tax. The rates of the property tax in such states are very high. The rates often vary due to the area in which it is applied, town, city or county. These taxes are very useful since they assist in paying for public services such as community colleges, public schools, and other matters concerned by the local government (Molly 2009). Property owners will be charged tax on the basis of the land in use, any improvement to the land as well as any structures that are not permanent to

Streetcar Named Desire :: A Streetcar Named Desire Essays

Streetcar Named Desire Tennessee Williams's play A Streetcar Named Desire contains more within it's characters, situations, and story than appears on its surface. Joseph Krutch, author of Twentieth Century Interpretations of A Streetcar Named Desire wrote, â€Å"The authors perceptions remain subtle and delicate†¦ The final impression left is, surprisingly enough not of sensationalism but of subtlety† (38.) As in many of Williams's plays deeper meanings are understood only through close examination of each scene. The reader must ask him or herself as they go whether or not something might lend more than what lies on the surface. The tone is set immediately in scene one when Blanche begins by telling Eunice, â€Å"They told me to take a street-car named Desire, and then transfer to one called Cemeteries and ride six blocks and get off at—Elysian Fields!† (15) Here you can clearly see that Tennessee is not meaning these places literally, rather they are symbolic of the stages Blanche will follow throughout the play. She first takes, â€Å"a street-car named desire† when she falls for her lost love -----, and afterwards, plagued by her own inadequacies Blanche escapes her harsh world by giving herself freely to other men; strangers. Even her behavior toward Stanley is littered with telltale slips, â€Å"—the part blanche talks in French to Stanley saying that she wants him or something.† After desire Blanche transfers â€Å"to (a streetcar) called Cemeteries.† One can see where the â€Å"Cemeteries† might lie in Blanches life. It seems that every time desi re fails Blanche is somehow left unprotected, cold and alone. In scene five Blanches drink, â€Å"foams over and spills on her pretty white skirt,† (80) warning the reader of what lies ahead. Finally Blanche is to get off at â€Å"Elysian Fields,† which makes it very clear that an eventual loss on Blanches part is inevitable. Joseph Krutch writes, â€Å"Though there is in the play a certain haunting dream-like or rather nightmarish quality, the break with reality is never quite made, and nothing happens which might not be an actual event.† How true on not only Blanches part, but each of the characters. The play is so raw and in-your-face that it almost takes on qualities of a fantasy, especially at the time of its debut. But Tennessee was able to create a play that rather expertly walked the fine line between illusion and reality; a task not easily accomplished.

Night World : Daughters of Darkness Chapter 15

Tiggy. She was running. Throwing the door open. Visionsof kittens impaled by tiny stakes in her mind. It wasn't Tiggy on the front porch. It was Ash. He was lying flat in the purple twilight, little moths fluttering around him. Mary-Lynnette felt a violent wrench in her chest.For a moment everything seemed suspended-and changed. If Ash were dead-if Ash had been killed †¦ Things would never be all right. She would neverbe all right. It would be like the night with the moonand stars gone. Nothing that anybody could do wouldmake up for it. Mary-Lynnette didn't know why-itdidn't make any sense-but she suddenly knew it was true. She couldn't breathe and her arms and legs felt strange. Floaty. Out of her control. Then Ash moved. He lifted his head and pushed up with his arms and looked around. Mary-Lynnette could breathe again, but she still felt dizzy. â€Å"Are you hurt?† she asked stupidly. She didn't dare touch him. In her present state one blast of electricity could fry her circuits forever. She'd meltlike the Wicked Witch of the West. â€Å"I fell in thishole, â€Å"he said. â€Å"What do you think?† That's right, Mary-Lynnette thought; the footsteps hadended with more of a crash than a thud. Not like the footsteps of last night. And that meant something †¦if only she couldfollow the thought to the end†¦ . â€Å"Having problems, Ash?†Kestrel's voice saidsweetly, and then Kestrel herself appeared out of the shadows, looking like an angel with her golden hair and her lovely clean features. Jade was behind her, holding Tiggy in her arms. â€Å"He was up in a tree,† Jade said, kissing the kitten's head. â€Å"I had to talk him down.† Her eyes were emerald in the porch light, and she seemed to float rather than walk. Ash was getting up, shaking himself. Like his sisters, he looked uncannily beautiful after a feeding,with a sort of weird moonlight glow in his eyes. Mary-Lynnette's thought was long gone. â€Å"Come on in,† she said resignedly. â€Å"And help figure out who killed your aunt.† Now that Ash was indisputably all right,she wanted to forget what she'd been feeling a minuteago. Or at least not to think about what it meant. What it means, the little voice inside her head said sweetly, is that you're in big trouble, girl. Ha ha. â€Å"So what's the story?† Kestrel said briskly as they all sat around the kitchen table. â€Å"The story is that there is no story,†MaryLynnette said. She stared at her paper in frustration. â€Å"Look-what if we start at the beginning? We don't know who did it, but we do know some things about them. Right?† Rowan nodded encouragingly. â€Å"Right.† â€Å"First: the goat. Whoever killed the goat had to bestrong, because poking those toothpicks through hidewouldn't have been easy. And whoever killed the goat had to know how your uncle Hodge was killed, because the goat was killed in the same way. And they had to have some reason for putting a black irisin the goat's mouth-either because they knew Ashbelonged to the Black Iris Club, or because they be longed to the Black Iris Club themself.† â€Å"Or because they thought a black iris would represent all lamia, or all Night People,† Ash said. Hisvoice was muffled-he was bent over, rubbing hisankle. â€Å"That's a common mistake Outsiders make.† Very good, Mary-Lynnette thought in spite of herself. She said, â€Å"Okay. And they had access to two different kinds of small stakes-which isn't sayingmuch, because you can buy both kinds in town.† â€Å"And they must have had some reason to hate Mrs. B., or to hate vampires,† Mark said. â€Å"Otherwise, why kill her?† Mary-Lynnette gave him a patient look. â€Å"I hadn't gotten to Mrs. B. yet. But we can do her now. First, whoever killed Mrs. B. obviously knew she was a vampire, because they staked her. And, second †¦ um†¦second . . .† Her voice trailed off. She couldn't think of anything to go second. -240 â€Å"Second, they probably killed her on impulse,† Ash said, in a surprisingly calm and analytical voice.†You said she was stabbed with a picket from the fence, and if they'd been planning on doing it, they'd probably have brought their own stake.† â€Å"Verygood.† This time Mary-Lynnette said it out loud. She couldn't help it. She met Ash's eyes and saw something that startled her. He looked as if itmattered to him that she thought he was smart. Well, she thought. Well, well. Here we are, probably for the first time, justtalking to each other. Not arguing, not being sarcastic, just talking. It's nice. It was surprisingly nice. And the strange thing was, she knew Ash thought so, too. They understood each other. Over the table, Ash gave her a barely perceptible nod. They kept talking. Mary-Lynnette lost track of timeas they sat and argued and brainstormed. Finally she looked up at the clock and realized with a shock that it was near midnight. â€Å"Do wehave to keep thinking?† Mark said pathetically. â€Å"I'm tired.† He was almost lying on the table. So was Jade. I know how you feel, Mary-Lynnette thought. Mybrain is stalled. I feel †¦ extremely stupid. â€Å"Somehow, I don't think we're going to solve the murder tonight,† Kestrel said. Her eyes were closed. She was right. The problem was that MaryLynnette didn't feel like going to bed, either. Shedidn't want to lie down and relax-there was a rest lessness inside her. I want †¦ what do I want? she thought. I want †¦ â€Å"If there weren't a psychopathic goat killer lurkingaround here, I'd go out and look at the stars,† shesaid. Ash said, as if it were the most natural thing inthe world, â€Å"I'll go with you.† Kestrel and Jade looked at their brother in disbelief. Rowan bent her head, not quite hiding a smile. Mary-Lynnette said, â€Å"Um †¦Ã¢â‚¬  â€Å"Look,† Ash said. â€Å"I don't think the goat killeris lurking out there everyminutelooking for people to skewer. And if anything does happen, I can handle it.† He stopped, looked guilty, then bland. â€Å"I mean we can handle it, because there'll be two of us.† Close but no cigar, buddy, Mary-Lynnette thought. Still, there was a certain basic truth to what he was saying. He was strong and fast, and she had the feeling he knew how to fight dirty. Even if she'd never seen him do it, she thoughtsuddenly. All those times she'd gone after him, shining light in his eyes, kicking him in the shins-and he'd never once tried to retaliate. She didn't think it had even occurred to him. She looked at him and said, â€Å"Okay.† â€Å"Now,† Mark said. â€Å"Look †¦Ã¢â‚¬  â€Å"We'll be fine,† Mary-Lynnette told him. â€Å"We won't go far.† Mary-Lynnette drove. She didn't know exactly where she was going, only that she didn't want to go to her hill. Too many weird memories. Despite what she'd told Mark, she found herself taking the car farther and farther. Out to where Hazel Green Creek and Beavercreek almost came together and the land between them was a good imitation of a rain forest. â€Å"Is this the best place to look at – stars?† Ash saiddoubtfully when they got out of the station wagon. â€Å"Well-if you're looking straight up,† MaryLynnette said. She faced eastward and tilted her head far back. â€Å"See the brightest star up there? That's Vega, the queen star of summer.† â€Å"Yeah. She's been higher in the sky every nightthis summer,† Ash said without emphasis. Mary-Lynnette glanced at him. He shrugged. â€Å"When you're out so much at night,you get to recognize the stars,† he said. â€Å"Even if you don't know their names.† Mary-Lynnette looked back up at Vega. She swallowed. â€Å"Can you–can you see something small and bright below her-something ring-shaped?† â€Å"The thing that looks like a ghost doughnut?† Mary-Lynnette smiled, but only with her lips.†That's the Ring Nebula. I can see that with my telescope.† She could feel him looking at her, and she heardhim take a breath as if he were going to say something. But then he let the breath out again and looked back up at the stars. It was the perfect moment for him to mention something about how Vampires See It Better. And if he had, Mary-Lynnette would have turned on him and rejected him with righteous anger. But since hedidn't,she felt a different kind of anger welling up. A spring of contrariness, as if shewere the Mary in the nursery rhyme. What, so you've decided I'm not good enough to be a vampire or something? And what did I really bring you out here for, to the most isolated place I could find? Only for starwatching? I don'tthink so. I don't even know who I am anymore, she remembered with a sort of fatalistic gloom. I have the feeling I'm about to surprise myself. â€Å"Aren't you getting a crick in your neck?† Ashsaid. Mary-Lynnette rolled her head from side to side slightly to limber the muscles. â€Å"Maybe.† â€Å"I could rub it for you?† He made the offer from several feet away. Mary-Lynnette snorted and gave him a look. The moon, a waning crescent, was rising above thecedars to the east. Mary-Lynnette said, â€Å"You want to take a walk?† â€Å"Huh? Sure.† They walked and Mary-Lynnette thought. About how it would be to see the Ring Nebula with herown eyes, or the Veil Nebula without a filter. She could feel a longing for them so strong it was like a cable attached to her chest, pulling her upward. Of course,that was nothing new. She'd felt it lots of times before, and usually she'd ended up buying another book on astronomy, another lens for her telescope. Anything to bring her closer to what she wanted. But now I have a whole new temptation. Something bigger and scarier than I ever imagined. What if I could be-more than I am now? Thesame . person, but with sharper senses? A Mary-Lynnette who couldreally belong to the night? She'd already discovered she wasn't exactly whoshe'd always thought. She was more violent-she'd kicked Ash, hadn't she? Repeatedly. And she'd admired the purity of Kestrel's fierceness. She'd seenthe logic in the kill-or-be-killed philosophy. She'd dreamed about the joy of hunting. What else did it take to be a Night Person? â€Å"There's something I've been wanting to say toyou,† Ash said. â€Å"Hm.†Do I want to encourage him or not? But what Ash said was â€Å"Can we stop fightingnow?† Mary-Lynnette thought and then said seriously, â€Å"Idon't know.† They kept walking. The cedars towered around them like pillars in a giant ruined temple. A dark temple. And underneath, the stillness was so enormous that Mary-Lynnette felt as if she were walkingon the moon. She bent and picked a ghostly wildflower that wasgrowing out of the moss. Death camas. Ash bent and picked up a broken-off yew branch lying at the footof a twisted tree. They didn't look at each other. They walked, with a few feet of space between them. â€Å"You know, somebody told me this would happen,† Ash said, as if carrying on some entirely different conversation they'd been having. â€Å"That you'd come to a hick town and chase agoat killer?† â€Å"That someday I'd care for someone – and itwould hurt.† Mary-Lynnette kept onwalking. She didn't slow or speed up. It was only her heart that was suddenly beating hard-in a mixture of dismay and exhilara tion. Oh, God-whatever was going to happen washappening. â€Å"You're not like anybody I've ever met,† Ash said. â€Å"Well, that feeling is mutual.† Ash stripped some of the papery purple bark offhis yew stick. â€Å"And, you see, it's difficult becausewhat I've always thought about humans-what I wasalways raised to think †¦Ã¢â‚¬  â€Å"I know what you've always thought,† MaryLynnette said sharply. Thinking,vermin. â€Å"But,† Ash continued doggedly, â€Å"the thing is andI know this is going to sound strange-that I seem to love you sort of desperately.† He pulled more bark off his stick. Mary-Lynnette didn't look at him. She couldn't speak. â€Å"I've done everything I could to get rid of the feeling, but it just won't go. At first I thought if I left Briar Creek, I'd forget it. But now I know that wasinsane. Wherever I go, it's going with me. I can't kill it off. So I have to think of something else.† Mary-Lynnette suddenly felt extremely contrary. â€Å"Sorry,† she said coldly. â€Å"But I'm afraid it's not very flattering to have somebody tell you that they love you against their will, against their reason, and even-â€Å" â€Å"Against their character,† Ash finished for her, bleakly. â€Å"Yeah, I know.† Mary-Lynnette stopped walking. She stared at him.†You havenot readPrideand Prejudice, † she said flatly. â€Å"Why not?† â€Å"Because Jane Austen was a human.† He looked at her inscrutably and said, â€Å"How do you know?† Good point.Scary point. How could she really knowwho in human history had been human? Whatabout Galileo? Newton? T ycho Brahe? â€Å"Well, Jane Austen was a woman,†shesaid, retreating to safer ground. â€Å"And you're a chauvinist pig-,' â€Å"Yes, well, that I can't argue.† Mary-Lynnette started walking again. He followed.†So now can I tell you how, um, ardently I loveand admire you?† Another quote. â€Å"I thought your sisters said youpartiedall the time.† Ash understood. â€Å"I do,† he said defensively. â€Å"Butthe morning after partying you have to stay in bed. And if you're in bed you might as well read something They walked. â€Å"After all, weare soulmates,† Ash said. â€Å"I can't becompletely stupid or I'd be completely wrong for you.† Mary-Lynnette thought about that. And about thefact that Ash sounded almost-humble. Which he had certainly never sounded before. She said, â€Å"Ash †¦I don't know. I mean-weare wrong for each other. We're just basically incompatible. Even if I were avampire, we'd be basically incompatible.† â€Å"Well.† Ash whacked at something with his yew branch. He spoke as if he half expected to be ignored. â€Å"Well, about that †¦ I think I couldpossibly change your mind.† â€Å"About what?† â€Å"Being incompatible. I think we could be sort offairly compatible if . . .† â€Å"If?† Mary-Lynnette said as the silence dragged on.†Well, if you could bring yourself to kiss me.† â€Å"Kissyou?† â€Å"Yeah, I know it's a radical concept. I was pretty sure you wouldn't go for it.† He whacked at another tree. â€Å"Of course humanshave been doing it for thousands of years.† Watching him sideways, Mary-Lynnette said, â€Å"Would you kiss a three-hundred-pound gorilla?† He blinked twice. â€Å"Oh, thank you.†Ã¢â‚¬ I didn't mean you looked like one.†Ã¢â‚¬ Don't tell me, let me guess. I smell like one?†Mary-Lynnette bit her lip on a grim smile. â€Å"I mean you're that much stronger than I am. Would you kissa female gorilla that could crush you with one squeeze`? When you couldn't do anything about it?†He glanced at her sideways. â€Å"Well, you're notexactly in that position, are you?† Mary-Lynnette said, â€Å"Aren't I? It looks to me as ifI'd have to become a vampire just to deal with youon an equal level.† Ash said, â€Å"Here.† Hewasofferingher theyew branch.Mary Lynnette stared at him. â€Å"You want to give me your stick.† â€Å"It's not a stick, it's the way to deal withme onan equal level.† He put one end of the branch againstthe base of his throat, and Mary-Lynnette saw that it was sharp.She reached out to take the other end and found the stick was surprisingly hard and heavy. Ash was looking straight at her. It was too dark to see what color his eyes were, but his expression was unexpectedly sober. â€Å"One good push would do it,† he said. â€Å"First here and then in the heart. You could eliminate the problem of me from your life.† Mary-Lynnette pushed, but gently. He took a step back. And another. She backed him up against a tree, holding the stick to his neck like a sword. â€Å"I actually meant only if you were really serious,†Ash said as he came up short against the cedar's bare trunk. But he didn't make a move to defend himself.†And the truth is that you don't even need a spear like that. A pencil in the right place would do it.† Mary-Lynnette narrowed her eyes at him, swirlingthe yew stick over his body like a fencer getting the range. Then she removed it. She dropped it to the ground. â€Å"You really have changed,† she said. Ash said simply, â€Å"I've changed so much in the lastfew days that I don't even recognize myself in the mirror.† â€Å"And you didn't kill your aunt.†Ã¢â‚¬ You're just now figuring that out?† â€Å"No. But I always wondered just a bit. All right, I'll kiss you.† It was a little awkward, lining up to get the position right. Mary-Lynnette had never kissed a boy before. But once she started she found it was simple. And†¦ now she saw what the electric feeling ofbeing soulmates was for. All the sensations she'd felt when touching his hand, only intensified. And not unpleasant. It was only unpleasant if you were afraidof it. Afterward, Ash pulled away. â€Å"There. Yousee,†he said shakily. Mary-Lynnette took a few deep breaths. â€Å"I supposethat's what it feels like to fall into a black hole.† â€Å"Oh. Sorry.† â€Å"No, I mean-it was interesting.† Singular, shethought. Different from anything she'd ever felt before. And she had the feeling thatshe would be different from now on, that she could never go back andbe the same person she had been. So who am I now? Somebody fierce, I think.Somebody who'd enjoy running through the dark ness, underneath stars bright as miniature suns, and maybe even hunt deer. Somebody who can laugh atdeath the way the sisters do. I'll discover a supernova and I'll hiss when somebody threatens me. I'll be beautiful and scary and dangerous and of course I'll kiss Ash a lot. She was giddy, almost soaring with exhilaration. I've always loved the night, she thought. And I'll finally belong to it completely. â€Å"Mary-Lynnette?† Ash said hesitantly. â€Å"Did you likeit?† She blinked and looked at him. Focused. â€Å"I want you to turn me into a vampire,† she said. It didn't feel like a jellyfish sting this time. It wasquick and almost pleasant like pressure being released. And then Ash's lips were on her neck, and that wasdefinitely pleasant. Warmth radiated from his mouth. Mary-Lynnette found herself stroking the back of his neck and realized that his hair was soft,as nice to touch as cat's fur. And his mind†¦was every color of the spectrum. Crimson and gold, jade and emerald and deep violetblue. A tangled thorn-forest of iridescent colors that changed from second to second. Mary-Lynnette wasdazzled. And half frightened. There was darkness in among those gemlike colors. Things Ash had done in the past †¦ things she could sense he was ashamed of now. But shame didn't change the acts themselves. I know it doesn't-but I'll make up for them, somehow.You'll see; I'll find away†¦. So that's telepathy, Mary-Lynnette thought. She couldfeel Ash as he said the words, feel that hemeant them with desperate earnestness-and feel that there was a lot to make up for. I don't care. I'm going to be a creature of darkness,too. I'll do what's in my nature, with no regrets. When Ash started to lift his head, she tightened her grip, trying to keep him there. â€Å"Please don't tempt me,† Ash said out loud, hisvoice husky, his breath warm on her neck. â€Å"If I take too much, it will make you seriously weak.I mean it, sweetheart.† She let him go. He picked up the yew stick and made a small cut at the base of his throat, tilting his head back like a guy shaving his chin. Mary-Lynnette realized he'd never done this before. With a feeling that was. almost awe, she put her lips to his neck. I'm drinking blood. I'm a hunter already–sort of. Anyway, I'm drinking blood and liking it-maybe because it doesn'ttastelike blood Not like copper and fear. It tastes weird and magic and old as the stars. When Ash gently detached her, she swayed on her feet. â€Å"We'd better go home,† he said. â€Å"Why? I'm okay.† â€Å"You're going to get dizzier-and weaker. And ifwe're going to finish changingyou into a vampire–â€Å" â€Å"if† â€Å"All right,when. But before we do, we need to talk. I need to explain it all to you; we have to figure out the details. Andyouneed to rest.† Mary-Lynnette knew he was right. She wanted to stay here, alone with Ash in the dark cathedral of the forest-but shedidfeel weak. Languid. Apparently it was hard work becoming a creature of darkness. They headed back the way they had come. Mary-Lynnette could feel the change inside herself-it was stronger than when she'd exchanged blood with the three girls. She felt simultaneously weak and hypersensitive. As if every pore were open. The moonlight seemed much brighter. She couldsee colors dearly-the pale green of drooping cedar boughs, the eerie purple of parrot-beak wildflowersgrowing out of the moss. And the forest wasn't silent anymore. She could hear faint uncanny sounds like the soft seething of needles in the wind, and her own footsteps on moist and fungus-ridden twigs. I can even smell better, she thought. This place smells like incense cedar, and decomposing plants,and something really wild-feral, like something from the zoo. And something hot †¦burny †¦ Mechanical. It stung her nostrils. She stopped and looked at Ash in alarm. â€Å"Whatisthat?† 0He'd stopped, too. â€Å"Smells like rubber and oil†¦.† â€Å"Oh, God, thecar, † Mary-Lynnette said. They looked at each other for a moment, then simultane ously turned, breaking into a run. It was the car. White smoke billowed from under the closed hood. Mary-Lynnette started to go closer, but Ash pulled her back to the side of the road.†I just want to open the hood-† â€Å"No. Look. There.† Mary-Lynnette looked-and gasped. Tiny tongues of flame were darting underneath the smoke. licking out of the engine. â€Å"Claudine always said this would happen,† shesaid grimly as Ash pulled her back farther, â€Å"Only I think she meant it would happen with me in it.† â€Å"We're going to have to walk home,† Ash said.†Unless maybe somebody sees the fire†¦.† â€Å"Not a chance,† Mary-Lynnette said. And that'swhat you get for taking a boy out to the most isolated place in Oregon, her inner voice said triumphantly. â€Å"I don't suppose you could turn into a bat or something and fly back,† she suggested. â€Å"Sorry, I flunked shapeshifting. And I wouldn't leave you here alone anyway.† Mary-Lynnette still felt reckless and dangerous and it made her impatient. â€Å"I can take care of myself,† she said. Andthat was when the club came down and Ash pitched forward unconscious.

Breast Cancer The Most Common Form Of Cancer - 1384 Words

This paper will inform you of Breast Cancer. It is the most common form of cancer in women today but thanks to medical advances it is no longer the number one killer of women. The medical world has made some huge advances in diagnosing breast cancer and because of that, it has given women everywhere a fighting chance. Even with Breast Self-Exams (BSE) and Mammography it is still prevalent today. I will take you through the journey from finding the first lump, diagnosis, therapy, and finally the outcome. I have interviewed real women and families of women about their path with this disease and how it affected them. It has been an honor to research this subject and in doing so, taught me a lot. The Facts About Breast Cancer Breast cancer will affect 1 in 8 women in the United States over their lifetime and about 1 in 1,000 in men. (BreastCancer.org 2016). This cancer affects women more than any other cancer, with the exception of lung cancer. 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