Why is Human Trafficking Popular Today - Free Essay Example

Sample details Pages: 5 Words: 1362 Downloads: 2 Date added: 2019/04/22 Category Society Essay Level High school Tags: Human Trafficking Essay Did you like this example? When a person thinks of the word trafficking automatically they refer to the definition of trading something whether it be an item, animal or humans. Human trafficking is defined according to the Polaris Project (2016) as a form of modern day slavery where people profit from others loss of freedom. There is not just one particular citizen that fits this description. Everyone can be affected by this action especially children in the sex trade industry, adults over the age of 18 who are tricked into commercial acts of sex. Of course those are the typical ones that are affected but no one thinks about the bigger picture. There are so many more types of children and adults that are pulled into this life not by choice but by force. According to the U.S. Federal Law on the Prostitution of Children in code 18 U.S.C ? § 1591- Sex trafficking of children or by force, fraud, or coercion is unlawful. Many children that have unstable homes are a great target for people who are looki ng to traffic humans. Children that are in an environment that they feel they can not deal with tend to run away. Runaways are a very big target market for pimps looking to exploit them. When the victim is a female they are at a greater risk when they are running away from their own homes, youth homes, group homes, foster care and other treatment facilities. Women are of course the main target. Many of them get caught up because of the sex industry. Experts have reported that within 48 hours of running away, an adolescent is likely to be approached to participate in prostitution or another form of commercial sexual exploitation (Spangenberg, 2001). Nationally, the average age at which girls first become exploited through prostitution is 12â€Å"14 years old, but direct service providers around the country report they have been encountering increasingly younger victims over the past decade (Estes Weiner, 2001; Lloyd, 2005). Homeless youth are also at risk because they lack emplo yment, funds, interpersonal skills and the basic family dynamics that includes support and nurturing from their families. Prostitution and pornography are sure ways many women get caught up in the system. Young women find themselves running away from home and ending up in the streets doing prostitution to make ends meet. Some women end up in the porn industry because of the quick cash they can make for each movie they put out. This is the breeding ground where old school pimps find their new bait and catch these women in a web of deceit and lies. Although the terms prostitution and human traffic have different meanings, the debate of exploitation for sex is common among the two concepts because there is a gain for the pimp which is the money they make for the girls turning tricks (MacKinnon, 2011). Many women and men think that prostitution is by choice. Unfortunately, pimps are trafficking women and even men against their will. There are certain criteria Human Traffickers look for in the product they will sell to those who use forced labor â€Å" gullibility, physical health, and the most important attribute, profitability. All race and ethnicities are at risk for human trafficking. Human trafficking does not discriminate. A person does not have to be a certain race, gender or creed. All they look for in an individual is a body that is capable of performing certain acts and following directions at a drop of a dime. At the end of the day trafficking is about control and making money which are components to running a successful human trafficking enterprise. Sad but true, not only is human sex trafficking slavery but it is big business. It is the fastest-growing business of organized crime and the third-largest criminal enterprise in the world (Walker-Rodriguez Hill, 2011). The majority of sex trafficking is international, with victims taken from such places as South and Southeast Asia, the former Soviet Union, Central and South America, and other less deve loped areas and moved to more developed ones, including Asia, the Middle East, Western Europe, and North America according to the Department of Justice. Many people will get human trafficking mixed up with human smuggling. Human smuggling is typically done with the consent of the smuggled individual who intends to enter the U.S. by any means necessary (Logan, Walker, Hunt, 2009, p. 5). That means the relationship between the individual that was smuggled and their smuggler is terminated because the purpose of them getting into the country has been completed. Many times in a human smuggling case transporting the individual is only part of the crime and they end up getting caught in a cycle of having to continuously pay for being trafficked and this turns into a human trafficking situation. What do they look like? This is one of the many questions police and government officials have a hard time trying to figure out. They come in all shapes and forms which are very deceiving. These individuals could be your neighbor and one would never know. Traffickers are pimps, intimate partners, small business owners, gang and criminal networks and even brothel owners which are sometimes disguised as massage parlors. Anyone can be a human trafficker if they understand the ins and outs of the business. A portion of the sex crimes against children are committed by juveniles and women especially sexual assaults committed against very young children in their own homes (Estes Weiner, 2001, p. 14). Sexual exploiters of children include: pedophiles transient males including members of the military, truck drivers, seasonal workers, conventioneers and sex tourists, among others; opportunistic exploiters, i.e., persons who will sexually abuse whoever is available for sex including children and other juveniles There seems to be four main reasons why people stay entrapped in this vicious cycle. These reasons range from fear, lack of knowledge, isolation, physical and psychological c onfinement. Fear is a big factor in why the victims feel hopeless. They are scared of being beaten, tortured and maybe even killed. They dont want to risk not getting paid the little bit of money that they do receive. They worry about threats being made to harm their families therefore they suffer in silence. Other big fears are facing deportation, jail time, loosing custody to their children and prosecution for illegal activities. In other countries there are many police and government officials that are corrupt and work with traffickers. Victims are then too scared to contact U.S. officials for help because of fear. Between 244,000 and 325,000 American youth are considered at risk for sexual exploitation, and an estimated 199,000 incidents of sexual exploitation of minors occur each year in the United States (Clawson, Dutch, Solomon, Grace, 2009, Trafficking within the United States, para. 1). As a multibillion dollar industry with nearly 1.2 million children in the sex trade around the globe (UNICEF) human trafficking has been the focus of many nonprofit organizations (Moser, 2012, p.223). In addition to domestic sex trafficking, American minors and adults are likely trafficked for forced labor; however, children are generally preferred to adults in the labor world as they are more easily controlled, cheaper, and less likely to demand better working conditions (Herzfeld, 2002). According to the Federal Bureau of Investigation (FBI) Uniform Crime Reports (2006), across the United States 36,402 boys and 47,472 girls younger than age 18 were picked up by law enforcement and identified as runaways. The United States has a big task at hand, which is gaining more insight on the issue of human trafficking. More research and data is needed in order to properly address the problem. Even though some government agencies have been formed they are still not accurate in the number of victims being used for trafficking purpose. More government programs and train ing are needed evaluate the needs of the victims such as health, mental health, housing, education, and protection. There needs to be more treatment programs to help victims regain access back into the world as a free person and not one under the mind games of modern day slavery. There needs to be harsher laws put into effect to punish the ones that are committing these unspeakable crimes against. Police are in need of training on how to pinpoint a victim and what to look for. If Don’t waste time! Our writers will create an original "Why is Human Trafficking Popular Today?" essay for you Create order

Assessment of Personal Financial Wellness of Teachers

Proper financial education is an important part of life because it affects virtually every aspect of it. Everyone will likely someday face a difficult financial situation, whether large or small, that requires time and money. Having a good understanding of daily cash inflows and outflows in personal finances will help make tough situations less stressful and easier to handle. Cash (1996) Among five risk stressors in life ( relationships, work, health , crime/violence, amp; personal finance), personal finance was rated as the number one source of stress, concerns about personal finance are five times higher than those regarding health. Garman et al (1996) research has indicated a relation between personal finance stress and backache,†¦show more content†¦2. Is there a relationship between the level of financial wellness and the demographic characteristics of the respondents? 3. 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Baroque Painting Analysis Free Essays

string(71) " a very vital part of the composition and overall makeup of the image\." Baroque: Two Pieces, Two Styles: Procaccini versus Le Nain Art has changed immensely throughout its existence in recorded history. It has progressed from cave drawings to beautiful academically trained polished pieces of strongly cultured art. The transformations which â€Å"contemporary† (for the time) artists made are remarkable. We will write a custom essay sample on Baroque Painting Analysis or any similar topic only for you Order Now Their extraordinarily trained artistic eyes give way to the magnificent brushwork their brains and hands skillfully construct. These ideas are seen quite evidently in the Museum of Fine Arts’ Koch Gallery. This massive space houses some of the most amazing artwork from some of the most famous artists. The space is constructed much like in the Academic Salon in that the pieces are arranged at different levels dictating their importance. The more influential and well-crafted works are hung at eye level, while the pieces that are not as highly regarded by the salon are hung either high above view or below the better pieces. Two images which just happen to be aligned and positioned at eye level, stand out amongst the beautiful works surrounding them. The pieces are Giulio Cesare Procaccini’s â€Å"The Scourging of Christ† and Mathieu Le Nain’s â€Å"The Entombment of Christ†. The two works offer much to the viewer. In both paintings the artist depicts a particular moment in the ultimate death of Jesus Christ. Alone each work can be deciphered and interpreted in many ways but together the two images open up a world of contrast and viewpoints of differing styles and influences. Giulio Cesare Procaccini was born in Bologna, Italy and about 10 years later moved to Milan where he flourished as a baroque sculptor and painter Procaccini’s work was also influenced by the mannerist style, a style that his father worked in. Milan and Italy in general, in the early 17th century was a booming artist Mecca. Artists like Caravaggio, Gentileschi, as well as Procaccini were making major advances in the baroque style. The depiction of religious and historical scenes was crucial in the early baroque paintings seen at the time of Procaccini’s professional career. The works such as Caravaggio’s â€Å"Entombment† as well as â€Å"The Conversion of Saint Paul† shed some light onto the influences of Procaccini. Much of Italy at the time had an eye for the theatrical and dramatic. This period saw intense motions, emotions and lighting. Giulio Cesare Procaccini’s â€Å"The Scourging of Christ† can be seen as the definition of the lending of the baroque style with that of the mannerist. With its immense size the artist is able to fully articulate the space and fit in the necessary information. The forms in the composition are placed in a way that the image is symmetrical on all sides. The painting is only a small fraction of what is actually occurring in the scene. The frame of the piece works as a way for our brain to only see what is put before us, but we must look further and put ourselves in the actual event and feel the crowd around us. The crowd can’t be seen but implied by the deep vignette surrounding the divinely lit Jesus. The frame works as an isolation for the pain and loneliness that can be seen in the eyes of Jesus. Procaccini’s decision to center Jesus in composition speaks volumes to what he is trying to evoke from the viewer. Jesus is seen bound to a small pillar sharing the center of the composition. With all the motion surrounding him, Jesus seems silent and alone in his pain. The painting composition can be considered complex as well as simple at the same time. The mass of movement of the characters and tension seen in the dimly lit corners would classify the painting as complex. In contrast to that categorization, Jesus with the use of strong light and shade is seen almost solely by himself. Jesus is centered in front of four other figures that are all arranged in a way that the image has equal weight on all sides and all the corners are articulated evenly. The use of exposed flesh in repetition is used starting with the soldier to the left, continuing to Jesus and finally to the older gentleman filling the bottom right of the composition. This use of this repetition is a nice touch and allows the viewer to read equally the surfaces of the piece. The scale and proportion of the figures are all equal lending into the validity of the scene in the space. Procaccini’s main objective in the painting is for the viewer to focus solely on the figures, negating to even hint at a background. The forms of the figures are so well constructed that they allow the forms to take a three dimensional shape. This helps create the idea of space on an otherwise flat canvas. The figures that aggressively lurk in the background are caught in a moment in time just before Jesus is repeatedly whipped. Procaccini cleverly links this very Italianesque painting with its classical routes by covering the figure just about to whip Jesus with the scourge in a traditional turban, an obvious touch of the Middle East. This accurate depiction of garment is in contrast to the roman soldier that ultimately wouldn’t have been present at this moment in history. The soldier does serve a purpose in establishing baroque classicism in the treatment of his drapery as well as his beautifully articulated musculature, solidifying the presence of baroque classicism. The older gentleman depicted to the right of Jesus is reminiscent of Bronzino’s father time. The posture of both this gentleman and father time are somewhat similar and also the way both artists have treated his age relative to his younger strong build. This may be a subtle way of saying that Christ’s time on earth may be drawing to a close. It may have also served as a way to motivate the citizens to make the most of their time on earth. Line is not a very vital part of the composition and overall makeup of the image. You read "Baroque Painting Analysis" in category "Papers" In fact, few lines can be seen in the structural lines of the pillar that Jesus is bound to. However, one line of importance leads from the left foot of Jesus, up his thigh and through his torso, shooting our eye up from Jesus’ body to the scourge wielding hand of the figure about to strike him. These implied lines add geometric quality as well as move the viewer’s eye in the places the artist wishes. Jesus’ body also hints at a mannerist influence in that the body has an organic flow and use of serpentinata. It is evident in the contrapposto or weight shift that causes the body to form a flowing â€Å"S† shape. Playing a subtle role in the success of the piece, color is hinted in small areas but is overtaken with the dim lighting. Red is present in the upper right hand corner on the well-crafted garment of yet another scourge wielding citizen. Keeping with symmetry, Procaccini places a splash of red in the form of the soldier’s drapery. With color impacting the overall image in a somewhat small way, it allows for the use of light to make more of an impact. The lighting in â€Å"The Scourging of Christ† is without saying, breathtaking. Much like Caravaggio, Procaccini has mastered the use of Tenebrism. Christ is seen vibrantly lit in the center illuminated before a dark dismal scene unfolding behind him. In this situation, the image is depicting Christ so therefore the light can be considered divine. The divine light is cast down from god upon Jesus and works as a way to almost calm the situation and say to Jesus and the viewer that it is ok, that he’s suffering for the good of all mankind. This strong message can be classified as baroque psychology, where the viewer is emotionally and spiritually connected. Procaccini’s understanding of how he human condition reacts to certain things aid his artwork in a way that he knows the right outlet to reach his audience through. In this case it is the divine hand or light of God. Without having a defined background and use of planes the artist uses the bright light and contrasting darkness around it to allow for space to be viewed. As said before, Jesus is the foremost figure due to Tenebrism and the subsequent figures are dep icted in space behind. The smooth transition from the divine lit areas, to the darker more undefined corners of the composition are extremely successful. For the divine light to hit Christ and not stray far from the small glow from his pale skin requires calm and deliberate style strokes. This transition only works well with this type of paint application. The exact strokes give it a photographic like quality that capture the scene precisely how it occurs without the abstraction of strokes like that of Rembrandt. This snapshot of a second in time and the skillful rendering of the scene all work together in allowing the scene to become real and the viewer to become emotionally moved and involved. None of this is by chance; Procaccini has skillfully laid out every aspect of the piece from the narrative, to the characters, as well as the emotions this piece would evoke. This take on a classic scene is timeless and his mastery of the baroque and mannerist styles are expertly crafted. In a rather stark contrast to Procaccini’s rendering of Christ before his time of death, Mathieu Le Nain has created â€Å"The Entombment of Christ†, a depiction of Christ after he was taken from the cross. Mathieu Le Nain was one of three brothers who were well known French baroque artists in the 17th century. The French baroque style is quite different to that of the baroque styles practiced in Southern and Eastern Europe, in particular, those found in Italy by artists such as Caravaggio and Procaccini. This style adheres to more of an academic rule, in that it’s very cold and geometrically placed. The paintings lack the emotion expressed by baroque artists with different cultural influences. The French style has a certain order and neatness of placement. Nain’s piece is of a large scale allowing for many figures to be fully articulated in the space and also for the addition of a landscape filling up the background. The eye of the viewer is carried from the right side of the piece inward to the left. Inward meaning, the eye is brought from the foreground on the figure scene and gets pulled into the composition towards the landscape scene unfolding in the back. Pictured far in the background in an oddly scaled cross, quite possibly the one Christ was crucified on. The skewing of the size, scale and proportion must be the artist’s attempt at making Jesus’ sacrifice larger than life, larger than the common man’s comprehension pain and sacrifice. The soldiers pictured closer to the viewer are sized in a proper way in relation to their distance from the viewer. The cropping of the image is placed so that we register a lot of information yet we wonder what is beyond the visual plane Nain has allowed us. The composition, with respect to the figures, is heavily weighed to the right side of the piece. The use of an even number of figures with Christ centered allows for an eye, pleasing symmetry. The figures Nain depicts surrounding the dead body of Christ are created and placed in a way that the pale lifeless body of Christ is viewed first and with more importance. The figural space is crowded with the bustle and movement of the preparation for entombment, yet the momentary connection between Mary and Jesus seems to be silent and with overwhelming emotion, the emotion for a mother’s loss of a child. The two people depicted in the back right of the composition appear to be working on a burial garment for Jesus. The bearded male on the right looks on intently as the figure on the right lays out wonderfully articulated drapery. The figures importance is established with their placement in the background of the pictorial plane. They are represented for historical integrity but are arranged behind the ultimate importance of Jesus and his mother, Mary. The garments worn by all pictured are more representative of actual ones worn at the time and place to which the crucifixion, and ultimately the entombment of Christ occurred. The turban is also another historically accurate head garment worn by men in the Middle East. The accuracy and attention to historical details are in contrast to the baroque styles practiced by eastern European baroque artists. The use of color is much more prevalent in Nain’s piece. High saturation and deep tones of blues and reds are placed throughout the composition as well as lower more soft tones. Although there are areas of deep color saturation and vibrant tones, the overall scene is depicted as a drab dark cave and gray landscape. The most vibrant royal blue cloth is draped over Mary as she braces herself in mourning. This traditional use of the color is an indicator of the holy family, with Mary in particular. Mary also wears a high saturation red garment. This color is repeated on the figure supporting Christ’s lifeless body. This repetition helps link the two halves of the composition. In this piece, light proves to be equally important as the use of color. The lighting in Nain’s piece is skillfully rendered within the look and feel of the French baroque style. The warm fluid use of light across the entire composition allows for much more of the surface to be interpreted by the viewer. The painting, although well lit, still has the ability for a strong divine light to cast its glow on the deceased body of Jesus. The divine light also strikes Mary who is sitting in a most mournful way next to the body of her son. Atmospheric perspective is well captured in the cascading hills depicted in the background of the piece. Space is clearly created by each crest and trough of the rolling landscape. An overall blue gray tone is cast upon the farthest distances from our eye. In contrast to the correct rendering of the farthest distance, Nain has created a proportionally incorrect crucifix. With that being said, the space is ordered well leaving ample room for the small landscape far past the cave. The pictorial plane can be both shallow and deep. The viewer is placed in the small space surrounding the body of Christ and if chosen can peer past to a more deep and sprawling space. There is a horizon line that begins in the landscape on the right and continues to divide the composition throughout the figural space. The horizon line ends on the worktable of the figures in the background. This continuous line keeps the composition equally weighted and well placed. The contrasting dark walls and spaces surrounding the figures against the divine light allow for space to be created also making the space more believable to the viewer. With the image falling into the French baroque era and style it can be seen that the stylizing of the image is very calm with no erroneous marks. The fluid strokes and smooth transitions play well with the narrative of the story for it’s the time after Christ’s death and life seems to move in slow motion. Although texture can be seen in the strokes of the cave walls giving validity to the space and allowing the viewer to feel as though they are in the scene. Nain’s skillful crafting of the piece and attention to emotional and historical details lend to the overall success of the piece. It is clear Nain wishes for the viewer to feel the somberness of the ultimate sacrifice endured by Christ. Staying true to the French baroque styles of the time he was able to convey his message through a well thought out and cleanly placed composition. Both Procaccini’s â€Å"The Scourging of Christ† and Nain’s,† and â€Å"The Entombment of Christ,† depict a particular moment in time of the crucifixion of Christ. Though each portrays particular scenes under their own vision in their particular style, Procaccini’s Italian baroque influences are extremely evident in the painting with the strong use of light and the theatrical scene with strong movement and gut wrenching emotions. In contrast to the busy chaotic scene pictured by Procaccini, Nain uses a more refined approach and paints a much more academic and calm scene. The dullness of the tones with vivid splashes of color add many historical as well as religious touches that add to the overall feel that Nain is trying to express. Overall the two pieces are some of the more breathtaking renditions of classic religious art that can be seen. Both artists are the definition of their style and exemplify what true artistry is. ——————————————– [ 1 ]. http://en. ikipedia. org/wiki/Giulio_Cesare_Procaccini [ 2 ]. http://www. wga. hu/tours/spain/p_17. html [ 3 ]. http://en. wikipedia. org/wiki/Figura_serpentinata [ 4 ]. http://en. wikipedia. org/wiki/Contrapposto [ 5 ]. http://webartacademy. com/painting-techniques-tenebrism [ 6 ]. http://www. artistdaily. com/blogs/artistdaily/archive/2013/01/30/no-one-could-bea t-rembrandt. aspx [ 7 ]. http://www. britannica. com/EBchecked/topic/1475261/Le-Nain-brothers [ 8 ]. http://www. essential-humanities. net/western-art/western-painting/baroque-painting/#. UV0HaaKG2So How to cite Baroque Painting Analysis, Papers

Financial Statement Analysis free essay sample

This paper seeks to prepare a financial statement analysis of the attached income statement and the balance sheet using appropriate business/financial vocabulary with comments on significant amounts, trends, and relationships.   Two given questions are answered below to accomplish the purpose of this paper. 2. Analysis and Discussion   2. 1) Write a one-page written analysis (double-spaced) of the Trend Analysis (of the Income Statement Balance Sheet) Attached. The company exhibited almost uniform profitable results as indicated by the net profit margins of 6.17%, 7.44%, 6.86%, 7.47%, 7.52% for the year 2006, 2005, 2004, 2003 and 2002 respectively. The said almost uniform margins of not exceeding 8% for the last five years under review are surprisingly maintained despite the annual increase in total revenues which are recorded at $1,315.32, $1,182.053, $ 969.23, $773.835 and $651.97 thousands for the years 2006, 2005, 2004, 2003 and 2002 respectively. This would still mean that the increase in revenues in absolute figures almost did caused the company to become less efficient for the year under review.   There were of course slight decrease in the net profit margin from 2003 to 2004, but from 20004 it rose again in 2005 but only to decrease again in 2006. We will write a custom essay sample on Financial Statement Analysis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page    The behavior of the net profit margins is of course matched by the behavior of the gross margins which exhibited the rates of 19.58%, 20.87%, 19.88%, 20.46% and 21.09% for the years, 2006, 2005, 2004, 2003 and 2002 respectively. As far as the balance sheet figures are concerned, there trends of increasing assets were also observed which were recorded at the values of Other Assets – Sundry of $24.80, $18.41, $15.88,   $12.07 and S8.89 for the years   2006, 2005, 2004, 2003 and 2002 respectively. 2.2) Write a one-page written analysis (double-spaced) of the Common Size Analysis (of the Income Statement Balance Sheet) Attached. Common size analysis measures the relationship of the accounts to a certain base. In the case of income statement, what are made 100% are the total revenues, while in the balance sheet it is the total assets and the total liabilities and stockholders’ equity (Meigs and Meigs, 1995).  Ã‚   Analyzing therefore the common size income statement and balance sheet analysis would mean finding further the relationship of the accounts. Starting with the common size income statements, it may be stated that average cost of goods ratio to total revenues constitute about 78% to 80%, hence indicating that the company has a very high production cost. If this is related to company’s high investments in plant property and equipment it may be understood the   company must have a very high fixed cost hence the need to produce more revenues just to cover the high fixed costs. Continuing therefore with the balance sheet’s total assets, it may be stated that the company’s current assets constitute only about less than 20% of the total current assets as extracted from the ratios of 19.4740%, 18.65%, 15.09%, 19.74%, and 15.80% for the years 2006, 2005, 2004, 2003 and 20002 respectively. On the other hand, the bulk of the company’s total assets is found in plant property and plant equipment (Stickney and Weil, 2005) which constituted on the average ratio of 60% to 70%. The other assets of the company are found in investments, investments and advances and other non current assets, the combined total average of which ranges from 10% to 20% for the five year period under review. It may thus be concluded that the company belongs to a capital intensive industry as indicated by high ratio of fixed assets to total assets. In attempting to understand its current assets which do not exceed 20% , it may be noted that the its inventories particularly finished goods is only less than 1% of its total assets thus indicating that it does not require the industry to invest much in inventory. 3. Conclusion It may be concluded that conduct and trend analysis and common financial statement analysis facilitated the understanding of the company’s financial statement, including its performance and how it manages its assets to accomplish some financial objectives Brigham and Houston, 2002). The results of the analysis resulted also to an understanding of the industry where the company is in that it belongs to a capital intensive industry. References: Brigham and Houston (2002)   Financial Management, Thomson South-western, New York, USA Meigs and Meigs (1995) Financial Accounting, McGraw-Hill, New York, USA Stickney and Weil (2005) Financial Accounting: Introduction to Concepts, Methods and Uses, Thomson South-western, New York, USA