Ben's Case Study Example | Topics and Well Written Essays - 250 words

Ben's - Case Study Example This is because high neutrophil count can be due to several factors such as stress due to sudden bacterial infection or damage of tissues among others. C. Respiratory acidosis-Respiratory acidosis is caused by alveolar hypoventilation, which leads to increased hypercapnia. The tests results help determine whether respiratory acidosis is acute or chronic. 12. CFC is usually clear, colorless, and sterile and contains similar constituents to those present in blood, but in lower amounts. Thus, the physician was relived because sterile CSF proved that there was no bacterial infection in the CSF. She was considering the possibility of bacterial meningitis infection. 13. Antibiotics can change the normal microbial flora, which may result in toxicities where the drug is unable to differentiate between the host physiology and the pathogen physiology; hence, destroying both the normal bacteria and harmful bacteria. Thus, Ben’s condition deteriorated due destruction of the normal bacteria in his body, which promoted the growth of drug-resistant microorganisms (Bauman, 2011). 14. Hospitalized patients are quite vulnerable to staphylococci and gram-negative bacteria, which are highly dangerous for already ill patients. Thus, this could have contributed to Ben’s condition and placed him at a high risk of

The Game of Love and Chance Essay Example | Topics and Well Written Essays - 500 words

The Game of Love and Chance - Essay Example The two parties including their servants decide to swap their roles so that the royal Silvia and Dorante lower themselves to servants while their servants rise to royalty as depicted by dressing and roles. Ironically neither of the two parties have no idea of what the other has done except for Silvia's father and the brother. In the end all their disguises are relinquished and they dawns to them that they have in fact fallen for their intended match. The plot of this play speaks for itself. Through Silvia's father and brother a stiff sigh of comic relief is realized in the play making it absolutely lively. As much as a few people show reveal the aspect of predictability within the play, they show no aspects of complete displeasure thus proving the story interesting to a larger audience. The subject matter of the play is almost entirely love. It is an outstanding complete picture of the complications involved in love and how people take chances in the name of love. Preference and choice are other things that keep the the play going. The dramatic work portrayed in the play is credible because any realistic performance captures attention and the play did that. This statement of attention capturing in attempt to achieve realism is approved of by Isherwood (2014) in his theatre review, Mysteries of Heaven and Earth, where he says "Suspending our disbelief for a while is among the primal pleasures of theatergoing".

Some Factors that Influence Language Development in Children Essay

Some Factors that Influence Language Development in Children - Essay Example This ability explains why very young children acquire the language of the environment that they live in faster than older ones. Following McCarthy (1960), the main stages that follow in early childhood can be summarized as babbling and cooing, pronouncing a variety of syllables (not complete words), imitating sounds and voices of others, and ending up with the pronouncement of a limited number of complete words. Knudtzon (1998) notes that in the second year the child can use two-word sentences. And in the third year he is a keen user of language. The progress continues by interacting with other members of the community, and by joining school, where speaking, reading and writing skills are developed. In the very early stage the children are mainly under the effect of their parents and siblings. Developments in their cognitive abilities affect them as they grow up. Interacting with the community and going to school may require the child to learn another language different from what he uses at home or in the community. It is the aim of this paper to report on the empirical findings by different researchers on family structure, cognitive abilities and second-language learning as factors that influence the child's language development either positively or negatively. These findings are mainly the result of observing samples of children of different ages over a specific period of time that may extend for months, and of conversations with parents. 2. Family Structure Families consist usually of two parents, but there are families of one parent only. There may or may not be siblings for the child whose development of language is considered. One parent or both may be working or not, and have different educational... According to the report findings families consist usually of two parents, but there are families of one parent only. There may or may not be siblings for the child whose development of language is considered. Some families assume an active role in their community, while others just keep to themselves. Family structure then, while taking into account parents work, education and relations to others in the community, surely has an immense effect on the child's language development. This effect can speed up the child's language development, or slow it down, depending on how many hours the children are close to their parents, the type of vocabulary the parents use, and the amount of talk input by them.This essay stresses that  the effect of siblings on a younger brother or sister is paramount. From the personal experience of some parents, it has been found that the first child will have slower language development, in terms of how many words that he or she can pronounce, and sentences t hat can be formed at a certain age; while the second or third will be faster in acquiring more words, and using them at the same age. In these cases, older siblings act as language teachers of a special kind. The same age range, the similar cognitive abilities, and the close ways of pronouncing will make it easier for the older and younger to get on well. In such an interaction, the transfer of skills, from the older to the younger, flows in a natural and smooth way and greatly enhances language development in both.

Virgin on the Rocks by Leonardo da Vinci

Virgin on the Rocks by Leonardo da Vinci Featured in this gallery are the two versions of The Virgin of the Rocks (also known as The Madonna of the Rocks). These two altarpieces are being showcased in particular in this exhibition because they share a location in the same Milanese church, the San Francesco Grande, and most importantly the same artist (although this has been debated), Leonardo Da Vinci, painted both versions of the altarpiece. Further, another reason why they are being portrayed in this exhibition is due to the debates over their authenticity, even though they are 15 years apart in conception. Additionally, the two pieces share the same subject matter, imagery, iconography and pyramidal composition. In both altarpieces, the subject matter is unusual since the Biblical figures are placed in a mountainous pictorial backdrop; also, both paintings depicted were made for the Confraternity of the Immaculate Conception. These two pieces were further chosen because they incorporate many stylistic features such as s fumatto (blurring of lines) and the exploitation of the gradation of light (chiaroscuro) that the painter had accumulated and learnt from previous experiments, and which he then applied in this peak period of his career. The two versions of the Virgin of the Rocks also represent the artists continuous growth in the art of Italian Renaissance; The Virgin of the Rocks set the base for Leonardo Da Vinci to grow and mature as an artist in his two following infamous commissions, the Last Supper, and the Mona Lisa. The two altarpieces share the same iconography of the plants painted. Leonardo Da Vinci was a botanist just as much as he was an engineer, or an artist. He paid close attention to details; for these paintings, rather than looking at images of the plants, he looked at the plants in real, and painted from there. The plants depicted in the paintings have been chosen because they symbolize and represent religious meanings. According to the biographer, Charles Nicholl: the columbine suggests the dove of the Holy Ghost, the cyclamen below Christ have heart shaped leaves which make it an emblem of love and devotion, and by his knee is a basal rosette of primrose, an emblem of virtue. Kneeling below St. John is the acanthus, considered to be a symbol of the resurrection because of its rapid growth; the hypericum which has small dots of red on yellow petals represents the blood of the martyred St. John. Other hidden symbols are religious in nature: the water, pearls and the crystal, which are used to fasten Marys robe, are symbols of her purity. This would make the connection with the Immaculate Conception of Mary. Further, the stone formations, eroded by natural forces are a metaphor for Mary, pointing towards her unexpected, virtuous fertility. Da Vinci wanted the viewer to feel as if they were seeing material Nature spiritually transmuted. In both versions of the altarpiece, Leonardo Da Vinci portrayed the Virgin together with the infant Christ and St. John, and with an angel. They have been placed amongst a rocky backdrop or a grotto. It is the setting of the Biblical figures against this pictorial background that gives the altarpiece its title, the Virgin of the Rocks. The Virgin has been placed in the center of the composition dressed in a blue garment. By having the Virgin as the focal point, the other figures have been placed in a pyramidal composition. Further, the Biblical figures are interconnected not only via the pyramidal composition but also via subtle glances and gestures. The rocky backdrop has caused some debate, as they are different in the style of the brushstrokes. According to the geologist, Anne Pizzorusso, Da Vinci has not painted the second version of the altarpiece, because the rocks which he would have been familiar with because of his obsession with nature have been painted incongruently in c omparison to the first version. Other than these evident similarities between the two versions of the altarpieces, there are also many significant differences between them. To start, both pieces are not in their original locations anymore. The first version is now in the Louvre in Paris, and the second version is currently in the National Gallery in London. Further differences lay in the iconographic and stylistic details of the paintings, which aid in making them individually significant and unique. Further, these differences in details are what raise the debate about authenticity whether Da Vinci was responsible for either painting, or just the first version currently in the Louvre. To extrapolate, if it were Leonardo Da Vinci who painted both, the altarpieces should share the same stylistic features, such as that of exploiting the use of light, which they do not. This raises the hypothesis of Leonardo not being the sole artist for the second version of the altarpiece. Rather, he most likely got help from his tw o Milanese assistants, the brothers Ambrogio and Evangelista de Predis, as evident in some aspects of the painting. The first version of the altarpiece is generally considered superior as revealing the more mature Leonardo Da Vinci than the second version. Hanging in the Louvre, the first version is thought to be solely by Leonardo Da Vinci, whereas the second is seen as overseen by the artist but having received assistance. Both paintings also share a different mood: where the Louvre version is vibrant, the National Gallery version is more austere; The different mood of the second version may be due to the numerous hands of multiple artists on the painting. Through further analysis of these criteria the symbolic iconography, stylistic techniques and the debate over their authenticity- we will see that although each altarpiece is unique and mysterious it is still intertwined with the other. Leonardo Da Vinci, Virgin of the Rocks, 1452-1519, oil on wood/panel transferred to canvas, 78in x 48.5in In the early 1480s, artists in Milan were beginning to finally prosper and were coming into the city from the rest of Italy due to its growing wealth and Ludovico Sforzas encouragement. Numerous artists were attempting to get commissions from the court; at the time, the most prominent artist and painter was Donato Bramante, who achieved success with his design of St. Peters Basilica in Rome. He was crowned as an architect of the court after he secured his architectural commission for the Basilica. Even though Bramante secured his position as the courts architect, Da Vinci did not give up and continued to toil in his early years in Milan to receive the title of the courts painter. Five or six years elapsed before the Sforza court recognized Da Vincis talent. It was with his first employment at court that Da Vincis career as a painter in Milan started off; the confraternity of the Immaculate Conception commissioned him for the Virgin of the Rocks, making this altarpiece his first artwo rk in Milan. With this altarpiece, Da Vinci took risks that worked to his benefit, by attempting to incorporate new ideas, and by introducing new themes to the art field. Before this altarpiece, the Virgin and Child were usually placed within an interior setting of a church or a chapel. Therefore, the altarpiece is emblematic of the flourishing of his career, as placing the Virgin and Child amongst a natural setting was a new theme in Italian Renaissance art. As with all other altarpieces, Da Vinci had to agree to a contract for the altarpiece, which was dated at April 25, 1483. According to the contract, the patrons asked for a triptych with the Virgin and Child in the midst of a host of angels attended by two prophets, while the side panels were to feature four angels each, singing or playing musical instruments. Although contracts are written in stone, and followed, Da Vinci diverged from the clients specifications. Apart from the Virgin and Child, none of the other requirements are met. The composition is comprised of the Virgin, the infant Christ, one angel, no prophets, and an unstipulated infant St. John, a divine quartet organized by a pyramidal structure with the Virgins head at the vertex; the side panels are also deficient, having only one angel each. The Virgins right arm is draped over the shoulder of St. John, and her left hand poised over the figure of the infant Christ. On the lower right portion of the panel, the kneelin g angel is pointing toward St. John. Other than the subject matter, the contract also specified details concerning the composition and choice of colours, which Da Vinci did not completely adhere to: Our Lady is at the center, her cloak [is to] be of gold brocade and ultramarine blueà ¢Ã¢â€š ¬Ã‚ ¦the gownà ¢Ã¢â€š ¬Ã‚ ¦gold brocade and crimson lake, in oilà ¢Ã¢â€š ¬Ã‚ ¦the lining of the cloakà ¢Ã¢â€š ¬Ã‚ ¦gold brocade and green, in oilà ¢Ã¢â€š ¬Ã‚ ¦Also, the seraphim done in sgrafitto workà ¢Ã¢â€š ¬Ã‚ ¦Also God the Father [is] to have a cloak of gold brocade and ultramarine blue. The mountains and rocks shall be worked in oil, in a colourful manner. A possible reason for this may be that Da Vinci was already working on some kind of painting, and just carried on with the composition regardless of the details of the contract. This may be because the deadline allowed them only 9 months, so to save time; Da Vinci may have taken this path to complete the painting on time. The Virgin is depicted as a young woman in this version of the altarpiece. The introspective solemnity that Da Vinci used to express the Madonna in his earlier works (The Adoration of the Magi, The Benois Madonna) develops delicately and gracefully, making evident Da Vincis concern with the intermingling of spiritual and devotional qualities with human feelings of tenderness in the Virgin in this altarpiece. Although there are inconsistencies with the Virgins face, such as in the bulging slanted eyes, the outline of the face of the Virgin has been regularized and lengthened (in comparison to his previous attempts to drawing Virgins), giving Her a more naturally unified appearance. A stylistic feature that develops from this starting point is the artists new treatment of light. In the present altarpiece, light exists and an independent and mobile part of nature. The surfaces of the painting vibrate gently through the subtle interpenetration and gradation of lights and shadows. Therefo re, by using the technique he used to exploit the quality of light, he was able to achieve the tranquil, fluent, delicate, and tender emotions conveyed by the Virgins face. The angel in the painting is compelling and looks out at the viewer. The goal of placing the angel in such a way was to use the angel to catch the viewers attention, and to draw it to the center of the painting specifically towards St. John- by means of pointing his finger. The pointing of the finger has many other functions other than to point out the infant St. John: it fills the interval and clarifies the vertical accent that result from the foreshortened hand of the Virgin, which she extends to crown the Christ Child. This helps to reestablish the prominence that Christ is in danger of losing by his subordinate location in the composition. Leonardo Da Vinci was highly influenced by Verrocchio, his trainer, and by Flemish styles and techniques. These influences are evident in the infant Christ and St. John, whom are in round and fleshy forms. The infants have been directly taken from Donatello and Verrocchios sculptural style. Da Vinci continued to take from his early predecessors and teachers, and apply their stylistic forms to his works. Version 2: The second version of the Virgin of the Rocks is the painting that had to be created due to a lawsuit against the previous version of the altarpiece. The patrons bestowed a lawsuit on the previous altarpiece because it had not been completed within the timeframe given to them of 9 months. While the lawsuit was in progress (lasted for 10 years), the Confraternity asked for another painting, which would follow the same contract; thus the second version of the Virgin of the Rocks was born. The fact that Da Vinci was not able to complete the first version was not surprising, because he had difficulties meeting deadlines a childhood problem that matured with him into his adulthood. The second version was commissioned to be painted for the same chapel of San Francesco Grande in Milan. Due to many inconsistencies throughout the painting, there have been debates on whether Da Vinci painted the altarpiece wholly. Many scholars believe that due to the lack of attention paid to the exploitatio n of light, the different moods and due to the changes in the softness of lines, Da Vinci received help from his assistants Ambrogio and Evangelista de Predis. The Virgin of the second version of the Virgin of the Rocks is in most ways facial features, arrangement of hair, and set of her head similar to the previous version in the Louvre. Although Da Vinci usually does not repeat himself in this way, it may have been necessary because the London painting was meant to replace the Paris painting in the ancona of the Confraternity. The Virgin in the second version of the altarpiece looks older because her facial forms are heavier and larger, and she has a serious expression. The Virgin in this altarpiece is also much more voluminous, occupying a greater area of the panel; lacks crispness and spontaneity in execution. Further, the Virgins drab and lusterless hair and sharp-edged forms, the mechanical way light and shade are distributed in separate areas, the loss of radiance in the light and the loss of the atmospheric veil suggest that the Virgin was not painting by Da Vinci, but by Ambrogio de Predis. The head of the angel may be the only part of the altarpiece where Da Vincis artistic hand is evident, although it was not solely him responsible for it. It has some of his vivacity and sensitivity of handling, and the spotted light over the delicate curls in the angels hair is surely his invention. Ambrogio de Predis hand is evident in the head of the angel as well, as there is a lack of crispness in the facial expression. In this altarpiece, the angel is no longer pointing to the infant St. John. This collaboration between the two artists is clearly identifiable and comparable to the first version in which Da Vinci was the single artist.

The Dynamic Use of Symbolism in Shampoo Planet Essay -- Shampoo Planet

The Dynamic Use of Symbolism in Shampoo Planet Douglas Coupland has been called the voice of Generation X by his critics because of his writing techniques, which deal mainly with youthful ideals. Most of his works involve young characters searching for truth and answers for their self-involved questions. Despite many of his novels having a dim outlook, he incorporates humor and optimism into them, which creates a balance between wittiness and mockery. In Shampoo Planet Tyler Johnson, the narrator, struggles to find his identity throughout the novel. This is portrayed through Coupland’s vivid use of imagery, which is abundant throughout the novel. Many of Tyler’s intellectual qualities help him adapt and cope with many of the situations he faces; but many of his emotional and moral qualities strive to change who he is and what he wants out of life. As Tyler’s outlook on life transforms, the vivid use of symbolism corresponds to his changing attitude. Tyler, a resident of Lancaster, Washington, lives with his hippie mother, Jasmine, and two siblings, Daisy and Mark. In search for excitement, he plans to take a summer vacation backpacking through Europe. Before his trip, he had a very comfortable relationship with Anna-Louise, a down to earth and very reserved girl attending the same college. However, in Europe, Tyler meets a French girl named Stephanie, who is very exotic and exciting to him and was the complete opposite of Anna-Louise. When Stephanie comes to visit Tyler in Lancaster, Anna-Louise learns of the brief affair Tyler and Stephanie had in Europe. Tyler then ends his relationship with Anna-Louise and moves to California with Stephanie. In the beginning of the novel, Tyler is seen as a relatively happy, care free, and motivated twenty year old man. As his life progresses, his attitude and outlook on life changes dramatically. In one passage from the beginning of the novel, Tyler states that â€Å"I have a plan†¦I have a good car and a wide assortment of excellent hair-care products. I know what I want from life; I have ambition.†(13). He has such excitement about what will happen in his life down the road. He claims that he wants to own a hotel when he gets older because â€Å"in a hotel room you have no history†¦You feel like you’re all potential waiting to be rewritten, like a crisp, blank sheet of 8  ½-by-11-inch white bond paper. There is ... ...ld they find? Turn on the shower.† (133). Tyler believes that if he keeps himself clean, then he will not become poor. His shampoo is his key to becoming what he wants to. Douglas Coupland’s use of symbolism in Shampoo Planet helps paint a vivid picture of Tyler and his struggles throughout his life. The extensive use of symbolism made the book more interesting and helped me relate to Tyler more as a person than a character. Tyler’s constant changing made the story unpredictable and less common; it held my interest enough to make me want to continue reading the novel. Even though Douglas Coupland is considered to be the voice of Generation X, many different generations can relate to its content and enjoy his works, both past and future generations. Coupland’s sarcastic way of writing gives the novel a comedic element which makes it more enjoyable to read. I liked his use of imagery, with passages such as â€Å"Tyler†¦you are my trailer park. And you, Anna-Louise, are my tornado.† (31). His sarcasm helped to keep me interested because, in my opinion, every book needs a source of comedy; Coupland’s source is h is ability to make fun of any situation and still keep a serious manner.

Attorney Client Privelege

Attorney-Client Confidentiality Tammy Sepulveda CJS/220 January 16, 2013 Deborah DiFalco Attorney-Client Confidentiality The attorney-client privilege, which dates back to the reign of Elizabeth I, was originally based on the concept that an attorney should not be required to testify against the client and, thereby, violate a duty of loyalty owed to the client. At that time, it was the lawyer who held the privilege. Today, the privilege is held by the client; while it may be asserted by the lawyer on behalf of the client, only the client can waive the privilege. Silverman, 1997) Although Silverman states that only the client can waive the privilege; he forgot to mention that if a client discloses to his attorney that he plans on committing a crime that would harm someone else, the attorney is then obligated to report it to the authorities. If a client is discussing a matter with their attorney in a public place and someone over hears it; that can be used in court. Only conversations between the attorney-client in private are considered privileged information.The attorney-client privilege is important to our criminal justice system for the simple fact that a client would be more apt to tell the truth to their attorney. When the attorney does not have all of the facts at hand; they may not be able to represent the client appropriately. If a client knew the information they were disclosing to their attorney wasn’t in confidence; they may not tell the attorney what they need to know. Our Constitution protects us from wrongful imprisonment and the US Supreme court upholds the very old legal concept.If there wasn’t attorney-client privilege then the defense would not need to fight for their client in court, thus making it easier for the prosecution to not have to properly present their case. This could result in innocent people going to prison being stripped of their liberty. One of the major concerns facing attorney-client privilege is e-discovery. Wit h the prevalence of electronic communication, preserving client confidentiality during document production is more challenging than ever. An attorney must track and find all the information that is pertinent to their case. This includes investigating possible electronic information.If the attorney does not have the same information that the prosecution may have; it can damper the case. Electronic information is not included under attorney-client privilege. Therefore, the client should privilege the attorney with any information that may be available to the prosecution through e-discovery. Reference Silverman, A. B. (1997). Silence is Golden- The Attorney-Client Privilege. Journal of the Minerals, Metals and Materials Society, 49(6), 62. Retrieved from http://www. tms. org/pubs/journals/jom/matters-9706. html The Courts in Our CriminalJustice System, by Jon’a F. Meyer and Diana R. Grant. Published by Prentice-Hall.

‘Eve Teasing in Bangladesh’ -Causes and Remedies Essay

London, June 16 (ANI): Eve teasing in Bangladesh has taken such a heavy toll on the country’s women that the education ministry there has voted to have an â€Å"Eve Teasing Protection Day†. The announcement was made after the increasing concern over the worrying number of girls and women who have recently committed suicide in the country to escape eve teasing, a euphemism for sexual harassment. According to figures released by the Ain-O-Shalish Kendra (ASK) human rights organisation, 14 girls and women have taken their own lives over the past four months across the country as a direct result of the insults. In addition, a father and a daughter also committed suicide together – in an incident blamed by the authorities on â€Å"eve teasing†. Police say three men who publicly protested against the harassment have been killed over the past 12 weeks. Critics argue that laws, which should prohibit sexual harassment, are so poorly drafted that victims get virtually no help from the law enforcement agencies. Families of the victims are left feeling hopeless and helpless. â€Å"Some victims find suicide is the only avenue that enables them to escape this social pandemic,† the BBC quoted Sultana Kamal, executive director of ASK, as saying. â€Å"The situation is very frightening. The suicides of 14 girls are an alarming sign of the times. If it is not controlled, we women can no longer live in society with any dignity,† she said. Education Minister Nurul Islam Nahid while admitting to the menace said female students and female teachers were at present not safe on the streets or schools, a situation leading to an increased drop-out rate of female students in many schools, and underage marriages. (ANI) Bengal girl commits suicide after sexual harassment Kolkata, August 14 (IANS) Subjected to regular sexual harassment by a some local youths and following an altercation with her father on the issue, a 13-year-old-school girl committed suicide by immolating herself in West Bengal’s Burdwan district, police said Tuesday. Four people have been arrested in this connection. â€Å"Ujjawala Prasad, 13, had set herself on fire last night and she succumbed to  injuries Tuesday morning. Her father has lodged a complaint against nine persons who had been harassing the girl for the past few days. Four persons have been arrested,† a police officer said. The incident happened in Hirapur in Burdwan district, 213 km from Kolkata. Police said the girl complained to her father about some boys teasing her regularly, following which he went to confront them. The boys said the girl was having an affair with one of them. The father had a heated argument with the girl Monday night. After the incident, Leader of Opposition and Communist Party of India-Marxist leader Surjya Kanta Mishra said: â€Å"Not a single day passes when an incident of an attack on women is not reported. Today a girl committed suicide in Asansol after she was harassed by men. The attacks on women, especially on minor girls, has shot up.† Rising incidents of sexual harassment and increasing public anger in protest has prompted the Bangladesh government, headed by a woman, Sheikh Hasina, to take action. In the latest incident Friday, villagers set fire to houses of some alleged stalkers in Talupara village in Sirajganj district, about 110 km northwest of Dhaka. The mob also caught a stalker’s father and handed him over to the police. In another incident, at least 10 members of a family were Wednesday beaten for protesting against stalking, and one of them died, The Daily Star reported. Abdur Rauf, son of Delwar, used to pester Kamrul’s wife Joinab, 18, every day. After Joinab brought the matter to Delwar’s attention, Rauf and his men went to Kamrul’s house and beat up his family. Kamrul’s uncle Aser Ali succumbed to injuries on way to hospital. In another incident last week, a school girl’s father, who managed to nab her stalker and hand him over to the police, could not take questions from the media and died of heart attack. The government has promised a law to prevent sexual harassment of women at work. But the problem is difficult to tackle in villages where women and young girls from broken families or with men away on work face harassment from idle, at times better off, youths. The government declared to observe June 13 as the Eve Teasing Protection Day  from this year. The resolve to raise public awareness comes from the presence of several women in public life. â€Å"In a country where the prime minister (Sheikh Hasina), foreign minister (Dipu Moni), home minister (Sajeda Khatun), agriculture minister (Motia Chowdhury) and the leader of the opposition (Begum Khaleda Zia) are female, women and girls cannot walk on the streets, use public transport, or go to school, shops, parks or other public places without often being ogled, taunted, harassed, humiliated, sexually molested, groped and assaulted – and in some cases, attacked with acid, abducted and raped,† The Daily Star lamented in a commentary Saturday. According to the Bangladesh National Women Lawyers Association, almost 90 percent of girls aged 10-18 years are victims of sexual harassment. The perpetrators range from college students and unemployed youth to street vendors, rickshaw pullers, bus drivers, fellow passengers, colleagues and supervisors. â€Å"Sexual terrorism thrives on patriarchal attitudes, prejudices, cultural norms, double standards and discriminatory laws that devalue women and deny them their rights. Eradicating it will require transformative social change,† the newspaper said. A large number of school and college students held a rally in Dhaka to protest against ‘eve teasing’ and the sexual harassment of women. According to the BBC, the rally was the latest in a series of protests following a number of suicides and killings involving women subjected to bullying and harassment. The protestors have urged the Bangladesh government to take proper steps to curb sexual harassment and provide better protection for women. â€Å"Some right-wing parties say that if the girls wear a veil, then they can escape Eve teasing, but we don’t think so. We need tougher legislation and it should be properly implemented to stop this menace,† one of the protestors said. Young girls often face verbal abuse, taunts and stalkers, and critics are forcibly silenced. Those harassing them are often their school colleagues or men in the street, the report said. According to activists, eve teasing and sexual harassment has led to the deaths of more than 24 people, most of them women, since the beginning of this year in the country. In recent days, some who have spoken  out against sexual harassment have been murdered, it added. (ANI)