The 3 Types of Joints in the Body

Bones come together at places in the body called joints, which enable us to move our bodies in different ways. Key Takeaways: Joints Joints are locations in the body where bones meet. They enable movement and are classified by either their structure or function.Structural classifications of joints include fibrous, cartilaginous, and synovial joints.Functional classifications of joints include immovable, slightly movable, and freely movable joints.Freely movable (synovial) joints are most abundant and include six types: pivot, hinge, condyloid, saddle, plane, and ball-and-socket joints. There are three types of joints in the body. Synovial joints are freely movable and allow for motion at the location where bones meet. They provide a wide range of motion and flexibility. Other joints provide more stability and less flexibility. Bones at cartilaginous joints connected by cartilage and are slightly movable. Bones at fibrous joints are immovable and connected by fibrous connective tissue. Joints can be classified by either their structure or function. Structural classifications are based on how the bones at joints are connected. Fibrous, synovial, and cartilaginous are structural classifications of joints. Classifications based on joint function consider how movable bones are at joint locations. These classifications include immovable (synarthrosis), slightly movable (amphiarthrosis), and freely movable (diarthrosis) joints. Immovable (Fibrous) Joints Fibrous joints hold skull bones together to protect the brain. Leonello Calvetti/Stocktrek Images/Getty Images Immovable or fibrous joints are those that do not allow movement (or allow for only very slight movement) at joint locations. Bones at these joints have no joint cavity and are held together structurally by thick fibrous connective tissue, usually collagen. These joints are important for stability and protection. There are three types of immovable joints: sutures, syndesmosis, and gomphosis. Sutures: These narrow fibrous joints connect bones of the skull (excluding the jaw bone). In adults, the bones are held tightly together to protect the brain and help shape the face. In newborns and infants, bones at these joints are separated by a larger area of connective tissue and are more flexible. Overtime, cranial bones fuse together providing more stability and protection for the brain.Syndesmosis: This type of fibrous joint connects two bones that are relatively far apart. The bones are linked by ligaments or a thick membrane (interosseous membrane). A syndesmosis can be found between the bones of the forearm (ulna and radius) and between the two long bones of the lower leg (tibia and fibula).Gomphosis: This type of fibrous joint holds a tooth in place in its socket in the upper and lower jaw. A gomphosis is an exception to the rule that joints connect bone to bone, as it connects teeth to bone. This specialized joint is also called a peg and socket joint and allows for limi ted to no movement. Slightly Movable (Cartilaginous) Joints Intervertebral discs are cartilaginous joints, composed of thick fibrocartilage, that support bones while allowing limited movement. MedicalRF.com/Getty Images Slightly movable joints permit some movement but provide less stability than immovable joints. These joints can be structurally classified as cartilaginous joints, as bones are connected by cartilage at the joints. Cartilage is a tough, elastic connective tissue that helps to reduce friction between bones. Two types of cartilage may be found at cartilaginous joints: hyaline cartilage and fibrocartilage. Hyaline cartilage is very flexible and elastic, while fibrocartilage is stronger and less flexible. Cartilaginous joints formed with hyaline cartilage can be found between certain bones of the rib cage. Intervertebral discs located between spinal vertebrae are examples of slightly movable joints composed of fibrocartilage. The fibrocartilage provides support for bones while allowing for limited movement. These are important functions as it relates to the spinal column as spinal vertebrae help to protect the spinal cord. The pubic symphysis (which connects the right and left hip bones) is another example of a cartilaginous joint that unites bones with fibrocartilage. The pubic symphysis helps to support and stabilize the pelvis. Freely Movable (Synovial) Joints Synovial joints are freely movable and provide the greatest degree of mobility. OpenStax College/Wikimedia Commons/CC BY 3.0 Freely movable joints are classified structurally as synovial joints. Unlike fibrous and cartilaginous joints, synovial joints have a joint cavity (fluid-filled space) between connecting bones. Synovial joints allow for greater mobility but are less stable than fibrous and cartilaginous joints. Examples of synovial joints include joints in the wrist, elbow, knees, shoulders, and hip. Three main structural components are found in all synovial joints and include a synovial cavity, articular capsule, and articular cartilage. Synovial Cavity: This space between adjacent bones is filled with synovial fluid and is where bones can move freely in relation to each another. Synovial fluid helps to prevent friction between bones.Articular Capsule: Composed of fibrous connective tissue, this capsule surrounds the joint and connects to adjacent bones. The inner layer of the capsule is lined with a synovial membrane that produces the thick synovial fluid.Articular Cartilage: Within the articular capsule, the rounded ends of adjacent bones are covered with smooth articular (relating to joints) cartilage composed of hyaline cartilage. Articular cartilage absorbs shock and provides a smooth surface for fluent movements. Additionally, bones at synovial joints may be supported by structures outside of the joint such as ligaments, tendons, and bursae (fluid-filled sacs that reduce friction between supporting structures at joints). Types of Synovial Joints in the Body OpenStax College/Wikimedia Commons/CC BY 3.0 Synovial joints allow for a number of different types of body movements. There are six types of synovial joints found at different locations in the body. Pivot Joint: This joint permits rotational movement around a single axis. One bone is encircled by a ring formed by the other bone at the joint and a ligament. The bone that pivots may either rotate within the ring or the ring may rotate around the bone. The joint between the first and second cervical vertebrae near the base of the skull is an example of a pivot joint. It allows the head to turn from side to side.Hinge Joint: This joint permits bending and straightening movements along one plane. Similar to a door hinge, movement is limited to a single direction. Examples of hinge joints include the elbow, knee, ankle, and joints between the bones of the fingers and toes.Condyloid Joint: Several different types of movements are allowed by this type of joint, including bending and straightening, side-to-side, and circular movements. One of the bones has an oval-shaped, or convex, end (male surface) that fits into the depressed oval-shaped, or concave end (female surface) of another bo ne. This type of joint can be found between the radius bone of the forearm and bones of the wrist.Saddle Joint: These distinct joints are very flexible, allowing for bending and straightening, side-to-side, and circular movements. The bones at these joints form what looks like a rider on a saddle. One bone is turned inward at one end, while the other is turned outward. An example of a saddle joint is the thumb joint between the thumb and palm.Plane Joint: Bones at this type of joint slide past each other in a gliding motion. The bones at plane joints are of similar size and the surfaces where the bones meet at the joint are nearly flat. These joints can be found between bones of the wrist and foot, as well as between the collar bone and shoulder blade.Ball-and-Socket Joint: These joints allow the greatest degree of motion permitting bending and straitening, side-to-side, circular, and rotational movement. The end of one bone at this type of joint is rounded (ball) and fits into the cupped end (socket) of another bone. The hip and shoulder joints are examples of ball-and-socket joints. Each of the different types of synovial joints allows for specialized movements that permit different degrees of motion. They may allow movement in a single direction only or movement along multiple planes, depending on the type of joint. The range of motion of a joint is therefore limited by the type of joint and by its supporting ligaments and muscles. Sources Betts, J. Gordon. Anatomy and Physiology. Kelly A. Young, James A. Wise, et al., OpenStax at Rice University. Chen, Hao. Heads, Shoulders, Elbows, Knees, and Toes: Modular Gdf5 Enhancers Control Different Joints in the Vertebrate Skeleton. Terence D. Capellini, Michael Schoor, et al., PLOS Genetics, November 30, 2016.

Analyzing The Health Status Of A Specific Minority Group

Analyzing the health status of a specific minority group (Hispanic/Latino) in the United States Author University According to the â€Å"Summary of Health Statistics for the U.S Population†, around 10.3% of Hispanic population living in United States suffers poor health. (Cdc.gov, 2015) From a count of 52608 Hispanic/Latino people in America, 5437 are in poor health status. There can be numerous reasons for it, for example, loss in employment, loss in health insurance, not medically insured at all, malnourishment, etc. The CDC report shows that non-Hispanic white persons who were living in poor conditions were unable to go to work due to health issues. It is stated that it was twice as much as the Hispanic population. Moreover, it was reported that white people experienced greater incidents of adverse medical consultancy than the Hispanic persons. Statistics show that the numbers are 129 and 82 (out of thousand) respectively. However, the figures for health insurance in case of Hispanic people are not satisfactory. Around 32% of Hispanic population, who lie in the age bracket of less than 65, is not medically insured. (Cdc.gov, 2015) The health status of Hispanic/Latino minority group is satisfactory in United States. In 2010, the top three diseases that caused death among them were Cancer, Diabetes and Heart attack. It is said that about 1/4th of Hispanic adults do not receive proper health care in US. According to a survey conducted by Wood Johnson Foundation, aboutShow MoreRelatedDiscrimination And The Health Care977 Words   |  4 PagesI. Introduction Being a minority in the United States has and will possibly always been a struggle. With the economy being in shams and minimum wage becoming career, minorities have multiple issues that society is unaware especially in health care. 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The Real Inspector Hound Free Essays

Tom Stoppard’s The Real Inspector Hound, which was written between 1961 and 1962 and premiered on June 17th 1968, is an absurd play that comments on the role of the critic in relation to the play he or she critiques and comments on the interdependent relationship that is formed between critic and actor. The Real Inspector Hound’s plot revolves around a couple of critics, Moon and Birdboot, who become embroiled in a murder mystery while watching a play about a murder mystery; in this sense, The Real Inspector Hound is a play-within-a-play. Through the play’s plot and theme, Stoppard not only comments on the interdependent and mutually beneficial relationship critics have with the theatre, but also on how the theatre and critic must remain separate entities. We will write a custom essay sample on The Real Inspector Hound or any similar topic only for you Order Now The Real Inspector Hound is an absurdist play that is highly self-aware, or self-reflexive, of its premise and structure. For the purposes of this analysis, the play Moon and Birdboot are attending will be referred to as â€Å"the play,† whereas Stoddard’s play (in which â€Å"the play† is contained will be referred to as The Real Inspector Hound. In establishing the play’s and The Real Inspector Hound’s general theme of a murder mystery, Stoppard not only comments on the absurdity of whodunit tales—in this case Agatha Christie’s The Mousetrap—but provides a meta-critique of the genre through Moon and Birdboot who attempt to decipher the play they are watching’s plot. In the process, Stoppard also forces The Real Inspector Hound’s audience to attempt to decipher the events within the play—and within the play’s play—as they unfold, thus creating a tertiary level of meta-criticism. Through this approach, Stoppard demonstrates that critics and criticism are not formal roles, but rather that assuming the role of a critic can be done by anybody and that people actively engage in criticism even if they are not aware of it. Through his criticism of theatre and the whodunit genre, Stoppard forces the reader, and consequently the critic, to recognize the interdependent and mutually beneficial relationship that is formed between the theatre and the critic. One of the basic premises Stoppard comments on is how critics are dependent on the theatre and how it not only provides them with a source of income and allows them to attain some sort of fame, but also how it allows them to gain insight into some aspect of their lives. One of Moon’s most self-reflexive meta-comments allows the reader to understand Stoppard’s personal concept of the purpose of theatre. Moon comments, â€Å"There are moments, and I would not begrudge it this, when the play, if we can call it that, and I think on balance we can, aligns itself uncompromisingly on the side of life† (Stoppard 31). When deconstructed, Moon’s observation can be applied on two different levels. The first level Moon’s comment can be applied is to his personal observation of the play he and Birdboot are watching. In The Real Inspector Hound, it is revealed the action taking place within the play’s play mirrors the action that is taking place within The Real Inspector Hound. For instance, in the play it is revealed that Simon is leaving Felicity because he has fallen in love with Cynthia. This ironically parallels Birdboot’s behavior as he has been having an affair with the actress that plays Felicity and has pushed his own wife to the side. It is ironic to not only see how the play mirrors Birdboot’s life, but also how the issue is not so absurd that it does not occur in everyday life. By commenting on the how theatre is a mirror of real life, Moon, as a critic and observer, forces the reader—and his followers—to take note of the messages conveyed through theatre. By analyzing the themes conveyed through theatre, it becomes much more than a simple entertainment venue and is transformed into a means for self-reflection. In addition to the parallels created by the adulterous couple in the play and Birdboot, Moon observes and paradoxically foreshadows what occurs in the play by commenting on his role within the critic world. In The Real Inspector Hound, the only reason Moon is given the opportunity to attend and critique the play is because his superior, Higgs, has mysteriously failed to show up. As Moon contemplates about his role and life, and about what will be written on his epitaph, he comments, â€Å"Sometimes I dream of revolution, a bloody coup d’etat by the second rank—troupes of actors slaughtered by their under-studies†¦Sometimes I dream of Higgs† (7). In The Real Inspector Hound it is not the actors that are slaughtered by their underappreciated understudies, but rather the critics who are killed off. By referring to the role of the critic as being one of power, Moon not only comments on the impact the critic can potentially have, but also on the necessity for evolution in terms of theatre as an art form. The critic’s livelihood is dependent on artistic revolution and innovation. If a critic is only critiquing the same element or genre, then their input becomes moot and they outlive their purpose as they have lost any power they may have had when their critiques actually influenced people. A critic not only has the power to influen ce people to attend or avoid a theatre production, but also the critic’s power also lies in how he or she influences the theatre. In The Real Inspector Hound, Birdboot is having an adulterous affair with the actress who plays Felicity in the play. In his defense, Birdboot contends, â€Å"My wife Myrtle understands perfectly well that a man of my critical standing is obliged occasionally to mingle with the world of the foot lights, simply by way of keeping au fait with the latest,† that is to say, that in order to understand and keep up with the ever-changing world of theatre, a person needs to be actively involved in it (10). If a critic is not up-to-date with what is going on in the realm of theatre, it is difficult for him or her to impact either the audience or potential theatre-goer, or to make an impact on the world of theatre. Birdboot also asserts that it is necessary to maintain a certain level of integrity (even if he engages in illicit behavior himself) and is offended when Moon insinuates Birdboot uses his position of power to influence the realm of theatre and promote any actress that is willing to trade (sexual) favors. Birdboot exclaims, â€Å"[To] suggest that my good opinion in a journal of unimpeachable integrity is at the disposal of the first coquette who gives me what I want† is considered to be more of an insult than a statement of truth, despite the fact that it is not intended to question his integrity as a critic, but rather his integrity as a man. Through The Real Inspector Hound, Stoppard provides commentary on the thin line that divides critics from actors by highlighting how the theatre becomes irrevocably changed when critics interfere with a production. For instance, when Moon crosses the play’s fourth wall and jumps into the action in medias res, he not only disrupts the action on stage, but also breaks down the wall between critic and actor and becomes part of a world he is merely charged with observing. By breaking the rules of theatre and becoming actively engaged in the action, Moon can no longer provide an unbiased opinion on the play and thus outlives his purpose. His objectivity is removed and as such, so must he be from his position. While the theatre and critic are interdependent on each other for survival, the theatre cannot serve to criticize its audience and can only provide them with a mirror into who they are. Likewise, a critic cannot become part of the theatre without losing his or her reputation; the critic has to remain constantly separated from the action while attempting to remain informed about the artists, themes, and artistic movements that are constantly in flux. Through Moon’s and Birdboot’s monologues, Stoppard investigates the role of the critic and demonstrates how critics are constantly fighting to survive within their own industry and how the theatre is dependent on critics to not only influence audiences, but also to secure employment within the industry. In a way, critics are the people who have the most control in the world of theatre and as such, they are constantly in danger as other critics actively fight to be the most respected and influential critic, the one who holds all the power, and the one who gets all the â€Å"perks. † Works Cited Stoppard, Tom. The Real Inspector Hound. Scribd. Web. 14 December 2012, from http://www. scribd. com/doc/92063145/The-Real-Inspector-Hound-Full-Text How to cite The Real Inspector Hound, Essay examples

Heart Of Darkness Vs Apocalyp Essay Research free essay sample

Heart Of Darkness Vs. Apocalyp Essay, Research Paper Comparative Essay between Heart of Darkness and Apocalypse Now The relationship between Joseph Conrad # 8217 ; s book, Heart of Darkness and Francis Coppola # 8217 ; s film, Apocalypse Now are obvious. Apocalypse Now follows the narrative line of the Heart of Darkness although the scenes of each narrative are from wholly different location and clip periods. In both the book and the film, the thoughts of good and evil, lightness and darkness, and racism are evident. Word picture in both the novel and the film are really similar. Heart of Darkness and Apocalypse Now have really similar subjects and word picture while the scenes differ. Both The Heart of Darkness and Apocalypse Now contain illustrations of the good and evil in worlds. In the Heart of Darkness, Marlow speaks of Fresleven who was killed in a battle with some indigens. The statement between Fresleven and the indigens was over some poulets, and Fresleven felt he had been ripped off in the trade. We will write a custom essay sample on Heart Of Darkness Vs Apocalyp Essay Research or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Marlow describes Fresleven as # 8221 ; the gentlest, quietest animal that of all time walked on two legs. # 8221 ; However, subsequently in the same paragraph Marlow says, # 8221 ; he likely felt the demand at last of asseverating his dignity in some manner. Therefore he whacked the old nigga mercilessly. # 8221 ; Soldiers in combat are forced to convey the immorality within themselves out every clip they go into conflict. The scene in Apocalypse Now where Willard foremost meets Kilgore shows how combat can convey out the dark side in worlds. The attitude the soldiers have towards their enemy in the scene shows how evil worlds can be. Kilgore demonstrates an evil side when he tosses the cards on the organic structures of the dead Vietcong without demoing any compunction for them although they are human. The Vietcong were his enemies, but they were besides human. In Heart of Darkness, there is the return of elation and darkness. There are many times in the novel when Conrad negotiations about come ining the jungle or the bosom of darkness. Conrad besides mentions the brightness of the white fog while they are traveling down the river many times during the novel. In the film Apocalypse Now light and darkness are besides portrayed in the sense that when of all time the soldiers were traveling into an country occupied by the enemy it would be at a clip of darkness, this would bespeak that the darkness was a mark of immorality. There is besides a batch of fog at dark during the film when they get closer to the centre of the Vietcong. Racism is clearly portrayed throughout the novel and film in several different ways. Marlow shows racism when he says, # 8220 ; It was Unearthly, and the work forces were # 8212 ; No, they were non cold. Well, you know, that was the worst of it # 8212 ; this intuition of their non being cold merely the though of their humanity like yours the though of your distant affinity with this wild and passionate tumult. Ugly. Yes, it was ugly this quotation mark indicates precisely what Marlow # 8217 ; s first though was upon seeing the life style of the indigens. The native # 8217 ; s life styles are changed when their land is dominated white work forces in both the novel and film. The Whites expected the indigens to obey their demands, because the Whites considered themselves civilised and believe the indigens are barbarians. Word picture in Heart of Darkness and Apocalypse Now are about indistinguishable. In the film, Willard is sent into the jungle on a mission to happen Kurtz, and in the novel Marlow # 8217 ; s mission becomes happening this cryptic Kurtz that he keeps hearing about. The character of Kurtz is both really similar in both the novel and the film. Kurtz is the centre of immorality in both the novel and film. He is the bosom of darkness. He is a adult male with a repute for being powerful and cryptic in both fresh and film. Marlow and Willard are besides really similar. They both stand back and sort of ticker the environing country detecting what is traveling on. The scenes of Heart of Darkness and Apocalypse Now are really different. The location and clip periods of the novel and film are wholly different. In the novel the scene takes topographic point in the jungle of the Congo in Africa. The scene of the film was on a river in Vietnam during the Vietnam War. Although the scenes in Heart of Darkness and Apocalypse Now differ they are really similar in word picture and subject. The subjects of good and evil, lightness and darkness, and racism appear in both the film and the novel. The character of Kurtz is really similar in both the novel and film besides. Kurtz is portrayed as a cryptic adult male in the bosom of the darkness. The chief difference between the novel and film is the location and clip period of each. The fresh takes topographic point in the jungle of the Congo while the film takes topographic point on a river in Vietnam. The novel and the film can be compared through word picture, subject, and scene.