Types of Body Movements

Types of Body Movements tài liệu, giáo án, bài giảng , luận văn, luận án, đồ án, bài tập lớn về tất cả các lĩnh vực kinh...

The graphs below show the types of music albums purchased by people in Britain according to s3x and age. Write a report for a university lecturer describing the information shown below.You should write at least 150 words. You should spend about 20 minutes on this task. model answer: The three graphs provide an overview of the types of music people purchase in the UK. At first glance we see that classical music is far less popular than pop or rock music. While slightly more women than men buy pop music, the rock market is dominated by men with 30% buying rock, compared to 17% of women. From the first graph we see that interest in pop music is steady from age 16 to 44 with 20% of the population continuing to buy pop CDs after the age of 45. The interest in rock music reaches its peak among the 25 to 34 year olds, though it never sells as well as pop. Interest also drops off after the age of 35 with an even sharper fall from age 45 onwards, a pattern which is the opposite to the classical music graph. Types of Body Movements Types of Body Movements Bởi: OpenStaxCollege Synovial joints allow the body a tremendous range of movements Each movement at a synovial joint results from the contraction or relaxation of the muscles that are attached to the bones on either side of the articulation The type of movement that can be produced at a synovial joint is determined by its structural type While the balland-socket joint gives the greatest range of movement at an individual joint, in other regions of the body, several joints may work together to produce a particular movement Overall, each type of synovial joint is necessary to provide the body with its great flexibility and mobility There are many types of movement that can occur at synovial joints ([link]) Movement types are generally paired, with one being the opposite of the other Body movements are always described in relation to the anatomical position of the body: upright stance, with upper limbs to the side of body and palms facing forward Refer to [link] as you go through this section Watch this video to learn about anatomical motions What motions involve increasing or decreasing the angle of the foot at the ankle? 1/10 Types of Body Movements Movements of the Body, Part Synovial joints give the body many ways in which to move (a)–(b) Flexion and extension motions are in the sagittal (anterior–posterior) plane of motion These movements take place at the shoulder, hip, elbow, knee, wrist, metacarpophalangeal, metatarsophalangeal, and interphalangeal joints (c)–(d) Anterior bending of the head or vertebral column is flexion, while any posterior-going movement is extension (e) Abduction and adduction are motions of the limbs, hand, fingers, or toes in the coronal (medial–lateral) plane of movement Moving the limb or hand laterally away from the body, or spreading the fingers or toes, is abduction Adduction brings the limb or hand toward or across the midline of the body, or brings the fingers or toes together Circumduction is the movement of the limb, hand, or fingers in a circular pattern, using the sequential combination of flexion, adduction, extension, and abduction motions Adduction/abduction and circumduction take place at the shoulder, hip, wrist, metacarpophalangeal, and metatarsophalangeal joints (f) Turning of the head side to side or 2/10 Types of Body Movements twisting of the body is rotation Medial and lateral rotation of the upper limb at the shoulder or lower limb at the hip involves turning the anterior surface of the limb toward the midline of the body (medial or internal rotation) or away from the midline (lateral or external rotation) Movements of the Body, Part (g) Supination of the forearm turns the hand to the palm forward position in which the radius and ulna are parallel, while forearm pronation turns the hand to the palm backward position in which the radius crosses over the ulna to form an "X." (h) Dorsiflexion of the foot at the ankle joint moves the top of the foot toward the leg, while plantar flexion lifts the heel and points the toes (i) Eversion of the foot moves the bottom (sole) of the foot away from the midline of the body, while foot inversion faces the sole toward the midline (j) Protraction of the mandible pushes the chin forward, and retraction pulls the chin back (k) Depression of the mandible opens the mouth, while elevation closes it (l) Opposition of the thumb brings the tip of the thumb into contact with the tip of the fingers of the same hand and reposition brings the thumb back next to the index finger 3/10 Types of Body Movements Flexion and Extension Flexion and extension are movements that take place within the sagittal plane and involve anterior or posterior movements of the body or limbs For the vertebral column, flexion (anterior flexion) is an anterior (forward) bending of the neck or body, while extension involves a posterior-directed motion, such as straightening from a flexed position or bending backward Lateral flexion is the bending of the neck or body toward the right or left side These movements of the vertebral column involve both the symphysis joint formed by each intervertebral disc, as well as the plane type of synovial joint formed between the inferior articular processes of one vertebra and the superior articular processes of the next lower vertebra In the limbs, flexion decreases the angle between the bones (bending of the joint), while extension increases the angle and straightens the joint For the upper limb, all anteriorgoing motions are flexion and all posterior-going motions are extension These include anterior-posterior movements of the arm at the shoulder, the forearm at the elbow, the hand at the wrist, and the fingers at the metacarpophalangeal and interphalangeal joints For the thumb, extension moves the thumb away from the palm of the hand, within the same plane as the palm, while flexion brings the thumb back against the index finger or into the palm These motions take place at ...9SERVICE TECH Vol.465 03-4 The previous session covered the changes in the environment surrounding the diesel engine and described the ECDsystem (ECD-V series) and the common-rail system. This session describes the types of systems in the ECD-V seriesand their system configurations. Although the injection pump has the same basic construction as the distribution type pump, the ECD-V3 includesthe parts listed below due to the adoption of electronic control.• Solenoid spill valve (SPV) . . . . . . . . . . . . . . . . An actuator that controls the injection volume• NE sensor (NE) . . . . . . . . . . . . . . . . . . . . . . . . A sensor that detects the cam position of the pump• Fuel temperature sensor (THF) . . . . . . . . . . . . A sensor that detects the temperature of the fuel• Correction resistor or ROM . . . . . . . . . . . . . . . A part that corrects the injection volume and injection timing• Timing control valve (TCV). . . . . . . . . . . . . . . . An actuator that controls the injection timing The V1 is the first of the ECD-V series, which appearedin 1982. The V3, a swirl-chamber type diesel injectionsystem, appeared in 1985. The V3, which adopted a solenoid spill valve to controlfuel injection, enabled the control of the injection volumeon a cylinder-by-cylinder basis. Depending on the type of final injection volumecorrection and the solenoid spill valve that are used,three types of ECD-V3 are available: ECD-V3, ECD-V3(ROM), and ECD-V3 direct-acting valve. The V4 direct-injection diesel fuel injection system forsmall trucks and SUVs appeared in 1998. The V4 system, which uses an inner cam pumping mechanism, enables high-pressure injection at 1,300 bars. The V5 direct-injection diesel fuel injection system for passenger vehicles appeared at about the same time. TheV5 system uses pilot injection to reduce the combustion noise of the engine.11Types of Systems in ECD-V Series1-1 ECD-V Series1-2 Injection Pump for ECD-V3 10SERVICE TECH Vol.465 03-4 The ECD-V4, which is based on the ECD-V3, is an electronically controlled distribution type pump that hasadopted a completely new construction. The combustion performance of the engine with the ECD-V4 has beenimproved (by atomizing the fuel into finer particles and optimizing the rise rate of the injection pressure), andproviding the injection volume and injection timing with a higher level of precision and freedom. With respect to themajor changes that have been made from the ECD-V3, an inner cam mechanism, a highly responsive solenoidspill valve and EDU, and a correction ROM have been adopted. The ECD-V5, which is based on the ECD-V3, is a distribution type, electronically controlled fuel injection pump thatoffers higher injection performance and functionality. It provides pilot injection to reduce the combustion noise of theengine.1-3 Injection Pump for ECD-V41-4 Injection Pump for ECD-V5 SERVICE TECH Vol.465 03-411 The configuration of the ECD-V series system can be broadly classified into the following three systems: Intakeair system, Fuel system, and Control system. Intake air system . .This system, which draws the air that is necessary for combustion, consists of the areasfrom the air cleaner to the intake manifold. Fuel system . . . . . .This system, which injects the fuel that is necessary for combustion into the Part I: Introduction1 RationaleMetaphor, based on the association of similarity, is one of the two basic types of semantic transference that have been an interest for many linguistic researchers. Galperin ( 1981: 139-40) states that the term ‘metaphor’ can be understood as the transference of some quality from one object to another. Metaphor is widely used to designate the process in which a word acquires a derivative meaning.In theory, there are at least three communicative functions that metaphor might serve (Ortony 1975). First, they might allow one to express that which is difficult or impossible to express if one is restricted to literal uses of language. Evidence for this "inexpressibility" claim would constitute encouraging support for the necessity-of-metaphors view. A second possible function of metaphors is that they may constitute a particularly compact means of communication. Although conscious experience is continuous in form, the linguistic system we use to talk about it is comprised of discrete elements (lexical items). Unlike more literal forms of language, metaphor may enable us to convey a great deal of information in a succinct manner by obviating the need to isolate the predicates to be expressed into their corresponding lexical representations. Finally, metaphors may help capture the vividness of phenomenal experience. If metaphors convey chunks of information rather than discrete units, they can paint a richer and more detailed picture of our subjective experience than might be expressed by literal language. This we call the "'vividness" claim.In this paper we are interested in the first and last of these possible functions. Thus, we need to examine a discourse domain for which a prima facie case can be made for supposing that literal language will often be inadequate and which lends itself to variations in vividness. There doubtless are many such domains. The one that we selected was that of internal states, in particular, emotional states. The literature on the linguistic expression of emotions suggests a relatively high incidence of figurative language use (Davitz 1969), providing pragmatic reasons An investigation into the role of metaphor in description of emotion in poetic discourse1 for believing that the context of (linguistic) emotional expression may be a profitable one within which to study metaphor production. Emotional states seemed well-suited because they tend to have an elusive, transient quality that is difficult to describe using literal language, although, of course, they can usually be labeled using literal language. Thus, while it might be easy for a person to label an emotional state as, for example, "fear," it is difficult to provide a literal description of the quality of some particular experience of fear. Furthermore, because emotions vary in intensity, one might expect differential levels of vividness.Our thesis is entitled “ An investigation into the role of metaphor in description of emotions in English poetic disscourse” and focused on William Shakespeares’ sonnets. The choice is based on two reasons. Firstly, recent research states Part A: IntroductionI. RationaleIn order to become competent in a foreign language, it is important for language learners not only to acquire new vocabularies and a new set of phonological and syntactic rules but also to learn what Wilson (1986) calls the rules of speaking: the patterns of sociolinguistic behavior of the target language. The rules of speaking involve us in knowing when and how it is suitable to open a conversation, what topics are appropriate to particular speech events, how speech acts are to be given and interpreted. In many cases, this interpretation goes beyond what the language learners might intend to convey and includes assessments such as “polite” and “impolite”. In Vietnam, as the economy grows and international business develops, English proficiency becomes a master tool for young people to get a job. They encounter foreigners in everyday settings where communication is necessary. In the modern society, the need for communication is increasing, especially in the process of globalization, when communication spreads beyond the boundary of a country. During the last decades, linguistic researchers have broadened their focus of their interests from the development of grammatical competence to other areas of target language development, such as discourse and pragmatic competence, common speech routines, for example, requests, apologies, complaints, compliments, refusals, and the like have been most frequently studied in cross-cultural and interlanguage pragmatics. According to Tsui (1994), there seems to be little empirical research that has been conducted in responses to questions. For a long time, question-response has been considered one of the most basic structures of conversation (Schegloff, 1974) but as Tsui (1994; p. 160) points out: “responses have been given little attention in the speech acts literature. Most of the acts characterized and listed in the various taxonomies are illocutionary acts which are often done by making the function of utterance in discourse, and as many responding acts do not have a corresponding responding performative verb, this kind of analysis inevitably neglects responses”A characterization of utterances (based on observation of real-life discourse) is not likely to neglect the importance of responses. Let’s consider an example illustrated by Tsui (1994)A: What’s the time?B: (a) Eleven (b) Time for coffee(c) I haven t got a watch, sorry’1 (d) How hold I know(e) Ask Jack(f) You know bloody well what time it is(g) Why do you ask?(h) What did you say?(i) What do you mean?Various possible responses from (a) to (i) shows us the complicated relationship between question and a proper answer. For the same question, the speaker A may be replied in different ways with different intentions by the addressee. Obviously, a response can be a proper answer, an indirect or implicit reply, an evasive answer, a refusal or denial, an outright lie or even a challenge to the speaker’s questioning act. Moreover, the question-answer exchange cannot always be a simple relationship in the actual communicative process. It is the addressee’s response that may establish, deepen and maintain the conversation, develop the intimacy among interlocutors, or interrupt the interactional process and even badly change the participants’ role, for example, from friends to enemies. There is no doubt that Page 1 of 50 Military tactics are like unto water; for water in its natural course runs away from high places and hastens downwards . Water shapes its course according to the nature of the ground over which it flows; the soldier works out his victory in relation to the foe whom he is facing. Therefore, just as water retains no constant shape, so in warfare there are no constant conditions. He who can modify his tactics in relation to his opponent and thereby succeed in winning, may be called a heaven-born captain. Sun Tzu , Art of War Page 2 of 50 Table of Contents Foreword 4 1. Competition 5 2. Position .8 3. Moore Position .14 4. the Tools of the Craft 16 5. Intention is the Mother of Invention 20 6. Feeding the Troops ... Which motion moves the bottom of the foot away from the midline of the body? elevation dorsiflexion eversion plantar flexion C 9/10 Types of Body Movements Movement of a body region in a circular... metatarsophalangeal joints (f) Turning of the head side to side or 2/10 Types of Body Movements twisting of the body is rotation Medial and lateral rotation of the upper limb at the shoulder or... Opposition of the thumb brings the tip of the thumb into contact with the tip of the fingers of the same hand and reposition brings the thumb back next to the index finger 3/10 Types of Body Movements