Who discovered contraceptive pills? ?->(Show Answer!)

1. Who discovered contraceptive pills?

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MCQ-> Throughout human history the leading causes of death have been infection and trauma, Modem medicine has scored significant victories against both, and the major causes of ill health and death are now the chronic degenerative diseases, such as coronary artery disease, arthritis, osteoporosis, Alzheimer’s, macular degeneration, cataract and cancer. These have a long latency period before symptoms appear and a diagnosis is made. It follows that the majority of apparently healthy people are pre-ill.But are these conditions inevitably degenerative? A truly preventive medicine that focused on the pre-ill, analyzing the metabolic errors which lead to clinical illness, might be able to correct them before the first symptom. Genetic risk factors are known for all the chronic degenerative diseases, and are important to the individuals who possess them. At the population level, however, migration studies confirm that these illnesses are linked for the most part to lifestyle factors — exercise, smoking and nutrition. Nutrition is the easiest of these to change, and the most versatile tool for affecting the metabolic changes needed to tilt the balance away from disease.Many national surveys reveal that malnutrition is common in developed countries. This is not the calorie and/or micronutrient deficiency associated with developing nations (type A malnutrition); but multiple micronutrient depletion, usually combined with calorific balance or excess (Type B malnutrition). The incidence and severity of Type B malnutrition will be shown to be worse if newer micronutrient groups such as the essential fatty acids, xanthophylls and falconoid are included in the surveys. Commonly ingested levels of these micronutrients seem to be far too low in many developed countries.There is now considerable evidence that Type B malnutrition is a major cause of chronic degenerative diseases. If this is the case, then t is logical to treat such diseases not with drugs but with multiple micronutrient repletion, or pharmaco-nutrition’. This can take the form of pills and capsules — ‘nutraceuticals’, or food formats known as ‘functional foods’, This approach has been neglected hitherto because it is relatively unprofitable for drug companies — the products are hard to patent — and it is a strategy which does not sit easily with modem medical interventionism. Over the last 100 years, the drug industry has invested huge sums in developing a range of subtle and powerful drugs to treat the many diseases we are subject to. Medical training is couched in pharmaceutical terms and this approach has provided us with an exceptional range of therapeutic tools in the treatment of disease and in acute medical emergencies. However, the pharmaceutical model has also created an unhealthy dependency culture, in which relatively few of us accept responsibility for maintaining our own health. Instead, we have handed over this responsibility to health professionals who know very little about health maintenance, or disease prevention.One problem for supporters of this argument is lack of the right kind of hard evidence. We have a wealth of epidemiological data linking dietary factors to health profiles/ disease risks, and a great deal of information on mechanism: how food factors interact with our biochemistry. But almost all intervention studies with micronutrients, with the notable exception of the omega 3 fatty acids, have so far produced conflicting or negative results. In other words, our science appears to have no predictive value. Does this invalidate the science? Or are we simply asking the wrong questions?Based on pharmaceutical thinking, most intervention studies have attempted to measure the impact of a single micronutrient on the incidence of disease. The classical approach says that if you give a compound formula to test subjects and obtain positive results, you cannot know which ingredient is exerting the benefit, so you must test each ingredient individually. But in the field of nutrition, this does not work. Each intervention on its own will hardly make enough difference to be measured. The best therapeutic response must therefore combine micronutrients to normalise our internal physiology. So do we need to analyse each individual’s nutritional status and then tailor a formula specifically for him or her? While we do not have the resources to analyze millions of individual cases, there is no need to do so. The vast majority of people are consuming suboptimal amounts of most micronutrients, and most of the micronutrients concerned are very safe. Accordingly, a comprehensive and universal program of micronutrient support is probably the most cost-effective and safest way of improving the general health of the nation.The author recommends micronutrient-repletion for large-scale treatment of chronic degenerative diseases because
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MCQ-> Read the passage and answer the questions that follow: Passage II Reverence is a dirty word at the Almeida Theatre in Islington, North London. Rupert Goold, the artistic director, and Robert Icke, his associate, are resolved to take dusty, distant cultural artefacts of drama and shake them hard. so that they will entertain modern audiences, especially those with no previous knowledge of the plays. Mr Icke holds that to save the classics from withering, a director must be willing even to reinterpret the original author's intentions. This summer Messrs Goold and Icke have directed freshly translated versions of the oldest of all "dusty theatrical artefacts": the ancient Greek tragedies of Aeschylus and Euripides. These versions ruthless) rewrite texts and alter plots. In Euripides's "Medea'. the last of the season of three plays which opened on 1st October directed by Mr Goold. Medea murders her two children as revenge on her unfaithful husband. Not at the Almeida: in this version, her sons die—or perhaps do not—by eating sleeping pills. Mr Icke's version of "Oresteia" by Aeschylus is described as "a new adaptation", but classics scholars insist that it is much more than that. The masked male chorus which propels all Greek tragedy, so memorable in Sir Peter Hall's production at the National Theatre in 1981, is jettisoned. Mr Icke's -Oresteie starts with 46 pages of text (out of 113 in all) that are a dramatisation of the long choral ode in Aeschylus's "Agamemnon-. It deals with his decision to sacrifice his daughter Iphigenia to ensure his ships a fair wind for Troy. Mr Icke believes that, without this prelude, it is hard to appreciate fully the ensuing, awe-inspiring family tragedy in which his wife Klytemnestra kills Agamemnon to avenge their daughter's death, and then is murdered in turn by their son Orestes. The extra material makes for a long evening, but it speeds by. Only the "Bakkhai". the second of the Almeida's three plays, conforms to the traditional Greek unities of time and place, and as in ancient Greece, has all the speaking roles played by three actors, backed by a chorus (though of Bacchic ladies rather than masked men). The Greek season defines the Almeida's style of work. Mr Goold has unearthed a rich new seam of modem theatre by reviving and generally energising work by authors such as Luigi Pirandello and Bret Easton Ellis. His delightful version of "The Merchant of Venice"- set in Las Vegas, was played largely for laughs, with the verse adapting easily to a singsong southern American accent. Even his failures, such as a "King Lear and Puccini at the English National Opera, had moments that linger in the memory. Actors like working there. Since small theatres like the Almeida cannot pay well, actors choose the work over the money. In this Greek season, the two most memorable performances are by Lia Williams as Klytemnestra and Kate Fleetwood, who is Mr Goold's wife, as Medea. Each exhibits an emotional range that holds the action together. The rage, temper and insult of the dialogue between Medea and her husband Jason, here conducted on their mobile phones, reveal a direct linguistic link from ancient Greece to contemporary soap opera. Whatever quibbles there might be about the editing, cutting and rewriting of the texts, surely the significant question about this ambitious project is whether the audience is gripped by the performances. Enthusiastic word-of-mouth suggests the answer is yes.In this passage, the word "reverence" can be interpreted as....