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The Voices of World War 1 Poets
Quiz by Imogen Gabriel
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She went by the name of Belisa Crepusculario, not because she had been baptized with that name or given it by her mother, but because she herself had searched until she found the poetry of "beauty" and "twilight" and cloaked herself in it. She made her living selling words. She journeyed through the country from the high cold mountains to the burning coasts, stopping at fairs and in markets where she set up four poles covered by a canvas awning under which she took refuge from the sun and rain to minister to her customers. She did not have to peddle her merchandise because from having wandered far and near, everyone knew who she was. Some people waited for her from one year to the next, and when she appeared in the village with her bundle beneath her arm, they would form a line in front of her stall. Her prices were fair. For five centavos she delivered verses from memory, for seven she improved the quality of dreams, for nine she wrote love letters, for twelve she invented insults for irreconcilable enemies. She also sold stories, not fantasies but long, true stories she recited at one telling, never skipping a word. This is how she carried news from one town to another. People paid her to add a line or two: our son was born, so-and-so died, our children got married, the crops burned in the field. Wherever she went a small crowd gathered around to listen as she began to speak, and that was how they learned about each others' doings, about distant relatives, about what was going on in the civil war. To anyone who paid her fifty centavos in trade, she gave the gift of a secret word to drive away melancholy. It was not the same word for everyone, naturally, because that would have been collective dece it. Each person received his or her own word, with the assurance that no one else would use it that way in this universe or the Beyond. Belisa Crepusculario had been born into a family so poor they did not even have names to give their children. She came into the world and grew up in an inhospitable land where some years the rains became avalanches of water that bore everything away before them and others when not a drop fell from the sky and the sun swelled to fill the horizon and the world became a desert. Until she was twelve, Belisa had no occupation or virtue other than having withstood hunger and the exhaustion of centuries. During one interminable drought, it fell to her to bury four younger brothers and sisters, when she realized that her turn was next, she decided to set out across the 2 plains in the direction of the sea, in hopes that she might trick death along the way. The land was eroded, split with deep cracks, strewn with rocks, fossils of trees and thorny bushes, and skeletons of animals bleached by the sun. From time to time she ran into families who, like her, were heading south, following the mirage of water. Some had begun the march carrying their belongings on their back or in small carts, but they could barely move their own bones, and after a while they had to abandon their possessions. They dragged themselves along painfully, their skin turned to lizard hide and their eyes burned by the reverberating glare. Belisa greeted them with a wave as she passed, but she did not stop, because she had no strength to waste in acts of compassion. Many people fell by the wayside, but she was so stubborn that she survived to cross through that hell and at long last reach the first trickles of water, fine, almost invisible threads that fed spindly vegetation and farther down widened into small streams and marshes. Belisa Crepusculario saved her life and in the process accidentally discovered writing. In a village near the coast, the wind blew a page of newspaper at her feet. She picked up the brittle yellow paper and stood a long while looking at it, unable to determine its purpose, until curiosity overcame her shyness. She walked over to a man who was washing his horse in the muddy pool where she had quenched her thirst. "What is this?" she asked. "The sports page of the newspaper," the man replied, concealing his surprise at her ignorance. The answer astounded the girl, but she did not want to seem rude, so she merely inquired about the significance of the fly tracks scattered across the page. "Those are words, child. Here it says that Fulgencio Barba knocked out El Negro Tiznao in the third round." That was the day Belisa Crepusculario found out that words make their way in the world without a master, and that anyone with a little cleverness can appropriate them and do business with them. She made a quick assessment of her situation and concluded that aside from becoming a prostitute or working as a servant in the kitchens of the rich there were few occupations she was qualified for. It seemed to her that selling words would be an honorable alternative. From that moment on, she worked at that profession, and was never tempted by any other. At the beginning, she offered her merchandise unaware that words could be written outside of newspapers. When she learned otherwise, she calculated the infinite possibilities of her trade and with her savings paid a priest twenty pesos to teach her to read and write, with her three 3 remaining coins she bought a dictionary. She poured over it from A to Z and then threw it into the sea, because it was not her intention to defraud her customers with packaged words. One August morning several years later, Belisa Crepusculario was sitting in her tent in the middle of a plaza, surrounded by the uproar of market day, selling legal arguments to an old man who had been trying for sixteen years to get his pension. Suddenly she heard yelling and thudding hoofbeats. She looked up from her writing and saw, first, a cloud of dust, and then a band of horsemen come galloping into the plaza. They were the Colonel's men, sent under orders of El Mulato, a giant known throughout the land for the speed of his knife and his loyalty to his chief. Both the Colonel and El Mulato had spent their lives fighting in the civil war, and their names were ineradicably linked to devastation and calamity. The rebels swept into town like a stampeding herd, wrapped in noise, bathed in sweat, and leaving a hurricane of fear in their trail. Chickens took wing, dogs ran for their lives, women and children scurried out of sight, until the only living soul left in the market was Belisa Crepusculario. She had never seen El Mulato and was surprised to see him walking toward her. "I'm looking for you," he shouted, pointing his coiled whip at her, even before the words were out, two men rushed her -- knocking over her canopy and shattering her inkwell -- bound her hand and foot, and threw her like a sea bag across the rump of El Mulato's mount. Then they thundered off toward the hills. Hours later, just as Belisa Crepusculario was near death, her heart ground to sand by the pounding of the horse, they stopped, and four strong hands set her down. She tried to stand on her feet and hold her head high, but her strength failed her and she slumped to the ground, sinking into a confused dream. She awakened several hours later to the murmur of night in the camp, but before she had time to sort out the sounds, she opened her eyes and found herself staring into the impatient glare of El Mulato, kneeling beside her. "Well, woman, at last you've come to," he said. To speed her to her senses, he tipped his canteen and offered her a sip of liquor laced with gunpowder. She demanded to know the reason for such rough treatment, and El Mulato explained that the Colonel needed her services. He allowed her to splash water on her face, and then led her to the far end of the camp where the most feared man in all the land was lazing in a hammock strung between two trees. She could not see his face, because he lay in the deceptive shadow of the leaves and the indelible shadow of all his years as a bandit, but she imagined from the way his 4 gigantic aide addressed him with such humility that he must have a very menacing expression. She was surprised by the Colonel's voice, as soft and well-modulated as a professor's. "Are you the woman who sells words?" he asked. "At your service," she stammered, peering into the dark and trying to see him better. The Colonel stood up, and turned straight toward her. She saw dark skin and the eyes of a ferocious puma, and she knew immediately that she was standing before the loneliest man in the world. "I want to be President," he announced. The Colonel was weary of riding across that godforsaken land, waging useless wars and suffering defeats that no subterfuge could transform into victories. For years he had been sleeping in the open air, bitten by mosquitoes, eating iguanas and snake soup, but those minor inconveniences were not why he wanted to change his destiny. What truly troubled him was the terror he saw in people's eyes. He longed to ride into a town beneath a triumphal arch with bright flags and flowers everywhere, he wanted to be cheered, and be given newly laid eggs and freshly baked bread. Men fled at the sight of him, children trembled, and women miscarried from fright, he had had enough, and so he had decided to become President. El Mulato had suggested that they ride to the capital, gallop up to the Palace, and take over the government, the way they had taken so many other things without anyone's permission. The Colonel, however, did not want to be just another tyrant, there had been enough of those before him and, besides, if he did that, he would never win people's hearts. It was his aspiration to win the popular vote in the December elections. "To do that, I have to talk like a candidate. Can you sell me the words for a speech?" the Colonel asked Belisa Crepusculario. She had accepted many assignments, but none like this. She did not dare refuse, fearing that El Mulato would shoot her between the eyes, or worse still, that the Colonel would burst into tears. There was more to it than that, however, she felt the urge to help him because she felt a throbbing warmth beneath her skin, a powerful desire to touch that man, to fondle him, to clasp him in her arms. All night and a good part of the following day, Belisa Crepusculario searched her repertory for words adequate for a presidential speech, closely watched by El Mulato, who could not take his eyes from her firm wanderer's legs and virginal breasts. She discarded harsh, cold words, words 5 that were too flowery, words worn from abuse, words that offered improbable promises, untruthful and confusing words, until all she had left were words sure to touch the minds of men and women's intuition. Calling upon the knowledge she had purchased from the priest for twenty pesos, she wrote the speech on a sheet of paper and then signaled El Mulato to untie the rope that bound her ankles to a tree. He led her once more to the Colonel, and again she felt the throbbing anxiety that had seized her when she first saw him. She handed him the paper and waited while he looked at it, holding it gingerly between thumbs and fingertips. "What the shit does this say," he asked finally. "Don't you know how to read?" "War's what I know," he replied. She read the speech aloud. She read it three times, so her client could engrave it on his memory. When she finished, she saw the emotion in the faces of the soldiers who had gathered round to listen, and saw that the Colonel's eyes glittered with enthusiasm, convinced that with those words the presidential chair would be his. "If after they've heard it three times, the boys are still standing there with their mouths hanging open, it must mean the thing's damn good, Colonel" was El Mulato's approval. "All right, woman. How much do I owe you?" the leader asked. "One peso, Colonel." "That's not much," he said, opening the pouch he wore at his belt, heavy with proceeds from the last foray. "The peso entitles you to a bonus. I'm going to give you two secret words," said Belisa Crepusculario. "What for?" She explained that for every fifty centavos a client paid, she gave him the gift of a word for his exclusive use. The Colonel shrugged. He had no interest at all in her offer, but he did not want to be impolite to someone who had served him so well. She walked slowly to the leather stool where he was sitting, and bent down to give him her gift. The man smelled the scent of a mountain cat issuing from the woman, a fiery heat radiating from her hips, he heard the terrible whisper of her hair, and a breath of sweetmint murmured into his ear the two secret words that were his alone. "They are yours, Colonel," she said as she stepped back. "You may use them as much as you 6 please." El Mulato accompanied Belisa to the roadside, his eyes as entreating as a stray dog's, but when he reached out to touch her, he was stopped by an avalanche of words he had never heard before; believing them to be an irrevocable curse, the flame of his desire was extinguished. During the months of September, October, and November the Colonel delivered his speech so many times that had it not been crafted from glowing and durable words it would have turned to ash as he spoke. He travelled up and down and across the country, riding into cities with a triumphal air, stopping in even the most forgotten villages where only the dump heap betrayed a human presence, to convince his fellow citizens to vote for him. While he spoke from a platform erected in the middle of the plaza, El Mulato and his men handed out sweets and painted his name on all the walls in gold frost. No one paid the least attention to those advertising ploys; they were dazzled by the clarity of the Colonel's proposals and the poetic lucidity of his arguments, infected by his powerful wish to right the wrongs of history, happy for the first time in their lives. When the Candidate had finished his speech, his soldiers would fire their pistols into the air and set off firecrackers, and when finally they rode off, they left behind a wake of hope that lingered for days on the air, like the splendid memory of a comet's tail. Soon the Colonel was the favorite. No one had ever witnessed such a phenomenon: a man who surfaced from the civil war, covered with scars and speaking like a professor, a man whose fame spread to every corner of the land and captured the nation's heart. The press focused their attention on him. Newspapermen came from far away to interview him and repeat his phrases, and the number of his followers and enemies continued to grow. "We're doing great, Colonel," said El Mulato, after twelve successful weeks of campaigning. But the Candidate did not hear. He was repeating his secret words, as he did more and more obsessively. He said them when he was mellow with nostalgia; he murmured them in his sleep; he carried them with him on horseback; he thought them before delivering his famous speech; and he caught himself savoring them in his leisure time. And every time he thought of those two words, he thought of Belisa Crepusculario, and his senses were inflamed with the memory of her feral scent, her fiery heat, the whisper of her hair, and her sweetmint breath in his ear, until he began to go around like a sleepwalker, and his men realized that he might die before he ever sat in the presidential chair. "What's got hold of you, Colonel," El Mulato asked so often that finally one day his chief broke 7 down and told him the source of his befuddlement: those two words that were buried like two daggers in his gut. "Tell me what they are and maybe they'll lose their magic," his faithful aide suggested. "I can't tell them, they're for me alone," the Colonel replied. Saddened by watching his chief decline like a man with a death sentence on his head, El Mulato slung his rifle over his shoulder and set out to find Belisa Crepusculario. He followed her trail through all that vast country, until he found her in a village in the far south, sitting under her tent reciting her rosary of news. He planted himself, spraddle-legged, before her, weapon in hand. "You! You're coming with me," he ordered. She had been waiting. She picked up her inkwell, folded the canvas of her small stall, arranged her shawl around her shoulders, and without a word took her place behind El Mulato's saddle. They did not exchange so much as a word in all the trip; El Mulato's desire for her had turned into rage, and only his fear of her tongue prevented his cutting her to shreds with his whip. Nor was he inclined to tell her that the Colonel was in a fog, and that a spell whispered into his ear had done what years of battle had not been able to do. Three days later they arrived at the encampment, and immediately, in view of all the troops, El Mulato led his prisoner before the Candidate. "I brought this witch here so you can give her back her words, Colonel," El Mulato said, pointing the barrel of his rifle at the woman's head. "And then she can give you back your manhood." The Colonel and Belisa Crepusculario stared at each other, measuring one another from a distance. The men knew then that their leader would never undo the witchcraft of those accursed words, because the whole world could see the voracious-puma eyes soften as the woman walked to him and took his hand in hers. Copyright © 1989 by Isabel Allende From The Stories of Eva Luna, Translated by Margaret Sayers Peden
âOn this night, we share a roof protecting us from fleets of inequity. Our unification promises a better tomorrow. Those larger than myself, sitting on their marble thrones, sipping blood from cups composed of human skin and singing songs of so-called virtue, grow weaker each moment. Their caravans are revolting. There is hope yet. There is progress! Though tonight may mark a countdown, it is still a celebration. Look at all we have done, not just for Trials but for Palatium Infra as a whole. In four years, when Iâm no longer Sovereignty, the Spoiled Purity and his people will continue to strive. So drink! Smoke! Crush up those exotic plants and snort them! We will not falter, weaken, or wane. Our influence is expanding, and somebody new opens their eyes every day. Even the Silbys of Aculeus have reached alarming potentials despite their embittered minds. So long as you relish in tonight, dance, and pray to your âdeadâ Gods, our revolution shall rise beyond the bounds of class, and when Iâm only a commoner, we shall rise again beyond our brainwashed adversaries! Cheers, my people. Cheers!â Followers raised their cups. Some clinked theirs together. Others stood still and screamed breathlessly in agreement. I smiled with courtesy, then stepped off my platform. My voice still rang across the cellar. Speeches before were grander. Those displays were supposed to be emptying, and yet this one left me bloated, swollen tight. I watched as they popped the corks of their bottles and chanted in the name of Purity. Maybe the quality of my words wasnât what mattered to them anyway, so long as I screamed loud enough. Thereâs no merit in attacking your people, a voice corrected me. âThatâs right,â I said aloud. âKnox, my-my Sovereign!â squealed a nearby devotee, jittering as he stuffed his face with catered pastries. He was one Iâd never seen before or had failed to remember. âLook what Iâve found! Itâs wine, and not the shoddy Infran kind, either. Earth-made with good fruit! I donât know how anyone managed to get their hands on this. Maybe some space travel mischief.â He giggled and held up a small glass bottle. âHow neat.â âI want you to have it, Sir.â I nodded my head. âYes, of course. Thank you.â Backing off into the midst of rowdy disciples, I clutched the bottle. What a waste of grapes. It could have been jam instead. Earthly food had a superior taste, ripe with delicate intricacies and nostalgia, but Palatium Infra had mastered the art of alcohol. Why waste your time with a drunkenness so sad and sickening? The booze of trash. Not many more followers approached me. The barren peroration must have upset them. My hands itched to submerge into my suit pockets, and my legs stood suddenly numb, wobbling. Four more years until Iâm nothing. But tonight, you are nothing. âShut up,â I told myself. Tightly packed together in the corner of the dwelling sat the Sibyls. A mound of writhing fabric and tones of skin made up their unified silhouette. I snapped the strap of the nearest gown, balancing on my hands and knees, waving the bottle before them. In their almost rodent nature, narrow noses prodded my way. Their dresses wrinkled and fell to their ankles. Knees dropped, and eyes widened. Many grumbled at me like hungry she-beasts. Those newer ones with faded curtains for hair, sunken eyes, and dirtied nails looked, hid their face, then sobbed. I imagined them in a pack together, fighting wildly against the Spoiled Purity in their rat decorumâbiting down with square teeth laced with rabies. âIâve got you all something,â I said. âGo back off to your pedestal and yap some more. We donât want it.â A woman rose from the pile and spat. âYou donât even know what it is yet. It's Earth hooch, or more likely a near-flawless replica. I figured you girls would also like a chance to enjoy yourselves tonight.â âYour playmates have been harassing us since the moment you hung the banners and opened the cellar door.â The youngest, with a striking cyan mop upon her head, uncoiled from the mass. What was she now? 20, 21? We celebrated a birthday recently, I thought as she spun around me. âI remember something about a promise. Multiple promises, actually. Are you trying to bribe us into just shutting up and taking it? Because if another sticky, 40-year-old, Earth-born virgin gropes my shoulder, Iâm going to have an aneurysm!â the girl continued. âWhy not an Infran follower? Do you like it when they touch you?â I returned her accusing tone. âIâm sorry, sweet prophets, that you feel Iâve neglected my duties. Iâll keep a better eye out. Remember, you can always just holler if somebody is bothering you. And Anwen, friend, if Iâve ever tried to bribe you with anything, it was certainly the hair dye. I mean, look at you! Such handsomeness!â I exclaimed. The other Siblys began to encircle her, uttering compliments or even announcements of their envy. Anwen disappeared in a wink with flushed cheeks back into the mound. âIâll just leave this here.â Smiling, I set down the bottle. ** â141, 143. . .â I counted each step as I trekked the staircase. There was no doubt I lost track somewhere. The ledges kept spawning under my feet, infinitely multiplying until I wasnât moving at allâswallowing me up in a whirlpool of stone. My tie still hung around my neck, and my blazer remained tied around my hips as a skirt. Streaks of red dribbled off from the cavity in my chest. It was a gorgeous marking, sensual to my fingertips as I traced its edges. Purity, oh, Purity. Purity and his wings of burnt skin. Purity and his many faces. Purity the spoiled. Purity the mutilated. The Silbys did not bother waiting for me. On bare feet, they stormed up the stairs to their room. A trail of red, though in paint unlike mine, streamed after them. None looked remotely near me as they squeaked and gossiped intangibly. I saved them, those Infran broads, enlightened them. As much as they liked to deny it, spit at me, and bask in the thought of their victimhood, in this home, they stood empowered. Youâve done well, my thoughts affirmed, though in the manner of an insincere commentator rather than a hype man. Teeth grace in tile violin goes laundry paper when. It dissolved into an intruding drivel. I rubbed my head and sniveled. âDo you need help, Knox?â called a Silby. Fattened by my coddling, her shadow fell upon me from the doorway steps ahead. I attempted counting again. There mustâve been at least another hundred between me and her. âIâm hallucinating some,â I said, breathing deeply to suppress a burp as I struggled to recall her name. Two syllables. Typically Latin, though sometimes English. Drops of slobber leaked from my mouth. âIâm hallucinating some, Tybal. Do you like your name, Tybal? I would have named you something better. Ty-Tyballinia. No, weâd have to eliminate the âballâ aspect. It sounds too crude.â âOne foot in front of the other,â she said. So I walked. Mess greeted me at the doorway. Dirtied culinary obscured the dark wooden countertops, and the sink lay running. I approached the kitchen table, sat, and set my face down upon its cool wooden surface. Assaulting my nose was the smell of neglected flowers, like soil mixed with the kind of sweet cough medicine that would have left me gagging as a child. Open windows whispered songs of the twilight hour through the vessels of busy trolleys and shooting guns. My mouth strained to vomit, but there was nothing in my stomach to regurgitate except the petals of Stultoâs bloom, which came out effortlessly in little sputters. Teetering, I stood up and brushed disgorged plant parts off the tabletop. âLove,â I said as I slogged up yet another staircase. âAre you awake?â She said sheâd wait. Somebodyâs gotten her. No, she always misses movie night. That sleepyhead, I assured myself. There was a stirring amidst the manorâs cloak of dusk. Portraits of myself, my wife, and my daughter turned to face me as the hallway lights flickered, escaping their quartz frames to penetrate my ears with nonsense. The taxidermied heads of Infran creatures bared their teeth. I stopped to stare at my favorite, an adabactor with daunting spiked tusks poking out from its forehead. Its nose remained black and sharp, and its eyes wide with malice. âWhere is my Spes, Adaba-boy? Is she sleepy?â Thereâs someone in the house. The sounds of the stirring rose along with my blood pressure. Footsteps orbited around me, drawing near and far and then near again, little dancers in the dark. The carpet immersed me in its mass of purples and blues, leaving my skin stained indigo and my vision abstracted. I toiled to reach the master bedroom across the aisle as it stretched out to me with bright lights and celestial howling, like a dove struggling in a pool of oil. Never again with Stultoâs bloom. Never again on what was already a bad night. My hand brushed the doorknob, and the high abruptly faded into only a persistent hum-buzz twirling around my brain. The portraits returned to their typical depressionâSpes posing with her ax, Ariâs school photo, and myself in the cap I wore when addressing the military with the Verbis emblem embroidered in its center. All lifeless shots. Who were they for when they captured not the subjectâs essence but only some fragment of their identity? They used to feel personal, not advertisements of some supposed characters. Servants, babysitters, and likewise civilian guests, I reminded myself, mustnât forget whose home theyâre in. Yet my body moved independently, taking Ariâs from its hook and laying it backward against the wall to hide her distant grin and tamed posture. It was time for new pictures. Sweet ones, real ones; time was ticking. I approached my own when the stirring began again. Groans and squeals erupted from the vents as if someone had set a pen of pigs loose in my crawlspace. No, not the crawlspace, my bedroom door. I turned the ruby knob. Underneath a blanket wrestled my two squealing piglets, their skins melting together beneath the layer of duvet. Fishnet leggings and manicured nails outstretched and scraped at the sheet beneath them. One raised its head, a salmon-colored man with sweat running down his forehead. Through the crack in the door, we met eyes, his Infran Dr. Sesuss nose flaring its narrow nostrils. No mark of the Spoiled Purity existed carved onto his naked body. My chest felt tight. I stepped back. I was suffocating. Spes emerged from the linens, her hair flowing down her back and her dark skin glistening in front of the bedroom window. She giggled and held the man, the blanket falling and revealing inches of her body I had not seen in months. âDarling,â whispered the rosy-faced man, âlook.â He was unfathomably ugly and grotesquely young, with beady, lifeless pupils that dilated when he faced me. The excess flesh on his face sagged while he bit down on his thin lips. My wife faced me, gasped, and strained to cover herself. Suddenly, I was a stranger. A small child who had walked into his parents having sex. I unfurled the door completely. âGet out of my house,â I said. The man stayed in place. âGet out of my house,â I repeated. âKnox,â Spes began. Tears ran down her round cheeks. âShut up!â I turned to the man, picking up a marble trophy from on top of my dresser. âGet out of my house! Iâll kill you!â âKnox!â Spes sobbed. âGod damn it! I hate you! You barely look at me. Every day, thereâs less passion. God, God, God, I donât want to fuck a dead man!â she screamed, âYou get out! Get! Get!â My hands wrapped tighter around the statue. That pig of a man was attached to her at the side, his face equipped with a scowl that challenged mine. He thought I was weak; frail like a decaying dementia-ridden senior. I imagined his skull bashed in, his scowl gone, and the feist and confidence in his face beaten into numbness. A new portrait was in order of such brutality, him as a splintered slab of wood, rashed and beaten, a carcass licking my boot. The churning in my brain had come back. Every wall shook. Clock faces came to life and rang in alarm. Indescribable noises caressed my eardrum before breaking into sorrowful weeps. Was it my own? I stared at Spes in motionless frenzy, clenched my teeth, and screamed like a siren. Passionless. What a lie! An excuse, more like. One that erased all my ventures, reducing me to a nobody. But I was not a nobody. I thought of my sect, my campaigns, my endurance through the political brutality of my empty hive-mind worldâeven my collection of literature, maps, and artifacts. I thought of daring nights alone with Spes when we were young, ravaging each other, two sardonic eggheads suddenly overcome with desire. The veins in my neck throbbed as I gasped for air. It was all I had. I threw the figurine at the manâs head. Eye shut, I heard the thud. A million singing voices of victory flooded out of the cracks in the floorboard. Proving myself a man to the woman I loved in a display of fervent violence was passion. I strained my ears for his cries, though I did not look yet. There had to be a pause, a moment of relief, where I stood tall as a skyscraper and seemingly fought to stay contained in front of my wife and her wounded, quivering paramour. Frantic footsteps rushed off the bed and past my side. I turned and grappled against myself to seize my wifeâs shoulder. âSpes!â My eyelids lifted. Escaping was the man with that same numb expression in which I had imagined him. âYouâre insane,â he said. I swiveled back towards the bed. With her curly locks flowing over her breasts and her limbs bent at her sides, Spes sat limp pressed against the headboard, her forehead bludgeoned and the statue resting on her stomach. Lips pursed and sweet, my Renaissance beauty reclined there in the guise of a squashed bug. But she was not dead. The desk ornament I flung was only the size of my shoe. Spes, that dramatist, may have been slightly hurt but was far from dead. She only wanted me to think she was to observe me at my most distraught, like a leech feeding on misery. âGet up.â Staggering toward the bed, I said. âYou wanted passion? I showed you passion. âShoved it right into your head. Of course, we both know who that gesture was meant for. . .â I fumbled to find my wit. Cold skin met my hands as I stroked her face, unable to resist checking her pulse, even though she was not dead. âI love you, Spes,â I said. Rain pelted against a nearby window. âSpes, please. Please.â No vibration answered my plea. I lifted my hand, sitting next to her now. Tears did not come. There was not any blood on the trophy, but when I picked it up, it felt to be now only a cruel instrument. It depicted a younger me in white marble, with my glasses and collared shirt being the only things painted. Both were in pink. It was a favorable color. I scrambled from the bed to vomit pure digestive bile on the rug. My stomach heaved. I ran my nails along every piece of myself I saw, a dog chasing my tail. As I slammed myself against walls and convulsed, my own heart grew ever louder in my chest. âDad? I heardââ Ariâs slippered feet hammered across the floor. âMom? Mom?â I kept my eyes on the storm. Silence fell. âShe-She isnâtâyourâ.â Gasps interrupted every syllable she spoke. âYouâre a murderer. Bad. Like they said,â she breathed, â You beat her!â The words became mush, alphabet soup. Ari ran back down the hall. âMy-My mom is dead. . . .Yes. . . Manor of the Trials Sovereignty. . .Ari Sorkin. . . Iâm afraid heâs going to hurt me,â she said, presumably over the phone. It was all too fast. I crawled onto the windowsill, opened the glass, and let myself plummet into the alley below. Gusts of wind howled. The lack of motion or sensation informed me I had passed and again lived. Another Palatium Infra, another strange planet in which the celestial endowed rotting men with the opportunity to inhabit. Was this it? Was it all just an impossible limbo of galactic traveling? My surroundings were overwhelmingly gray, an abyss of clouds. Perhaps I had now met the real coming world, and my family and old friends lived here, ready to rush to my sides, lift me up, and jump for joy. Spes would be there. She would be enraged, but at least sheâd be there. You are a bad man. You are a bad man. My eyelashes fluttered. There was a tugging sensation in my leg. The fog was wavering along with my ascendance. âNo,â I yearned, trying to grip the clouds and stick them in place. âStay with me.â But the peace was fleeting. I felt the cement under me and the moist garments clinging to my figure. My leg burned. Carefully, I craned my neck, only to observe the promenade as my surroundings. The most underwhelming of filth and danger, individually Infran. Forever my coming world. What a fool I was, having forgotten my blessing. Those idiot Gods could not tell the difference between assassination and self-infliction; a faulty insurance plan. The urge to cry at last set over me, and so I sat and wailed hot salvia into my palm, shielding my mouth to muffle the noise. Thunder echoed my hushed howling. Raindrops turned to pebbles. Under the ambiance of the stormy night, I could have sworn I heard troops stomping, guns cocking, and the chanting of my name. They had all been waiting for this. Billboards came to life, and I could only sit and spectate as the scenery flashed red. I inhaled fear and sobriety through runny nostrils. âTrials Sovereign Vsevolod âKnoxâ Sorkin is currently at large for the suspected homicide of Spes Sorkin, breaking the first term of the Sovereignty Charter. We now instruct you to report any sightings of the Earth-born, caucasian, roughly 195 centimeters tall, brown-haired, and brown-eyed man to your local Guard post. One can identify the suspected convict specifically by an occult tattoo of Purityâs Coronet on his lower back. No attempted execution or elongated punishment will take place until our Guards conduct an autopsy proving his guilt, per Lifeâs 1238 commandment. We cannot be sure when or if the Gods will revoke his blessing. Remember, when Gods frown upon strife, opt for a peaceful life. We permit all grieving festivities until Cagidus 4th. Good year!â towering buildings sang out in broadcast, repeating that same convoluted message quicker the instant it ended. Sometimes, the announcer spoke in Latin for the Infran children, other times in Chinese, Hindi, or Spanish to cater to those of irrelevant tongues. You arenât a bad man. You are a stupid boy. Puddles sloshed. Somebody was approaching. I didnât dare waste any remaining energy avoiding the Guards and their prodding blades. How did that phrase go? You dug your grave. Now lie in it. And so I embraced the cement. âKnox?â said the Guard. No, her tone was too sincere, and no authority would proceed in such a manner. There wasnât confirmation on whether or not I was armed, and it wasnât as if she could shoot me first. She was a partygoer, having just left from the cellarâs backdoor. I shooed her away with my hand. She hovered, and I discerned her shadow hesitating over my body. A man could not rot in peace. âCome on, get up! Theyâre after you!â Hands reached around my torso, struggling to handle my weight as they urged me onto my feet. That leg, the burning one, my right, trembled and bent unnaturally upon impact with the ground. The partygoer slung my arm over her shoulder, balancing me. My eyes caught a glimpse of a cyan mop. âAnwen?â I rasped, âhu-who let you out?â Keys jangled in her handsâmy keys. âI escaped,â she said casually, coercing me to walk beside her. âQuicken your pace. I just heard somebody on your front porch. âYou see that compost bin down the alley? Weâre gonna burrow right down into the depth of that. If they open it and uncover us, Iâll be on top, and I can hide you and act like Iâm just a homeless amica trying to take a nap.â With a tightening grip, she led me like livestock to the stinking crate. âI donât understand, Anwen,â I said. âTheyâre going to torture and kill you, stupid. You know theyâve been wanting to, and you just handed the opportunity to them!â âI understand that.â It was becoming increasingly challenging to hide the fragility emerging in my voice. âYou said you were escaping. Why stop and help your captor?â âWhat else could I do? Leave you there?â Attempts to shove my wounded body inside its mass of discarded fruits and vegetables began. She yanked down upon my head and submerged me in the fertilizer sea. The evidence grows indisputable, I thought as I stared at the abruptly humane Infran girl, diving in after me, that I belong here. âDamn me to hell! Iâve killed her! My love is dead!â an uncontrollable cry leaped from my mouth. âShut up! Soon youâll be, too, if you donât quiet down.â The actual noise of the Guards darted past us: disorientated marching, guns clanking against each other, cluttered belts rattling, the Latin squawking. One paused to open the binâs lid, though only rummaged through the surface layer of peat before carrying on. âWhat are they talking about? I struggle with my Latin,â I whispered. âThe search, mainly.â Aggression remained firey in Anwenâs clenched jaw. Though she sat on top of me, there was a monumental distance between our rain-soaked forms. I curled up into a ball, ducked my head between my knees, and dreamt of Spes, ignoring the stench of spoiled food rising from every crevice of my dwelling. The next coming world was due to adopt me again as I forced sleep. I prayed for a canyon of fluffy haze, where I waltzed with pale memories but found nothing but the petrifying stillness of my mind. Killed and ran. Violent as a Guard just to prove a point and watch it backfire. Why would any heaven want to welcome me? I clung to the picture of Spes in my head like it was the last ember of an extinguished flame. âDid you mean to kill her?â Anwen interrogated. âSomeone like you would immutably believe yes.â âAnd who is someone like me? You canât even treat me like a person for a moment, can you?â grating drama decorated her words. âYou know my opinions. I have not seen much of your or your breedâs faces besides that of cruelty and ignorance.â I retorted. âI just saved you! Does that make me cruel and ignorant?â âIt makes you an idiot, which is another word for somebody ignorant.â âAnd why am I an idiot?â She asked. âBecause you helping me does no good. Thank you anyhow. Now, do yourself a favor and scram.â As she bent her leg in anticipation, preparing to strike me on the forehead, I sensed an invisible withdrawal widening the gap between us. âYou never answered my question,â Anwen took me by the end of my tattered tie suddenly and started her game of shepherd and sheep over again, pulling me back up to the crateâs exit. It appeared as a shining light at the end of a maze of rubbish and mold. âNo. Of course not. Spes was my everything,â I sniffled. âI knew it. You couldnât even bring yourself to hit us, let alone murder your wife. The girls and I always figured you were sensitive.â My heart rate quickened. Today was one of humbling and miseryâone to pray a hail spike would fall from the sky as sharp as a needle, pierce into my eyelid, and lobotomize me. I wished I could have merely died or hit my head hard enough not to have to deal with it all. No, I wished I was Anwen with her snarky, careless glow and lack of depth in her eyes. As we emerged from the compost bin together, I fantasized about strangling her until her face turned purple, her weakening spirit no longer categorizing me as âsensitiveâ, but the thought could only remind me of wielding that trophy and the microscopic traces of my wifeâs tender skin tainting it, which turned my guts inside out. âThatâs why I think you could use a little help,â Anwen said, âIt seems like you canât walk, either. Your leg is all twisted up.â She undid one of her trim pigtails and handed me the band. âTake off your tie and put up your hair. âWill make you less recognizable. Then swallow your pride and stick with me.â
Social media influencers have not only revolutionized the way in which information is disseminated but have also established themselves as contemporary icons of society at large. They have garnered immense followings through their adept use of digital platforms, accruing considerable power and influence over public opinion. Their rise can largely be attributed to the accessibility and immediacy afforded by social media, which allows virtually anyone to become a public figure capable of shaping cultural norms. These individuals have managed to create and curate content shaping consumer habits and beliefs. Their influence extends beyond mere commercialism, encompassing social and political realms, contributing to the discourse on pressing global issues through a perceived lens of authenticity and relatability. While some argue that the democratization of media offers new opportunities for diverse voices to be amplified, concerns persist over the authenticity of influencer narratives and the potential for misleading information to be propagated unchecked. As the boundaries between entertainment, advertising, and activism have blurred, questions surrounding the ethical responsibilities of influencers have intensified. The passive consumption of carefully orchestrated content continues to elicit criticism, raising concerns about the mental well-being of susceptible audiences who may compare their lives unfavorably to those portrayed online. Simultaneously, platforms have implemented policies with varying degrees of success to ensure transparency and accountability, attempting to mitigate the potential for exploitation. The phenomenon of influence poses questions about the trajectory of society in an increasingly interconnected world, where the sway of singular voices can no longer be underestimated.
Filmic Techniques Based on the work of Brad Smilanich Mis-en-Scene: originally a French theatrical term arrangements of all the visual elements of the stage area in film â âthe contents of the frame and the way those contents are organizedâ include: lighting, costume, dĂ©cor, props, camera movement or distance . . . all photographic decisions etc. Proxemics: Spatial relationship among characters within the mis-en-scene Rule of Thirds: a compositional rule of thumb in painting, design, photography etc. suggests image divided into 9 equal parts with two vertical and two horizontal lines important elements of the mis-en-scene should be placed along these lines and their intersections some suggest aligning with intersections makes for more interesting pictures than just centreing the subject Proxemics Camera Distance: Quite literally, how far the camera is from the subject being filmed The Hand Camera Camera Distance: Quite literally, how far the camera is from the subject being filmed Extreme Close Up: Singles out one small portion of the body or object Used to intensify emotion, or show reaction Camera Distance: Close up Shot: Shows head of character or small significant object Used to show emotions Camera Distance: Medium Shot: shows figures from the waist up allows character to be seen within background Camera Distance: Long Shot: shows figures from feet up similar to the âstageâ in live theatre orients audience to figures within a location or surrounding Camera Distance: Extreme Long Shot: Sometimes called an âestablishing shotâ Panoramic view of an exterior location orients audience to a location Camera Distance: Camera Angle: Cameraâs angle of view relative to the subject being photographed High Angle Shot: looks down on the subject often used to make the subject look small and insignificant (in combination with camera distance) puts the camera (audience) in âpowerâ position Camera Angle: Low Angle Shot: looks up at the subject often used to make the subject look large and powerful puts the camera (audience) in a âsubmissiveâ position Camera Angle: Flat Angle Shot: camera on same plane as the subject feels most ânormalâ to an audience Camera Angle: Canted Shot: frame is unbalanced in relation to the subject may indicate a symbolic unbalance in the character Camera Angle: Camera Movement literally the camera moving with or around or to follow the subjects in the mis-en-scene or frame Camera Movement: Tilting Movement camera moves up or down on a horizontal axis similar to head nodding movement may be used to show subjects relation to surroundings Camera Movement: Panning Movement camera moves side to side on a vertical axis similar to head shaking movement may be used to establish setting Camera Movement: Dolly Movement camera mounted on a vehicle that moves along with the subject (camera moves, not pivots) follows the subject to signify something important Camera Movement: Crane Shot camera mounted on a crane or boom permits camera to move in & out, up & down, backward & forward often used for high aerial establishing shots Misc. Shots: Hand Held: camera carried to seem jerky, giving ârealistic feelâ Push In: camera moves up to a characterâs face to indicate an epiphany (realization) Spiral: camera circles subject for effect End for ELA 20-2 and 10-1 Shot Transitions/Editing: artificial editing done to string together multiple shots to create a narrative scene or sequence a cut is the change from one shot to another usually separated in to âsoftâ and âhardâ cuts Jump Cut: an instantaneous change from one shot to another this can be very natural or may disorient the audience, depending on how it is used Transitions/Editing Swish Pan: A pan where the speed of the camera is so fast that images are blurry used often to connect events in different settings that are connected by time Transitions/Editing Dissolve: transition where one shot gradually dissapears while another shot gradually appears often used to suggest change of setting or long time passage i.e. flashbacks Transitions/Editing Fade In/Out: transition where the shot gradually overexposes to white or underexposes to black often used to suggest a lengthy passage of time or change in location Transitions/Editing Wipe: transition where one shot is gradually eliminated as another shot moves onto the screen can be vertically or horizontally often suggests movement of the camera to another location Transitions/Editing Iris In/Out: transition where one shot gradually appears as an expanding circle in the middle of an old image suggests . . .??? Transitions/Editing Shot-Reverse Shot: one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer unconciously assumes that they are looking at each other. Transitions/Editing Two-Shot: Face-up shot of two people. Often used in interviews, or when two presenters are hosting a show. A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people. Transitions/Editing Shot Transitions/Editing: Sound: used to reflect or enhance what is shown visually on the screen can include dialogue, music, sound effects, voiceover etc. Diegetic Sound: sound that has a source in the world of the story dialogue spoken by characters, sound made by objects, or music coming from a source grounded in the story of the film Non-diegetic Sound: sound that has a source outside the world of the story usually part of the score or the soundtrack Parallel Sound: sound that complements the image shown i.e. romantic music during a love scene Counterpoint Sound: sound that contradicts the âfeelingâ of the image a happy song played while images of graphic violence are portrayed Voiceover: voice of a non-visible narrator laid over the scene often provides some comment about the narrative of the film Sound Bridge: used to âsoftenâ the transition between one scene and another takes sound from the next shot and overlays it on the current shot 2-3 seconds earlier than we see the image Examples of Diegetic/Non-Diegetic: In the first clip, the non-diegetic music changes to diegetic music when the main character moves inside of the convenience store. In the second clip, the âduhn duhn duuuuhâ which often is non-diegetic becomes diegetic because it is the band in the passing bus playing that music! End for ELA 20-1 Lighting: Can be used by a director to: Control the mood of a scene guide a viewerâs eye to a specific place in mis-en-scene Emphasize and de-emphasize elements in frame Add texture and color Make people look beautiful, ugly, sinister, or angelic Standard 3-Point Lighting: uses three lights called the key light, fill light and back light forms the basis of most lighting. once you understand three point lighting you are well on the way to understanding all lighting. Key Light: main light usually the strongest and has the most influence on the look of the scene. it is placed to one side of the camera/subject so that side is well lit and other side has shadow. Fill Light: secondary light is placed on the opposite side of the key light used to fill the shadows created by key softer and less bright than key Back Light: placed behind the subject ; lights it from the rear. provides definition and subtle highlights around the subject's outlines. Separates subject from background provides a three-dimensional look. Standard 3-Point Lighting: http://www.zvork.fr/vls/ Try using this simulator to play with lighting with those 3 points.
Received: 26 November 2019 Revised: 10 January 2020 Accepted: 19 January 2020 DOI: 10.1111/obr.13005 PEDIATRICS/PHYSIOLOGY Adipokines: A gear shift in puberty DesirĂ©e Nieuwenhuis | NatĂ lia Pujol-Gualdo Amanda J. Kiliaan Department of Anatomy, Radboud university medical center, Donders Institute for Brain, Cognition and Behaviour, Preclinical Imaging Center PRIME, Nijmegen, The Netherlands Correspondence Amanda J. Kiliaan, PhD, Associate Professor, Department of Anatomy, Donders Institute for Brain, Cognition, and Behaviour, Preclinical Imaging Center PRIME, Radboud university medical center, 6500 HB Nijmegen, Geert Grooteplein 21N 6525 EZ Nijmegen, The Netherlands. Email: amanda.kiliaan@radboudumc.nl Funding information Europees Fonds voor Regionale Ontwikkeling (EFRO), Grant/Award Number: BriteN 2016 1 | INTRODUCTION The prevalence of obesity in adolescents and children is increasing in | Ilse A.C. Arnoldussen | Summary In this review, we discuss the role of adipokines in the onset of puberty in children with obesity during adrenarche and gonadarche and provide a clear and detailed overview of the biological processes of two major players, leptin and adiponectin. Adipokines, especially leptin and adiponectin, seem to induce an early onset of puberty in girls and boys with obesity by affecting the hypothalamic-pituitary- gonadal (HPG) axis. Moreover, adipokines and their receptors are expressed in the gonads, suggesting a role in sexual maturation and reproduction. All in all, adipokines may be a clue in understanding mechanisms underlying the onset of puberty in child- hood obesity and puberty onset variability. KEYWORDS adipokines, obesity, puberty 1,2 the age of 5 years were overweight or were with obesity in 2016, and 3 Obesity is defined by an excessive accumulation of white adipose tissue (WAT), and it is often indicated by a body mass index (BMI) 4 above 30. Two main types of adipose tissue were described: WAT and brown adipose tissue (BAT), which differ in morphology and func- 5-7 Ilse A.C. Arnoldussen and Amanda J. Kiliaan contributed equally to this work. This is an open access article under the terms of the Creative Commons Attribution License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited. © 2020 The Authors. Obesity Reviews published by John Wiley & Sons Ltd on behalf of World Obesity Federation Obesity Reviews. 2020;21:e13005. wileyonlinelibrary.com/journal/obr 1 of 10 https://doi.org/10.1111/obr.13005 alarming rates. Specifically, worldwide, 41 million children below this number is expected to increase to 70 million in 2025. obesity is associated with various severe health complications, includ- ing increased risk of diabetes mellitus type 2, hypertension, heart dis- eases, and disturbances in sex hormone levels. 5,6 and mitochondria and plays a role in thermogenesis. Adipocytes in tion. BAT consists of adipocytes containing multiple lipid droplets WAT contain only a few mitochondria and a single lipid droplet. Adipose tissue has several functions including the storage of energy, thermogenesis, and the production and secretion of adipokines Generally, two physiological processes, adrenarche and gonadarche, 11,24 Childhood 5,7,8 a key role in puberty onset. Puberty is known as a period through which the body changes physically, being a physiological process resulting in the maturation of children, i.e. they develop sexual characteristics and obtain reproduc- 9,11 Adipokines are involved in a number of physiological processes including blood pressure, metabo- lism, glucose, and vascular homeostasis and may play amongst others 8-10 (hormones, cytokines, and peptides). tive functions. between obesity and puberty,2,12-23 the biological mechanisms under- lying obesity and puberty onset remain unclear. Hereafter, we review in detail the role of adipokines in the onset of puberty in childhood obesity. Although many studies have shown associations 2 | INITIATION OF PUBERTY PHYSIOLOGICAL PROCESSES IN THE interact to regulate the onset of puberty. During adrenarche, the adrenal cortex secretes steroid hormones (including 2 of 10 NIEUWENHUIS ET AL. androstenedione, dehydroepiandrosterone, dehydroepiandrosterone sulfate (DHEAS), androstenedione, and cortisol), insulin-like growth factor, and growth hormone, which contribute to the pubertal insights on new genetic loci (e.g. melanocortin-4 receptor, mitochon- drial carrier 2, and mitogen-activated protein kinase 13) and on sev- eral pathways that regulate the timing of puberty; however, it partly 34 9,24,25 Both adrenarche and gonadarche are involved in the development growth spurt, body odor, skin oiliness, and skeletal maturation. explains puberty timing variation. Thereby, defining the role of 25 adipokines is of importance in elucidating the variability in puberty as the expression of adipokines is sex-specific and is altered with body composition, adiposity, and during growth spurts. Moreover, adipokines and their receptors are expressed in gonads and several brain regions suggesting involvement in the onset of puberty and sex- ual maturation. Lastly, adipokines interfere in processes regulating timing and duration of puberty, for instance in the HPA and HPG axes which are both key players during adrenarche and gonadarche. Involvement of adipokines in the onset of puberty and specifically in individuals with obesity will be further reviewed in the next 2,24 3 | Puberty onset in girls is assessed using different markers, such as thelarche (breast development), menarche (the start of of pubic hair. pituitary-gonadal (HPG) axis is activated,2,26 and several hormones have been identified to participate in the activation of the HPG axis During gonadarche (Figure 1), the hypothalamic- 2,27 Kisspeptin, neurokinin B, and dynorphin are released by specialized including kisspeptin, neurokinin B, dynorphin, leptin, and ghrelin. 28 key regulator of the pulsatile secretion of gonadotropin releasing neurons, the KNDy neurons in the hypothalamus. Kisspeptin is a 29,30 B stimulates, and dynorphin inhibits the release of kisspeptin, which hormone (GnRH) from the hypothalamus. In addition, neurokinin implies that both coordinate a pulsatile release of kisspeptin. 31 Sub- sections. sequently, the activated HPG axis induces the pituitary gland to secrete luteinising hormone (LH) and follicle stimulating hormone (FSH). As a result, gametogenesis occurs, and the gonads will release sex hormones. Consequently, secondary sex characteristics develop including breast development in girls and an increased testicular vol- 2,26,32 is possibly due to differences in levels of body fat, hypothalamic-pitui- THE ONSET OF PUBERTY IN GIRLS ume in boys. The age at puberty onset varies greatly among individuals, which 19 35 menstruation), and pubic hair development. 33 genome-wide association studies have provided important new tary-adrenal (HPA) axis activity, and genetic background. Recent The average age of However, this age differs between cultures and ethnicities, and since 1980, age at menarche is girls at start of menarche is 12.4 years. 36 significantly decreasing. 36-39 F I G U R E 1 Hormonal regulation in the initiation of puberty in boys and girls. The secretion of kisspeptin, neurokinin B, and dynorphin from KNDy neurons initiate the release of gonadotropin releasing hormone (GnRH) from the hypothalamus. This activates the pituitary gland to produce and secrete luteinising hormone (LH) and follicle stimulating hormone (FSH), which in turn stimulate the gonads to produce estrogen and testosterone in girls and boys, respectively 1467789x, 2020, 6, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/obr.13005, Wiley Online Library on [10/03/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License NIEUWENHUIS ET AL. 3 of 10 T A B L E 1 Summary of included studies Authors Year Country Study Design Primary Outcome Sex Sample Size (n) Age (y) Data Collection Lian et al21 2019 China Cross-sectional Puberty starts earlier in Chinese Han girls with obesity compared with Chinese Han girls with normal weight. Girls 2996 9-19 2012 and 2013 Biro et al12 Lazzeri et al20 2018 USA 2018 Italy Longitudinal Cross-sectional Body mass index had a greater effect on age at menarche than did race and ethnicity. Girls 946 6-16 2004-2014 Li et al23 2018 China Longitudinal For both, boys and girls, a higher BMI (ie, overweight and obese) is associated with earlier onset of puberty Girls Girls Boys Girls 542 Deng et al22 Flom et al15 2017 China Cross-sectional Increased BMI is associated with early timing spermarche and menarche. Boys Girls Girls 1278258 9-15 2005-2012 He et al24 Holmgren et al17 2017 China 2017 Sweden Cross-sectional Longitudinal Onset of puberty is not related to obesity in boys. Boys Boys Girls Girls 782 7-17 972 929 5839 Kelly et al19 2017 UK 2016 Brazil 2016 USA Longitudinal prospective cohort Higher BMI in girls is associated with the onset of menstruation at an earlier age. 11 10-18 11-17 Barcellos Gemelli et al25 Cross-sectional Longitudinal Excess weight is associated with early age of menarche. Girls 727 2014 2003-2009 Glass et al16 Lee et al26 In girls, but not in boys, greater adiposity is associated with the earlier onset of puberty. Boys Girls 135 Cabrera et al27 Leonibus et al14 2014 USA 2013 Italy Cross-sectional Longitudinal Thelarche occurred earlier than recently reported, while age of menarche remained unchanged. Girls 610 3-17.9 2007 2005-2012 Currie et al13 2012 Europe, USA, Canada Cross-sectional Overweight/obesity during childhood predicts the early onset of puberty in girls. Girls 20410 11, 13, 15 2005-2006 2017 USA Prospective birth cohort Overweight/obese status at the age of 7 ye was associated with increased risk of early menarche 788 From birth to menarche occurred Pregnancies 1959-1966 2016 USA Cross-sectional Boys with overweight enter puberty earlier compared with boys with normal weight or obesity, while puberty starts later in boys with obesity compared with boys with normal weight and overweight. Boys 3872 6-16 2005-2010 Overweight during childhood shows a relation with the early onset of puberty in girls. 6535 4259 695 11 15 5.8-12.2 2009/2010 2013/2014 2014-2017 Higher BMI during childhood is associated with early puberty. 2008 and 2009 2000-2002 Obesity during childhood is related to the earlier onset of puberty. Boys Girls 84 123 71 (Continues) 1467789x, 2020, 6, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/obr.13005, Wiley Online Library on [10/03/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License 4 of 10 NIEUWENHUIS ET AL. 3.1 | Fat storage For the initiation of puberty, the timing of stimulation and/or inhibi- tion of different hormones is important, and additionally, a certain amount and distribution of body fat is needed in order to start menar- che, which emphasizes the importance of body fat. From an evolution- ary point of view, body fat increases in mammalian females during puberty onset, and it highlights the need to guarantee a healthy preg- 40 women with anorexia nervosa. particularly body fat localized predominantly on the gluteofemoral fat depots, is profoundly associated with start of menarche, more than nancy, offspring, and maternal survival. fat, sex-hormones, and neuroendocrine alterations can evolve in men- strual dysfunction, for instance, in women with severe obesity or in 41-43 44-46 to gluteofemoral fat depots suggesting that leptin may convey infor- amount of total body fat. mation on body fat distribution to the hypothalamus during puberty. An improper level of body Importantly, body fat distribution, Blood leptin levels are strongly related 45 3.2 | HPG axis The HPG axis is activated by the release of kisspeptin resulting in the release of GnRH from the hypothalamus, and LH and FSH from the pituitary gland. In girls, FSH is involved in the development of the folli- cles in the ovaries, and it promotes the secretion of estrogen. LH stim- ulates the production of androgen hormones and induces ovulation 48 9,47 the release of kisspeptin and neurokinin B, and kisspeptin thereby (Figure 1). The secretion of estrogen has an inhibitory effect on inhibits the GnRH release from the hypothalamus. pattern of GnRH is important for the regulation of the menstrual cycle. This roughly 28-day-cycle comprises several phases, including the follicular phase and luteal phase. During the follicular phase, increasing levels of FSH stimulate the maturation of follicles and the production of estrogen from the ovaries. This in turn inhibits the release of FSH from the pituitary gland. A high level of estrogen will induce the production of LH by the pituitary gland, resulting in ovula- tion. The matured follicle secretes progesterone thereby inhibiting the release of GnRH. When the corpus luteum is demolished, there is less 48 3.3 | Adipokines According to results from studies reported in Table 1, girls with obe- sity enter puberty earlier compared with girls with normal higher leptin concentrations inhibit the intake of food and increases inhibition of GnRH. As a consequence, the cycle will start again. whole process, starting from the activated HPG axis, results in the development of the secondary sex characteristics in girls including 9,47 thelarche and menarche. 13,14,16-23,49-51 weight. these girls might be found in the secretion of adipokines. For instance, leptin is positively associated with the amount of body fat. Generally, energy expenditure. 9,52-54 An explanation for the early onset of puberty in The expression This TABLE 1 (Continued) Authors Year Country Study Design Primary Outcome Sample Sex Size (n) Age (y) Data Collection Herman-Giddens et al28 2012 USA Cross-sectional Observed mean ages of beginning genital and pubic hair growth and early testicular volumes were earlier than in past studies, depending on the characteristic and race/ethnicity. Boys 4131 6-16 2005-2010 Sorensen et al29 Aksglaede et al30 2010 2009 Denmark Denmark Cross-sectional/longitudinal Longitudinal Puberty onset at earlier ages was associated with an increased BMI in boys. Boys 1528 5.8-19.9 1991-1993/2006-2008 1930-1969 Juul et al31 Ribeiro et al32 2007 2006 Denmark Portugal Retrospective cohort Cross-sectional Higher BMI is associated with early voice break. 11-15 10-15 1990-1999 Kaplowitz et al18 Abbreviation: BMI, body mass USA Cross-sectional The early onset of puberty in Caucasian girls is likely related to an increased BMI. 5-12 1992-1993 2001 index. The higher BMI in boys and girls at 7 y of age, the earlier they enter puberty. Boys 21 612 Girls 135 223 Boys 463 Boys 382 Girls 437 Girls 10 750 Early sexual maturation in boys and girls is associated with overweight. 1467789x, 2020, 6, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/obr.13005, Wiley Online Library on [10/03/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License NIEUWENHUIS ET AL. 5 of 10 Leptin may possibly play a role in adrenarche as its plasma level increases with higher levels of body fat and as it can modulate both girls. 33 ing adrenarche. In coherence, in children with obesity, the androgen These findings suggested that lower reproductive status was associated with higher total adiponectin concentrations and that a higher reproductive status was related to higher HMW adiponectin the HPA and HPG axes. These axes are functionally integrated dur- DHEAS was positively associated with leptin levels. Nevertheless, concentrations in girls. In addition, individuals with obesity often another study showed that enhanced adrenal androgen secretion in girls with premature adrenarche was not explained by leptin or BMI 55 ated with androgen levels in girls ; however, it was not related to levels. and IL-6. TNF-α alters, and IL-6 inhibits the expression of 56 8 In addition, the adipokine adiponectin was negatively associ- 57 differences of adiponectin seem to develop during the progression of 56 adiponectin (Figure 2). Thereby, a low level of total adiponectin and/or high levels of inflammatory cytokines in individuals with obe- sity can promote the onset of puberty. Many more adipokines are secreted by WAT including omentin, 52,65-67 9,36,62,68 adrenarche in girls with Prader-Willi syndrome. Interestingly, sex puberty. adrenarche; however, both are not required factors. Thus, leptin and adiponectin might be able to influence In gonadarche, leptin can stimulate the secretion of kisspeptin, and subsequently activation of the HPG axis, which eventually increases the expression of estrogen and androstenedione in the ova- 58 2,60 65-67 The expression of these ries (Figure 2). Ob gene in WAT, resulting in the synthesis and secretion of leptin. Thus, high levels of leptin promote onset of puberty in girls via secre- tion of kisspeptin, and estrogen stimulates leptin secretion addition- ally. Moreover, adiponectin can affect the HPG axis due to the expression of adiponectin receptors in the hypothalamus, pituitary In return, estrogen stimulates the expression of the 59 gland, and gonads. onset as it inhibits the secretion of kisspeptin and GnRH in the hypo- thalamus and the release of GH and LH in the pituitary gland, and 2,60-62 52,60 63 girls with central precocious puberty (CPP). Moreover, total adiponectin had negative correlations with progression of puberty in girls (defined by Tanner stages), whereas HMW adiponectin had FIGURE 2 Adipokinesaffectingthe initiation of puberty in girls. Leptin stimulates the release of kisspeptin in KNDy neurons, which activates the hypothalamus to produce gonadotropin releasing hormone (GnRH). In response to the release of GnRH, the pituitary gland secretes follicle stimulating hormone (FSH) and luteinising hormone (LH), which stimulates the ovaries to release estrogen resulting in the formation of secondary sex characteristics in girls. Estrogen stimulates the production of leptin. Adiponectin inhibits GnRH release resulting in reduced levels of GnRH and thereby a delayed onset of puberty. TNF- α and IL-6 inhibit the production of adiponectin and therefore stimulate the onset of puberty In detail, adiponectin is a regulator of puberty thereby inhibiting the onset of puberty (Figure 2). with obesity often have low levels of adiponectin. et al. showed that total adiponectin was significantly lower, whereas high molecular weight (HMW) adiponectin was significantly higher in ment. 55 63 develop a chronic low-grade inflammatory state, which can be indi- cated by a high level of circulating inflammatory cytokines like TNF-α 64 Individuals Sitticharoon positive associations with LH levels and the progression of puberty in 63 visfatin, resistin, and chemerin. and visfatin are expressed in the ovaries. adipokines in the ovaries suggests a role within the reproductive sys- tem; however, the exact biological processes have to be examined. Thus, specifically leptin, adiponectin, and inflammatory cytokines pro- duced by WAT could be permissive key players during an early onset of puberty in girls with obesity. As an exception, HMW adiponectin seems to have a stimulatory effect on peripheral repro- ductive function as HMW is not able to cross the blood brain 63 barrier. 4 | Markers that are used to assess puberty onset in boys are THE ONSET OF PUBERTY IN BOYS spermarche, voice break, testicular volume, and pubic hair develop- 35 spermarche develop in the early stages of puberty onset, voice In women, omentin, chemerin, While pubic hair development, larger testicular volume, and 69 testicular volume increases, which occurs at an average age of break usually appears in later stages of puberty. Generally, first 1467789x, 2020, 6, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/obr.13005, Wiley Online Library on [10/03/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License 6 of 10 NIEUWENHUIS ET AL. 11.9 years, followed by the development of pubic hair at 12.2 years of average, and lastly, boys experience spermarche around an aver- 55 related with leptin levels. Thereby, leptin plausibly has a minor impact in adrenarche in boys. Since leptin receptors are found in the hypothalamus, pituitary gland, and testes, they might be involved in the onset of puberty by affecting the HPG axis during gonadarche. Leptin stimulates the release of kisspeptin and GnRH, and as a consequence, it accelerates the onset of puberty (Table 1, Figure 3). In contrast, adiponectin inhibits the secretion of GnRH, GH, LH, and FSH therewith delaying the onset of puberty. However, adiponectin levels are generally lower in men compared with women and even lower in men with obe- age age of 13.4 years. 70 4.1 | Fat storage Many aspects of the reproductive physiology are energetically demanding,71 and therefore, an adequate energy level is necessary. In boys, a dynamic change in body composition occurs around the age of 10 to 13 years, in which they gain approximately 40% of sity. culating inflammatory cytokines. levels can stimulate the HPG axis and therewith an early onset of puberty in boys. Nevertheless, leptin can inhibit the production of tes- 72 mostly consisting of lean mass, which causes exhaustion of most of fat. Subsequently, a growth spurt follows in which they gain tissue 72 in boys, an adequate amount of body fat is important in the onset of their body fat. These alterations in amount of body fat indicate that 4.2 | Puberty in boys is initiated by the release of kisspeptin. As mentioned before, this activates the HPG axis, resulting in the release of GnRH from the hypothalamus, and consequently the release of LH and FSH 9,74 puberty. tosterone from the testes, to estrogen (Figure 3). of the development of secondary sex characteristics in boys. Additionally, leptin can affect fertility in men as it can modulate the nutritional support of spermatogenesis, and moreover, dysfunction of spermatogenesis is associated with an increased leptin level and 73 58 2,60-62 HPG axis from the pituitary gland (Figure 1). and LH stimulates the secretion of testosterone from the testes, which inhibits the release of kisspeptin from the KNDy neurons and 9,48 in men, the release of kisspeptin is more consistent, causing a con- 29,48 subsequently GnRH from the hypothalamus. receptors expressed on KNDy neurons. In humans, KNDy neurons Contrarily to women, LH-induced testosterone levels lead to the stant release of LH. development of secondary sex characteristics in boys. differences between sexes in kisspeptin release are related to a sex- specific and sex steroid-dependent kisspeptin system as estrogen and progesterone modulate kisspeptin activity through the sex-steroid 48 in the infundibular nucleus are involved in negative and positive sex- 48 tal exposure to sex steroids and result in sex-specific differences in steroid feedbacks. kisspeptin release. These sexual dimorphisms are induced by perina- 75,76 4.3 | Adipokines The association between obesity and puberty onset in boys is rather controversial compared with findings in girls. Most studies reported an early onset of puberty in boys associated with increased ate adipose tissue from actual breast tissue. stages are more difficult to assess than female stages as boys lack a more determined marker such as menarche. Thirdly, puberty onset can be indicated by the activation of the HPG axis, and the presence of these secondary sex characteristics is the result of hormonal 2 14,17,22,23,50,51,77,78 BMI, 20,49 all while others reported no associations at Current markers used 79 16,80 or a delayed onset of puberty (Table 1). The presence of excessive adipose tissue can be involved in puberty onset in boys as the secretion of adipokines can modulate both adrenarche and gonadarche. Leptin can affect adrenarche by modulating both the HPG and HPA axes,33 and moreover, androgen levels were positively 55 nal androgen secretion in boys with premature adrenarche was not associated with plasma leptin levels. Nevertheless, enhanced adre- 9 In more detail, 61,62 adiponectin, and individuals with obesity often have high levels of cir- Moreover, inflammatory cytokines, TNF-α, and IL-6, inhibit expression of the leptin receptor in the testis. FSH induces spermatogenesis, too. function and role still have to be examined. 64 High leptin and low adiponectin and fat tissue can convert testosterone Both processes might result in the delay 29,61,79 81,82 In men, other adipokines like chemerin are found in the gonads 65 Thus, particularly high leptin and low adiponectin levels stimulate the HPG axis and thereby accelerate the onset of puberty in boys. Additionally, leptin can dysregulate the development of secondary sex characteristics and spermatogenesis by affecting testosterone levels and nutritional sup- port of spermatogenesis. 5 | LIMITATIONS AND FUTURE RESEARCH DIRECTIONS Even though multiple epidemiological studies have shown the link between puberty onset and obesity, there are some important limita- tions. Firstly, determining both the onset and stage of puberty is rather difficult. For instance, assessing the stage of breast develop- ment in girls with obesity is complicated as clinicians should differenti- 2 changes in response to the activated HPG axis. to determine the onset of puberty refer to secondary sex characteris- tics, such as testicular volume in boys and breast development in girls. A more accurate measurement of puberty onset would be to combine secondary sex characteristics with plasma or serum hormone level measurements such as LH, FSH, adipokines, e.g. leptin. Thereby, differences in puberty measurements could explain variations in the age of puberty onset between boys and girls within different Thereby, resistin is expressed in the testes of rats, but its exact 83 Secondly, male pubertal 1467789x, 2020, 6, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/obr.13005, Wiley Online Library on [10/03/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License NIEUWENHUIS ET AL. 7 of 10 FIGURE 3 Adipokines affecting the initiation of puberty in boys. Leptin activates kisspeptin secretion in KNDy neurons, this activates the production of gonadotropin releasing hormone (GnRH) from the hypothalamus. GnRH stimulates the pituitary gland to secrete follicle stimulating hormone (FSH) and luteinising hormone (LH), activating the production of testosterone from the testes allowing the development of secondary sex characteristics. Leptin also inhibits the production of testosterone, which may cause a delayed onset of puberty. Adiponectin inhibits GnRH release. Low levels of adiponectin, as a result of TNF-α and IL-6 expression, lead to a reduced inhibition of GnRH. In response to GnRH release, the pituitary gland will secrete FSH and LH, and the testes will produce testosterone resulting in the development of secondary sex characteristics in boys countries, and In addition, the inclusion of a of puberty. ferent time points is complicated, as subjects examined several decades ago presented pronounced differences concerning lifestyle patterns such as nutrition and exercise habits. Lastly, obesity or over- weight is often determined by BMI, a classification based on weight and height measurements. Additionally, it is important that all studies studies or across continents, ethnicities proper age range (8-16 years) is important when assessing the onset (Figure 4). 12-15,17,20-23,49,77-79,84,85 30,47 Furthermore, comparison between studies from dif- 86 Specifically in children, BMI is often dependent on age and growth use the same anthropometric standards and sex-specific cut-offs. 13,14,16-23,49-51,77-80 fat and would represent a more accurate measurement in its regard. Based on this review, several suggestions can be made for further research. Firstly, the roles of adipokines like resistin, chemerin, visfatin, and omentin in puberty onset, fertility, and sexual maturation should be examined in detail. Secondly, future research examining the onset of puberty should combine indicators of puberty onset (e.g. breast development or testicular volume) with plasma or serum hor- mone measurements such as LH, FSH, sex-steroids, adipokines (e.g. spurts. ment in case of growth spurts. distribution of body fat should be taken into account in determining puberty and obesity in children. For instance, the body adiposity index (BAI), which was introduced in 2011 by Bergman et al.,87 uses hip cir- cumference and height in order to estimate the percentage of body 87 Thereby, BMI is a less accurate measure- F I G U R E 4 87,88 Therefore, both percentage and Average age of puberty onset in Europe, China, and the United States according to several studies from Table 1. Age of puberty onset ranges from 8.47 to 13.33 years in girls and from 8.63 leptin), and body fat distribution (e.g. BAI,87 waist-hip ratio's and/or dual-energy X-ray absorptiometry (DXA)2). Additionally, defining con- sistent and general measurements of puberty in both boys and girls, combined with a proper age range (8-16 years), would facilitate the comparisons between different studies and their results. 12-15, 17, 20-23, 25-29, 31 to 13.7 years in boys. included if average age of markers used to assess puberty was not reported. Pink: girls. Blue: boys Studies (Table 1) were not 39, 56 1467789x, 2020, 6, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/obr.13005, Wiley Online Library on [10/03/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are governed by the applicable Creative Commons License 8 of 10 NIEUWENHUIS ET AL. 6 | CONCLUSION In conclusion, epidemiological data regarding obesity and puberty onset in girls show similar outcomes as adiposity results in the early onset of puberty in girls. The majority of the studies examining boys with obesity indicate an early onset of puberty, while not all reported an earlier onset of puberty. In detail, high leptin, TNF-α, and IL-6 levels combined with low adiponectin levels stimulate the activation of the HPG axis in girls and boys with obesity, and 5, 45, 50, 51 REFERENCES 1. Kumar S, Kelly AS. Review of childhood obesity: from epidemiology, etiology, and comorbidities to clinical assessment and treatment. May- o Clin Proc. 2017;92(2):251-265. 2. Reinehr T, Roth CL. Is there a causal relationship between obesity and puberty? The Lancet Child & adolescent health. 2019;3(1):44-54. 3. WorldHealthOrganization. Facts and figures on childhood obesity. 2017. 4. Guglielmi V, Sbraccia P. Obesity phenotypes: depot-differences in adipose tissue and their clinical implications. Eat Weight Disord. 2018; 23(1):3-14. 5. Gomez-Hernandez A, Beneit N, Diaz-Castroverde S. Escribano O. 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FUNDING INFORMATION This research was funded by Europees Fonds voor Regionale Ontwikkeling (EFRO), project BriteN 2016. ORCID Ilse A.C. Arnoldussen Amanda J. Kiliaan https://orcid.org/0000-0002-7395-5284 https://orcid.org/0000-0002-2158-6210 13, 14, 16-26, 29-32 Furthermore, several receptors Nevertheless, We conclude Search strategy We searched PubMed for articles published before Novem- ber 15th, 2019 using relevant keywords, including âonset of puberty and adiposity/obesityâ, âonset of pubertyâ, âchildren with obesityâ, âadipose tissueâ, âchildhood obesityâ, âadiposityâ, âobesityâ, âadipokine(s)â, âHPG axisâ, âadipokines ovary/ova- riesâ, or âadipokines testesâ, either alone or in combination. 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Obesity Reviews. 2020;21:e13005. https://doi.org/ 10.1111/obr.13005 1467789x, 2020, 6, Downloaded from https://onlinelibrary.wiley.com/doi/10.1111/obr.13005, Wiley Online Library on [10/03/2024]. See the Terms and Conditions (https://onlinelibrary.wiley.com/terms-and-conditions) on Wiley Online Library for rules of use; OA articles are gover
To understand melody in music, think about some music youâre familiar with. If you were asked to hum it, what would that sound like? The part of the music that youâd hum is the melody. Itâs the main thread of sound that your brain tracks and holds onto when youâre listening to music. In vocal music, the melody is sung by the lead singer. Other vocalists can provide harmony and instruments can add accompaniment, but the melody is the star of the show.What are the characteristics of melody in music? How do you describe a melody in music? A melody needs to have two things. The first is a sequence of notes, or pitches, which range from high to low. The second is rhythm, which is the timing and duration of each note. These two simple elements can create an incredible variety of combinations. Even though a melody only consists of one note at a time, it can convey so much energy and emotion. Melodies can be fast and sparkly, like âThe Flight of the Bumblebee.â They can be slow and majestic, like âFinlandia.â They might be sweeping and graceful, like a Strauss waltz. Or they can be fun and exciting, like your favorite pop tunes that you love to sing along with. Melodies often tell you a lot about where a piece of music comes from. Itâs easy to recognize and identify melodies from different folk traditions such as the Japanese folk song âSakuraâ or the Irish tune âStar of the County Down.â Learn how to play your favorite melodies on piano, and more! Sign up now. What is melody in music? Here are some examples. Here is the famous melody for the song âLean on Meâ written out on a staff. Notice the way that the notes move up, down, and then repeat. What is melody in music? Example of Lean On Me notes on treble staff. A melody all by itself is great, but music can be even more fun when thereâs an accompaniment. Here are a few bars of âLean on Meâ with the accompaniment written out. As you listen to this song, notice how the accompaniment has a very similar rhythm and movement to the melody. Then thereâs that one note in the bass line that comes along every measure with its own rhythm, which adds some extra energy and movement to the song. What makes a good melody? When you create a melody, there are four types of movement you can use: Repeat (same note) Step (up or down) Skip (up or down) Leap (up or down) Stepping and repeating are the most common types of melodic motion, and this makes a melody easier to sing. Most âhummableâ tunes use steps and repeats almost exclusively. This kind of melody is called conjunct. Beethovenâs âOde to Joy,â one of the most famous melodies of all time.Skips and leaps are generally more sparing in melodies, but when thoughtfully placed they can have a powerful emotional impact. Tunes with a lot of leaps are called disjunct. Listen to Sarah Brightman sing All I Ask of You from The Phantom of the Opera starting at 0:39. This is a very disjunct melody, and challenging to sing. Great melodies also incorporate patterns that blend unity, repetition, and contrast. Our ears love patterns, but they also love novelty and growth. A good melody incorporates all of these elements. For example, listen to John Williamâs âPrincess Leia Theme.â Can you hear the repeated pattern in the melody that gradually moves higher as the theme progresses? Now listen to the way it changes and develops into something that fits with what came before but sounds new at the same time. This is some great melodic writing! Can melody exist without rhythm? There is no way for a melody to exist without rhythm. Even if your melody only has one note, that note has a duration, and thatâs the rhythm. If your melody has two notes, how long those notes last and how much time passes between hearing them is also a rhythm. A melody in music can often be recognized even when itâs performed with different rhythms. This frequently happens in live performances of pop, rock, and jazz, in which singers typically improvise slight rhythmic differences with each performance. No two renditions are exactly the same, and this constant reinterpretation keeps the music fresh. How to make a melody for a song on piano Creating your own melodies on the piano is easy and fun! There are so many ways you can discover a melody all your own. Here are a few ideas. Get some inspiration from the world around you. What can you hear right now? A clock ticking? A bird song? A car passing by your house? See if you can find some notes on the piano that imitate the sounds you hear. Think of a feeling youâd like to put into a melody. What are some ways you could make a string of notes sound happy, sad, angry, or maybe just thoughtful. Choose a line from a poem you like, or write your own. Read it out loud and put some feeling into it. Did your voice rise and fall in pitch as you were reading? Now go to the piano, start on any note you like, and try to imitate what happened when you read. Go up when your voice naturally went up, go down when your voice naturally went down. How did that sound? Now you have the perfect melody to go with those words. Too many keys on the piano? The truth is, most melodies use only a limited number of different notes. Try creating a melody using only the black keys. These form whatâs called a pentatonic scale. Itâs used in a lot of folk music traditions around the world and can be a great place to start if you want to create your own melodies. Remember, when you create your melody, keep it simple. Use repeated notes and steps, but add a few skips to keep things interesting. One tip about leaps: when you do put in a big leap, try doubling back and filling in the empty space you leaped over. This keeps the melody self-contained and easier to sing. Also, see if you can use the same patterns of notes and rhythms to give the melody unity, but also change those patterns to give it variety. There is no right or wrong way to create your own music. Keep trying combinations of notes and rhythms until you find something that you like. How many bars and notes are in a melody? Many types of music tend to have a prescribed number of bars, or measures. This will vary widely between different genres, and creates an overall sense of musical structure. If youâre writing a pop song, a verse will usually have between eight and sixteen bars. The prechorus that follows often has just four bars, and this âforeshorteningâ creates a sense of acceleration, driving the listener toward the chorus. The number of notes can also vary widely. A melody in music needs at least two notes, and a long and complex one can have hundreds or even thousands of notes. What is a countermelody in music? How many melodies should a song have? A counter melody is a melodic line that interacts with the primary melody as an independent but supportive voice. A great example of this is the song âWe Donât Talk about Bruno.â Each character sings their own melody during the piece, but these melodies all combine at the end as countermelodies. This produces a musical texture known as counterpoint. The same thing happens in âOne Day Moreâ from Les Miserables. The different melodies are first sung separately, but end up being combined in a splendid, complex texture that leads the music to its thrilling conclusion. The difference between a countermelody and regular harmony is that harmony usually supports the rhythms of the melody. A countermelody will move more independently, with different rhythms from those of the melody, and will often sound âmelodicâ when sung or played all by itself. A melodic song should have one main melody. This is the part that the lead voice sings. Itâs usually in the spotlight, and will be the most memorable part of the music. Anything else is either harmony, countermelody, or accompaniment. Does all music have to have a melody? A piece of music doesnât have to have a melody. There are many different kinds of music without melody. For example, a lot of music played on percussion instruments wonât have a melody. Listen to this example of Tahitian drumming. This is some great music, exciting and fun to listen to, but youâd have a hard time humming it. Itâs music, but it doesnât have a melody. Rap music is another style of music where there doesnât have to be a melody. In rap, words are chanted rather than sung. The performer will raise and lower the pitch of their voice for emphasis, but itâs the rhythm of the words that creates most of the music. Music can even lack any melody, at least in some sections. Listen to the opening chords of âDuel of the Fates.â This choral passage is all about harmony, with little rhythmic variance or sense of melody. But it makes an effective contrast with the next section, which is bustling with rapid instrumental melodies. In some pieces, there are multiple melodic lines but there is no one main melody. When music is made up of equally important countermelodies, it creates a contrapuntal texture. Baroque composer J.S. Bach was one of the greatest masters of this style, such as in his Little Fugue in G minor. It starts with a single melodic line, the subject, but then a countermelody is added, and then more and more until several melodic lines are playing together. Itâs fun to listen to, but once all the countermelodies are playing together it becomes hard to decide which part to hum along with! Youâll also hear a lot of counterpoint in jazz music, in which the different instruments are all playing together and improvising their own melodies that combine to create a rich, thick musical texture. Experience the wonder of melody in music! Whether youâre humming your favorite tune, or creating a new song all your own, melody is a memorable, shareable part of music. Enrich your music experience by being aware of, listening for, and enjoying the melodies all around you.
Title: The Adventures of Max and the Magical Computer (Shortened Version) Once upon a time, in a small town called Techville, there lived a curious fourth-grader named Max. One day, while exploring his grandmaâs attic, he found an old, dusty computer. As he cleaned it, the screen lit up, and a cheerful voice said, âHello, Max! Iâm Compy, your magical computer. Letâs learn about operating systems, files, and folders!â Max was thrilled. âA talking computer? Letâs go!â Chapter 1: The World of Windows Compy explained, âI run on Windows, the brain of the computer. It uses a Graphical User Interface (GUI), so you can interact with me using icons, menus, and buttons. Letâs start by changing my desktop backgroundâthe image on the screen.â Max chose a spaceship picture. âCool! Can I add a screen saver too?â âOf course!â said Compy. âItâs an image that appears when Iâm inactive. Try this swirling galaxy!â Max set the screen saver and giggled as it appeared. âThis is fun!â Chapter 2: Organizing with Folders and Files Compyâs screen filled with random icons. âOh no! My files are a mess. Can you help?â âSure! What are files and folders?â asked Max. âA file is information, like a picture or document. Files have names, like âHomework.docx.â The part after the dot, like .docx, is the file extension. It tells you the file type,â Compy explained. Max pointed to âGame.exe.â âSo, this is a program file?â âYes!â said Compy. âTo organize, we use foldersâlike drawers for files. You can even put folders inside folders!â Max created a âSchoolâ folder, added his homework files, and made a âProjectsâ folder inside it. âNow everythingâs neat!â Chapter 3: The File Explorer Adventure Compyâs screen flickered. âSome files are missing. Letâs use Windows Explorer to find them. Itâs like a map for files and folders.â Max opened Windows Explorer and saw a tree-like list of folders. âThis is like a tree with branches!â âExactly!â said Compy. âSearch for the missing files and move them to the right folders.â Max found the files in âDownloadsâ and moved them. âI feel like a computer detective!â Chapter 4: The Final Challenge Compyâs screen turned into a game board. âTime for a quiz! Whatâs the purpose of an operating system? How do you change the desktop background? Whatâs the difference between a file and a folder?â Max answered all the questions correctly, and fireworks lit up the screen. âCongratulations, Max! Youâre a computer whiz!â The End Max smiled. âThanks, Compy! I canât wait to teach my friends!â Compy replied, âRemember, Max, learning is an adventure. Keep exploring!â As Max turned off the computer, he knew his journey into technology had just begun.
1.Linguistics is the science that studies language. 2.Linguist:Someone who studies linguistics. 3.The Subfields of Linguistics Phonetics deals with the sounds of language. Phonology deals with how the sounds are organized. Morphology deals with how sounds are put together to form words. Syntax deals with how sentences are formed. Semantics deals with the meaning of words, sentences, and texts. Pragmatics deals with how sentences and texts are used in the world (i.e., in context) Text Linguistics deals with units larger than sentences, such as paragraphs and texts. 4.Prescriptive: This approach consists basically of stating what is considered right and wrong in language. 5.Descriptive: This approach, on the other hand, consists of describing the facts. Descriptive linguistics is dedicated to describing the rules of the language, and the language is seen as essentially rule governed. 6.Language is rule-governed, creative, universal, innate, and learned, all at the same time. 7.Linguists understand language as a system of arbitrary vocal signs. 8.Linguistic signs: involve sequences of sounds which represent concrete objects and events as well as abstractions.Signs may be related to the things they represent in a number of ways. 9.Iconic: which resemble the things they represent (as do, for example, photographs, diagrams, star charts, or chemical models). 10.Indexical: which point to or have a necessary connection with the things they represent (as do, for example, smoke to fire, a weathercock to the direction of the wind, a symptom to an illness, a smile to happiness, or a frown to anger). 11.Describe the characteristics of human language: Creative: (The structural elements of human language can be combined to produce new utterances, which neither the speaker nor his hearers may ever have made or heard before.) Rule-governed: (Language is made of rules.) Universal: (There are some aspects that are present in all languages of the world.) Innate:(all humans possess an innate capacity for language, activated in infancy by minimal environmental stimuli. Chomsky) Uniquely human: (Language is what sets us apart from other species. It is what makes us human.) Learned:(Children acquire language from their natural setting.) 12.Differentiate between iconic, indexical and symbolic signs. A. iconic, which resemble the things they represent (as do, for example, photographs, diagrams, star charts, or chemical models) B. indexical, which point to or have a necessary connection with the things they represent (as do, for example, smoke to fire, a weathercock to the direction of the wind, a symptom to an illness, a smile to happiness, or a frown to anger). c. symbolic, which are only conventionally related to the thing they represent (as do, for example, a flag to a nation, a rose to love, a wedding ring to marriage). 12. Distinguish between different senses of the grammar word. The prescriptivistÂŽs grammar (Grammar is a set of rules that label the different utterances as either right or wrong.) The descriptivistÂŽs grammar (Grammar is a set of rules that govern the langauge spoken by people. ) The linguistÂŽs grammar (Grammar is the subconscious knowledge of the set of rules that enables speakers to use the language) The speakerÂŽs grammar (Grammar is the intrinsic linguistic knowledge within a native speaker) 13.Describe common fallacies about language and grammar: âșOne type of grammar is simpler than another. âșChanges in grammar involve deterioration in a language âșGrammars should be logical and analogical (that is, regular) âșPeople must be taught the grammatical rules of their language. âșOnly some languages have grammar. âșGrammars differ from each other in unpredictable ways. 14.Generality: All Languages Have a Grammar 15. Equality: All Grammars Are Equal 16.Changeability: Grammars Change Over Time 17. Universality: Grammars Are Alike in Basic Ways 18.Tacitness: Grammatical Knowledge Is Subconscious 19.Linguistics is defined as the study of language systems. It is the scientific study of language. 20.Historical approach:It is the study of language change. 21.Linguistic Competence: is the unconscious knowledge speakers of a language have about the system that enables them to create and understand novel utterances. 22.Performance: is the use of it. Performance is âthe actual use of language in concrete situations.â 23.I-Language (internal language): which is the intrinsic linguistic knowledge within a native speaker. 24.E-Language (external language): which is the observable languageâthe output from a speaker. 25.Parole ('speech') refers to the concrete instances of the use of langue, including texts which provide the ordinary research material for linguistics. 26.Langue: 27.Language: is a system of communication that is non-stereotyped and non-finite; it is unlimited in its scope. 28.Grammar: to refer to a subconscious linguistic system of a particular type. Grammar makes possible the production and comprehension of a potentially unlimited number of utterances. 29.Communication and animals: Selecting a mode of communication (speech,writing, gesture). Delivering the symbols through a medium, a physical basis for communication, light, air, or ink. Decoding of the symbols to obtain the information. 30.SIGNS: Communication relies on using something to stand for something else. Words are an obvious example of this: You do not have to have a car, a sandwich, or your cousin present in order to talk about themâthe words car, sandwich, and cousin stand for them instead. This same phenomenon is found in animal communication as well. 31.The signifier: A signifier is that part of a sign that stimulates at least one sense organ of the receiver of a message.A signifier can also be a picture, a photograph, a sign language gesture, or one of the many other words for tree in different languages. 32.The signified: The signified component of the sign refers to both the real world object it represents and its conceptual content. The first of these is the real world content of the sign, its extension or referent within a system of signs such as English, avian communication, or sign language. 33.Iconic signs or icons: always bear some resemblance to their referent. A photograph is an iconic sign; so too is a stylized silhouette of a female or a male on a restroom door. 34.Some iconic tokens: a. open-mouth threat by a Japanese macaque; b. park recreation signs; c. onomatopoeic words in English. 35.An indexical sign, or index, fulfils its function by pointing out its referent, typically by being a partial or representative sample of it. Indexes are not arbitrary, since their presence has in some sense been caused by their referent. For this reason it is sometimes said that there is a causal link between an indexical sign and its referent.The track of an animal, for example, points to the existence of the animal by representing a part of it. The presence of smoke is an index of fire. 36.Symbolic signs: bear an arbitrary relationship to their referents and in this way are distinct from both icons and indexes. Human language is highly symbolic in that the vast majority of its signs bear no inherent resemblance or causal connection to their referents, as the following words show. 37.Mixed signs Signs: are not always exclusively of one type or another. Symptomatic signs, for example, may have iconic properties, as when a dog opens its mouth in a threat to bite. Symbolic signs such as traffic lights are symptomatic in that they reflect the internal state of the mechanism that causes them to change color. 38.Signals: All signs can act as signals when they trigger a specific action on the part of the receiver, as do traffic lights, words in human language such as the race starter's "Go!", or the warning calls of birds. 39.SIGN STRUCTURE: No matter what their type, signs show different kinds of structure. A basic distinction is made between graded and discrete sign structure. 40.Graded signs convey their meaning by changes in degree. A good example of a gradation in communication is voice volume. The more you want to be heard, the louder you speak along an increasing scale of loudness. There are no steps or jumps from one level to the next that can be associated with a specific change in meaning. 41.Discrete signs are distinguished from each other by categorical (stepwise) differences. There is no gradual transition from one sign to the next. The words of human language are good examples of discrete signs. 42.A VIEW OF ANIMAL COMMUNICATION âșLargely iconic âșLargely symptomatic âșLittle arbitrary âșNot deliberate âșNot conscious âșNot symbolic âșStimulus bound