If you or someone you know is struggling with addiction to cannabis or other drugs, help is available. Contrary to popular belief, people can become addicted to cannabis. Continued, frequent and heavy cannabis use can cause physical dependency and addiction. Some people can develop tolerance to the effects of cannabis. Tolerance is characterized by a need for larger doses of a drug to maintain the same effects. Tolerance can develop after a few doses. In some people, tolerance can eventually lead to physical dependence and/or addiction. Addiction can develop at any age, Artifical Intelligence but youth are especially vulnerable because their brains are still developing. Some people are also more prone to becoming addicted than others. It's estimated that 1 in 3 who use cannabis will develop a problem with their use. It's also estimated that 1 in 11 (9%) of those who use cannabis will develop an addiction to it. This statistic rises to about 1 in 6 (17%) for people who started using cannabis as a teenager. If you show most or all of these behaviours over a 12-month period you may have cannabis addiction. All substances that affect the mind carry their own set of risks and solitaryai.art harms, some unique to the substance. The most well-established, long term harm of regular cannabis use is addiction. It is often difficult to compare risks and harms between substances. Nevertheless, based on what is currently known, the risk of cannabis addiction is lower than the risk of addiction to alcohol, tobacco or opioids. And, unlike substances such as alcohol or opioids where overdoses may be fatal, a cannabis overdose is not fatal. This a rticle has been done with G SA Conte nt Gen erator D emoversion.
A modern melodrama is a dramatic work in which the plot, typically sensationalized and for a strong emotional appeal, takes precedence over detailed characterization. Melodramas typically concentrate on dialogue that is often bombastic or excessively sentimental, rather than action. Characters are often flat, and written to fulfill stereotypes. Melodramas are typically set in the private sphere of the home, focusing on morality and family issues, love, and marriage, often with challenges from an outside source, such as a "temptress", a scoundrel, or an aristocratic villain. A melodrama on stage, filmed, or on television is usually accompanied by dramatic and suggestive music that offers cues to the audience of the drama being presented. In scholarly and historical musical contexts, melodramas are Victorian dramas in which orchestral music or song was used to accompany the action. The term is now also applied to stage performances without incidental music, novels, films, television, and radio broadcasts. By extension, language or behavior which resembles melodrama is often called melodramatic; this use is nearly always pejorative.
The term originated from the early 19th-century French word mélodrame. It is derived from Greek μέλος mélos, "song, strain" (compare "melody", from μελωδία melōdia, "singing, song"), and French drame, drama (from Late Latin drāma, Art eventually deriving from classical Greek δράμα dráma, "theatrical plot", usually of a Greek tragedy). The relationship of melodrama compared to realism is complex. The protagonists of melodramatic works may be ordinary (and hence realistically drawn) people who are caught up in extraordinary events or highly exaggerated and unrealistic characters. With regard to its high emotions and dramatic rhetoric, melodrama represents a "victory over repression". Late Victorian and Edwardian melodrama combined a conscious focus on realism in stage sets and props with "anti-realism" in character and plot. Melodrama in this period strove for "credible accuracy in the depiction of incredible, extraordinary" scenes. Novelist Wilkie Collins is noted for his attention to accuracy in detail (e.g. of legal matters) in his works, no matter how sensational the plot.
Melodramas were typically 10,000 to 20,000 words in length. Melodramas put most of their attention on the victim. A struggle between good and evil choices, such as a man being encouraged to leave his family by an "evil temptress". Other stock characters are the "fallen woman", the single mother, the orphan, and the male who is struggling with the impacts of the modern world. The melodrama examines family and social issues in the context of a private home, with its intended audience being the female spectator; secondarily, the male viewer can enjoy the onscreen tensions in the home being resolved. Melodrama generally looks back at ideal, nostalgic eras, emphasizing "forbidden longings". The melodrama approach was revived in the 18th- and 19th-century French romantic drama and the sentimental novels that were popular in both England and France. These dramas and novels focused on moral codes in regards to family life, love, and marriage, and they can be seen as a reflection of the issues brought up by the French Revolution, the industrial revolution and the shift to modernization.
Many melodramas were about a middle-class young woman who experienced unwanted sexual advances from an aristocratic miscreant, with the sexual assault being a metaphor for class conflict. The melodrama reflected post-industrial revolution anxieties of the middle class, who were afraid of both aristocratic power brokers and the impoverished working class "mob". In the 18th century, melodrama was a technique of combining spoken recitation with short pieces of accompanying music. Music and spoken dialogue typically alternated in such works, although the music was sometimes also used to accompany pantomime. 1762 but was first staged in Lyon in 1770. Rousseau composed the overture and an Andante, but the bulk of the music was composed by Horace Coignet. A different musical setting of Rousseau's Pygmalion by Anton Schweitzer was performed in Weimar in 1772, and Goethe wrote of it approvingly in Dichtung und Wahrheit. Pygmalion is a monodrama, written for one actor. Some 30 other monodramas were produced in Germany in the fourth quarter of the 18th century.