Using the selected Hazard (Indonesia earthquake), you are required to write an analytical review of this event based on the news reports and sources of information accessible to you. Your review should be around 2000-2500 words (excluding title, abstract- up to 200 words, and should address the following issues, as they relate to the Case Study (event) along with appropriate references and links to online materials used:
1- Describe the hazard related to the event.
2- Discuss the impact/ consequences.
3- Discuss the key issues or weaknesses related to mitigation, preparedness, response, recovery, and risk communication/ warning.
4- How do you enhance resilience to such events? 5- What would you have done differently if you had been in charge – pre-event (mitigation); and post-event (response)? 6- Use proper citation, and provide a brief abstract.
Ideas of ladylike character have changed definitely from the beginning of time. Old model uncovers that magnificence was viewed as a lady who was incredibly fat, maybe due to its implications of a lady very much sustained in this present reality where that was a troublesome accomplishment. The antiquated Greeks esteemed a more solid figure in their craftsmanship of the ladylike perfect, yet these figures still held a delicate roundness. In current occasions, the ladylike perfect has moved to something closer to the skeletal. As this change happened, mold has assumed a huge job in forming the female character. The sturdiness and adaptability of the bodice as a characterizing piece of clothing is nearly as bewildering as its proceeding with advance. Indeed, even after it lost its across the board fame, the proceeded with utilization of the undergarment in Hollywood delineations of the ladylike safeguarded its utilization, set up its memorable implications and outlined how it symbolized an option that is bigger than itself. Contemporary form has given the girdle another rent on life as ladies keep on swinging to this piece of clothing as a methods for distinguishing proof inside the advanced world. Despite the fact that the bodice has customarily been seen as an image of female accommodation, any characteristic importance is liable to wide elucidation. "What the prompt importance typically originates from is accessible symbolism, past or present, the suggestive pictures that have plagued open awareness and are stacked with shared affiliations" (Hollander, 1995: 26). The tight-binding of the seventeenth and eighteenth hundreds of years demonstrate how much the bodice was viewed as a methods for female sexual articulation and characterize thoughts of female excellence. Seeing how the undergarment has been utilized in Hollywood, revived in religion styles and re-presented in high mold represents how it can work to pass on female accommodation and forceful sexuality relying on the inner and outside elements at play in its structure and use inside current form. Hollywood's Creation Hollywood and the huge name motion picture makers have utilized the bodice in any number of routes from the earliest starting point of the business. The girdle was at that point utilized in ordinary dress when 'Hollywood' rose and it was at that point a vital article of clothing in Vaudeville and Broadway. And still, at the end of the day, ladies ached for the styles they saw in front of an audience relying on the persona of the performing artist and the goals of the wearer. Broadway and Vaudeville star Anna Held is the main incredible case of the undergarment as a characterizing article of clothing of the female character. The vast majority of her distinction was not ascribed to her performing voice, but instead to "her moving eyes, eighteen inch midriff and underhanded melodies" (Kenrick, 2004). As is appeared in Figure 1, Held proceeded with the act of tight-binding with the end goal to depict a luring, explicitly engaging lady with a small midsection and highlighted upper highlights. Through these kinds of ensembles in blend with her exercises, Held showed a real existence of autonomy and achievement while staying provocative and speaking to the contrary sex. Creator Eve Golden was cited saying Held was "everything that was impressive about Broadway, everything that was underhanded about Paris" (Van Degans, 2006). Mae West accomplished comparative relationship in reputation and achievements. As ahead of schedule as age 14, West was being hailed as "The Baby Vamp" (Mae West Biography, 2004). Like Held, she wound up well known as a result of her fast mind and baldfaced sexuality. "In 1926, Mae composed, delivered and coordinated the Broadway demonstrate 'Sex,' which drove her to be captured for foulness" (Mae West, 2004). She was controversial to the point that new oversight codes were set up in 1934 explicitly to address her composition, however this didn't shield her from filling her lines with unbelievable allusion and puns. "Her first film job was supporting George Raft in Night After Night (1932), in which Raft said 'she stole everything except for the cameras.' The principal film to star West, She Done Him Wrong (1933), the film rendition of Diamond Lil, broke film industry records and spared Paramount from offering out to MGM" (Mae West, 2004). Albeit West kept on stressing the hourglass figure, she dismissed the wasp-midsection and tight-binding of Held. Rather, as is appeared in Figure 2, West displayed a tight yet proportionately-sized abdomen. Ladies wishing to seem free and sexual started including the girdle to uplift and guarantee their sexuality. Albeit numerous stars who showed up in bodices as a piece of their external ensemble, for example, Mae West and Anna Held, held 'far fetched' notorieties as wild, free and sexual ladies, the girdle was likewise utilized by 'great young ladies.' In the 1950 film Two Weeks with Love, Jane Powell, the 'young lady nearby', developed her picture with the piece of Patti Robinson, a 17-year-old competing for the love of an enchanting Latin man. A primary concern in the plot alludes to the imperative job of the undergarment as a methods for characterizing a lady, "something no genuine femme fatale of the time would be without" (Two Weeks with Love, 1950). This 'great girl's' battles to get an undergarment obscured the limits between the urgently ladylike great young lady and the forcefully sexual 'terrible' young lady. All through Hollywood's movement, ladies were frequently observed utilizing undergarments as a methods for acquiring the perfect female figure regardless of evolving styles. In this way, Hollywood enabled the piece of clothing to shape and rethink the figures of thousands of American ladies through the ages. Models incorporate the hourglass figures of Debbie Reynolds in "How the West Was Won" and Marilyn Monroe in "Waterway of No Return", the secure abdomen appeared in "The Glass Slipper" on Leslie Caron and the straight-line figure of Betty Grable. Every one of these pictures gives ladies something they can relate to that would empower their utilization of the bodice to express some part of their sexuality. Debbie Reynolds is sweetly cheeky with the conventional hourglass figure. Marilyn Monroe strips for the camera to coolly uncover her shocking shape. Leslie Caron's super thin midriff is underlined by the consideration of the performing artists while Betty Grable's bends are made all the more appealing by the control kept up in the World War II publication. For each situation, the utilization of the bodice underlines instead of nullifies the sexual intrigue of the ladies and furnishes her with a quality of intensity. All through these delineations and paying little heed to the completed shape, the bodice was fundamental to full articulation of genuine gentility. Without it, the female was some way or another not exactly a lady as she did not have any sexual personality. The undergarment's proceeded with use as an image of female strengthening in Hollywood guaranteed its proceeded with use in the public eye. Girdle's Return in Cult Fashion Present day design's utilization of the girdle started with the Gothic designs of the late twentieth century in spite of the fact that it tends to be found in different styles also. Form architects working inside littler clique bunches fused it as a component of regular outerwear. Once more, it is commonly used to uplift a lady's sex bid, yet the types of understanding can shift generally dependent on the vision of the planner and the aim of the wearer. One such originator is Vivienne Westwood, who worked in the stone and move development of the 1970s in Britain. Her designs mirror the sexual opportunity of female articulation found in the ladies' developments of the time. She felt the constraint and conservatism of Britain were contrary to the opportunity and freedom being communicated in America. She defied these states of mind in the forceful, candid nature of the apparel she structured. Westwood found that "there was an emotional potential in the dresses themselves that could be elevated: loaded down with affiliations, biker equip joins sexuality, savagery and passing, in a twentieth century original" (Savage, 2001: 21). She based on these thoughts by including metal studs, chicken bones, chains, zippers and different things to her plans. This made her the mother of the punk shake designs (Savage, 2001: 21). A large number of these structures incorporated the girdle as an interest protest, made in calfskin, vinyl or different materials (see Figure 7) to signify a dominatrix-type picture. This gave the article of clothing undertones of intensity and control. The gem like components on the undergarment included in Figure 7 additionally gives a solid component of debauchery and riches. Westwood then took the bodice toward another path as she characterized the sentimental "privateer" development and the "savages" development of unbalanced skirts and tore layers. Her girdles went up against gentler textures, yet did not lessen the feeling of intensity and control related with the before structures. The erotic pictures utilized in the Aphrodite and Adonis undergarment embodies the kind of delicate, yet outright, sexuality the girdle has come to speak to. "Westwood's adjusting of the undergarment for outerwear has turned out to be one of her most unmistakable trademarks. Sentimental and verifiably precise, the bodices are additionally shockingly pragmatic. Extend textures permit simplicity of development, and removable sleeves convert a daytime article of clothing to night wear. When an image of requirement, undergarments are currently a statement of female sexuality and strengthening" (Vivienne Westwood, 2004). Westwood's splendor is in finding a methods for merging the barefaced sexuality of the girdle as-external article of clothing swarm with the delicate gentility of the bodice as-underwear swarm. "Madonna's currently unbelievable funnel shaped bra, made by Jean Paul Gaultier and worn all through her Blonde Ambition visit about ten years after the fact, could never have occurred on the off chance that it hadn't been for Westwood playing with the idea of clothing as outerwear some time before him" (Frankel, 2001: 52). Westwood perceived the appreciation for this style was the characteristic strengthening managed the wearer. There is dependably a feeling of threat simply under the surface of her plans, as is to some degree clear in the model envisioned in Figure 9. The Corset in High Fashion From its appearance in faction designs, the girdle has al>GET ANSWER