Siren Song

In â€Å"Homer’s Odyssey† and â€Å"Siren Song† both show the weaknesses of human beings. Also it reveals humans find something so enticing that they are incapable of withstanding it. In â€Å"Homer’s Odyssey† Homer creates an illusion that the sirens are dangerous creatures, unlike Atwood’s poem, â€Å"Siren Song. † Atwood’s poem however shows a desperation coming from the sirens. In â€Å"Homer’s Odyssey† the poem is told from Odysseus point of view. He portrays the Sirens as mysterious and luring.Circes advises Odysseus that the Sirens â€Å"spellbind any man alive, whoever comes their way. † Gaining this knowledge, Odysseus made his sailors plug their ears with beeswax so they would avoid hearing the thrilling songs of the Sirens. Odysseus was determined to hear the beautiful songs of the Sirens, even though he was aware of the consequences. This reveals mans selfishness by having Odysseus do whatever it takes to hear the song. Odysseus orders his men to tie him down on the mast to ensure his survival.Odysseus hears the Siren's song and starts to react to it, his men â€Å"flung themselves to the oars† and â€Å"sprung up at once to bind him faster with ropes. † This shows how inciting the sirens were to men. In â€Å"Homer’s Odyssey† a man’s perceptive is shown, and describes how temptation will always be a part of life. Unlike â€Å"Homer’s Odyssey†, Atwood’s poem â€Å"Siren Song† is told from the Sirens point of view. The sirens are portrayed as irresistible creatures that cause men to completely lose all self control.One of the Sirens states â€Å"I don’t enjoy it here,† in â€Å"Homer’s Odyssey† all the sirens seem to be fond of singing their admirable songs. In Atwood’s poem a Siren is begging for help; â€Å"Help me, only you can. † Unfortunately no one can help because once the music of the Sirens touches the ear; they succumb to the power of the Sirens. The Sirens have a certain desperation to be set free from their unpleasant life on the island. â€Å"Will you get me out of this bird suit? † shows that the Sirens in Atwood’s poem have identities, opposite of â€Å"Homer’s Odyssey†.There is no information in The Odyssey that infers that the sirens have an identity. In both poems the Sirens voices show an irresistible lure to men. The reasons that the Sirens sings differ from each poem. In† Homer’s Odyssey,† Odysseus feels like they are targeting him, however in Atwood’s poem the Sirens are simply singing for themselves. The Sirens seem sympatric to the men who jump overboard, yet unable to stop themselves from calling the men to their island.The poems â€Å"Homer’s Odyssey† and â€Å"Siren Song† have many similarities in how the Sirens are portrayed but at the same time th ey differ in many different aspects of the poems. The â€Å"Sirens Song† Sirens use the men’s own natural curiosity to bring the men to them. The â€Å"Odyssey† Sirens use enchantment and the promise of passion to get the men to come. Either way, the Sirens reveal how tricky and clever they are with their magical songs. Nevertheless, the Sirens could just be trying to torment men for their own entertainment or they could be trying to reach out for help.

Improving Student Learning Through Technology Essay

Abstract In this day and age of all sorts of technological advancements, the wonders and possibilities for convenience and assistance could be met almost instantaneously. From arms’ reach to finger tip accessibility of knowledge and information, these advancements only pose greater advantages for more and more people, especially for the school and university sector. The dawn of the valuable personal computer, the mighty internet, and more soon to follow show only promise of development, improving further the chances of success for students is bettered. It would only be of true benefit because as these students step and extend into the real world, they shall be technically and technologically well-equipped to face anything and everything. Improving Student Learning Through Technology The essential purpose of education is one which opts to offer every student the chance to be able to succeed in life, amidst any challenge, circumstance, and failure. This goal could be better realized if and when all efforts, tools, and processes for education are used and optimized to it full potential. With numerous advances among the lines of technology, almost all issues of social, political, economic, and also academic importance could be facilitated with much ease and efficiency. With the use these various tools made easily available, students’ overall learning processes could be improved which would greatly benefit them. With subjects such as Algebra, Physics, and Chemistry, it must be considered that students are very much accustomed the more traditional methods of teaching, learning, and everything else that comes with it. Through the use of new technologies, a fresh, innovative approach is taken, which would stimulate and keep the students interested. Hence, scholarly institutions must recognize the habits of their students and capitalize on such opportunities. They must learn how to adapt with the changing times and incorporate use of technology in their programs. Take for instance gaming programs on the surface and as presented, such tools are used more for leisure than learning. However, the Queensland Government (2008) emphasizes that this must be implemented with function: â€Å"purposefully selected games blended with carefully constructed learning experiences can be used to improve student learning outcomes† (n.p.). Such options are often overlooked, for they are believed to only serve as distractions. However, as argued, the games must of course integrate needed scholarly requirements to help the students learn with passion and sustainable interest. Academic bodies and organization may take this in serious account, for it could truly bring a new sense of learning element that the more traditional methods of education may be lacking. References Queensland Government (2008). Games in learning. Queensland Government: Department of Education, Training and the Arts. Retrieved November 6, 2008, from http://education.qld.gov.au/smartclassrooms/strategy/dp/games.html.

By the Way and Mother

It is often said that life is about dreaming, and hoping and learning. As a child, I dreamed of only one thing – to be successful in everything- to be successful in everything I do to make everyone proud of me, especially my mother. But later I realized that I, just like most children, do not have to do anything to win my mother’s heart. Back in 70’s my father was diagnosed with lung cancer resulting in a very difficult, prolonged treatment that did not save him, after all.This was a cruel blow to our family, especially to my mother who has understandably at a loss, left with nine children to raise all by herself. She was young at 39 when she was widowed but she never entertained the thought of marrying again because she wanted to give her children her undivided attention. Now we are professionals in our own field but we know we can never repay our mother’s for all that she has done for us to be where we are now.Words will never be enough to honor a hero l ike my mother whose silent, endearing ways have given us the best of life, peace, joy, love and the security of knowing that even if we should fall in any way at any time again and again, she would always be by our side to be what she has always been to us- our certainty is the most uncertain times; the true hero who knows how to live her life to the fullest by doing the supreme sacrifice of living for her children. Even now at 68, she still amazes me by the way she manages the great and minute details of motherhood.Whenever I feel some doubts about my worth before God, I only have to think of how worthy I am to my mother according to the way she accepts me even if I had done something wrong. Yes, through my mother I know there is God. Thank you mama- for being all too human. You have led us to discovering that which is divine! And as a true hero you have freed us from the tyranny of ignorance by educating us beyond the corners of a formal school, for even in the comfort in our home you have always served as the light of our lives.

2009 U.S. Supreme Court decision on Arizona V. Gant Research Paper

2009 U.S. Supreme Court decision on Arizona V. Gant - Research Paper Example This paper provides an analysis on this ruling and the impacts it has on law enforcement practices. The opinion of the court in Arizona vs. Gant ruling was delivered by Justice Stevens. This ruling followed the arrest of Gant after he was found guilty of driving with a suspended driving license. During the arrest, Gant was handcuffed and restrained in the patrol car. The arresting officers went on to search in Gant’s vehicle compartments, where they discovered a gun and cocaine in Gant’s jacket. The question, which formed the basis for argument during the trial, was whether the search was relevant in relation to the warrant of arrest that had been issued by the US security officers. According to the Arizona Supreme Court, circumstances surrounding Gant’s arrest did not qualify officers to conduct a search in his vehicle (Farb, 2009). In order to make a ruling, the Supreme Court revisited Chimel vs. California and New York vs. Belton rulings. The Chimelvs California ruling authorized security officers to make searches on the arrestee and areas close to the arrestee. These searches are authorized during incidents to arrest, and the essence of searching areas immediate to the arrestee is to get hold of weapons and destructible evidence. In the Belton ruling, arresting officers were given the authority to make searches in vehicle compartments and containers within the vehicle. However, searches were limited to lawful arrests and incidents to arrest (Farb, 2009). One notable thing in Belton ruling is that the arresting officers were given the authority to conduct searches, even when the arrestee is handcuffed and restrained in the officer’s vehicle. On the other hand, Chimel’s ruling allowed for a search only when the arrestee is not handcuffed and is close to the vehicle during the search. In these two scenarios, the court was in disagreement with Belton ruling, but took into consideration Chimel’s ruling in making its

Compare the Hindu and Buddhist styles of representing divinity Essay

Compare the Hindu and Buddhist styles of representing divinity - Essay Example It highly reflects the prevailing theme at the time in which Japan took pride in its genius through the fields of religion, philosophy, art, and rich literature. While the fundamental color of brilliance is perceived through the coating to designate in equilibrium the simplicity of brightness through wood carving, the Hindu sculpture has, among the revered gods Vishnu, Shiva, Krishna, and some others, on the contrary been worked using stone or hard rock medium to enhance the proper locus of the aspects with light. A rare sculpture of ‘Vishnu’ seated on a Naga coil under the five hoods of the serpent deity is stone-made. Found at the Nithyakalyanaswamy temple at Thiruvidanthai, the statue is said to date from the Vijayanagara period during the 17th century. Contrary to the standing position of the Bodhisattva of Compassion, Vishnu is depicted sitting in a relaxed posture to signify an aura of meditative heights achieved. This ‘Vishnu on Naga Coil’ is well-ado rned as opposed to the plain appearance of the Buddhist sculpture.

Close Reading about Poem Essay Example | Topics and Well Written Essays - 750 words - 1

Close Reading about Poem - Essay Example Besides, in an otherwise regular iambic pentameter, the poet also exploits a variation of accents to create a noticeable rhythm. For that matter the line 6 in the sonnet shows no distinctive alternation of the short syllables and the long syllables. The expressions â€Å"precious friends hid† and â€Å"dateless night† show a matching stress. The poet has also used assonance to add melody to the sonnet. For instance, the ‘e’ sounds in â€Å"When to the sessions† and â€Å"summons up remembrance† in the first two lines. The other particular thing that makes one appreciate the technical mastery of the poet is that he creates a sense of balance in the sonnet by linking enjambment in the 10th line of the sonnet with caesura in the 5th line. In Sonnet 29 one really feels sympathetic and sorry for the poet as he confesses that he lacked in the qualities required to be materialistically successful. However, the amazing thing is that the poem ends with the positive idea that sincere relationships can extend happiness and worth to an otherwise unsuccessful life. In the line 10 -12, the poet makes use of simile as he compares his depressed mental condition to a lark. This indeed enhances the dramatic element in the sonnet. Similarly the poet while saying â€Å"trouble def heaven† uses personification to convey his spiritual agony. Thereby, the Sonnet 29 is particularly rich in symbolism and allegorical implications. It is a well contrived sonnet primarily relying on a masterful use of sound patterns to achieve impact. The iambic pentameter in this particular sonnet throughout remains consistent. This consistent use of iambic pentameter when matched with an abrupt use of the literary device called ‘turn’ amply enhances the overall appeal of the poem. In this sonnet Shakespeare makes a skillful use of the tone and the diction to make

Macro12.13 Essay Example | Topics and Well Written Essays - 1000 words

Macro12.13 - Essay Example There have been more investments and more growth of GDP (Pethokoukis 2012). The rise in OPEC oil prices as a result of fall in supply leads to a fall in demand for oil. The import of oil reduces by the oil importing countries. The prices of goods in the economy rise, and the rise depends upon the economy’s dependence on oil imports. Hence the rate of inflation soars high causing a macroeconomic slowdown (See figure below). The rate at which the economies recover from the recession depends upon the monetary policies adopted by the government. If the money supply curve is more elastic, the government targets to put control upon the interest rate. At lower interest rates the investors would be encouraged to make investments and the economy would recover faster. 3. Adaptive expectation is based on the principle that economic agents build their expectation of any macroeconomic variable, as the inflation rate or price level, as a weighted average of their past observations regarding that variable. Adaptive expectations are used in forecasting figures taking into consideration the interest and inflation rates. In this formation the agents ignore the changes taking place in the monetary and fiscal policies and only base their expectations on the past observations. One of the components of the rational expectation hypothesis, Robert E. Lucas, has emphasized upon the fact that the economic agents exhibit rational behavior by making a forecast of the economic variables taking into consideration the past as well as the present information available. If the government announces an inflation rate and chooses a different rate and increases the money supply, producers would increase output following the increase in prices. In the short run, this would increase output level in the economy, but with rational expectations, the agents would endogenize the discretionary policy of the government, at which point output

Interpersonal Communication - Listening Skills - Communication Essay

Interpersonal Communication - Listening Skills - Communication apprehension, Compliance-gaining method or Social Exhange theory and relational currencies (p. 22 - Essay Example the communicator may ignore the fact that his/her request is unrealistic or extremely dominant, so the framework is not a remedy against one’s narrow-mindness or inability to empathize, i.e. extrapolate the other person’s situation on his/her own conditions and experience the same emotions and aspirations. It is also important to understand that those techniques should be used wisely, especially when combining some of them, as the sixteen strategies are quite diverse and often incompatible with each other. The situations, described by Trenholm and Jensen include the need for reaching consent with a senior, who will be asked for providing her basement for noisy party. Another case study employs gaining compliance with a person, who will be asked for small service – feeding the communicator’s cat for two days. Another case contains the situation, when it is necessary to ask a stranger for a service, i.e. impose to him certain behavior. As one might assume, the component of persuasion is presented in all cases, so the scholars, referring to appropriate investigations, conclude that communicators are expected to build their requests in a friendly and polite manner, which would make him/her attractive to an interlocutor. The first strategy, promise, is associated with basic human needs and deriving motivations, which include the reference to mercantile human nature as a universal law. Rewards are gained as positive reinforcement which stimulates individuals to go ahead with their useful deeds. On the contrary, threat is used in order to intimidate an interlocutor, so the main precondition for this strategy is trust to the communicator, or, in some sense, asymmetric relationship between the two persons (threats are often used with children, as they perceive negative reinforcement a bit stronger than reward). Expertise is one more usable strategy, as it points to communicator’s knowledge of positive consequence, which

MEDI-CAL AND TRICARE Essay Example | Topics and Well Written Essays - 1000 words

MEDI-CAL AND TRICARE - Essay Example s is that Medi-Cal provides free medical care or share costs to all the individuals eligible, while Tricare guarantees free of charge care only to active duty military members and their families and only under one of the program types (Tricare Prime), whereas the rest have to pay a certain part of cost for the medical care. The history of both Medi-Cal and Tricare started in 1966. In July 1965, two major amendments to the Social Security Act expanded medical coverage to a wider range of population’s segments. ‘Title XVIII established the Medicare program, and Title XIX established the State-option medical assistance program known as Medicaid.’ Medi-Cal in California became effective in March 1966 (Medi-Cal Program). Though the idea of military medical care for the military men dates back to the late 1700s, little was done until the World War II, when Congress authorized the Emergency Maternal and Infant Care Program, covering wives and children of service members. Further steps were undertaken in 1956 as a result of the Korean conflict, when the Dependents Medical Care Act was signed into law. CHAMPUS was created by the 1966 amendments to this act and became effective in 1967. TRICARE was the result of the â€Å"CHAMPUS Reform Initiative† (CRI), one of the projects launched in 1980s, aimed at improving access to top-quality care with cost staying under control. What distinguishes TRICARE from the earlier programs is the provision of choice of ways in which service families may use their military health care benefits (Powers 2007). One is eligible for Medi-Cal benefits if he is 65 years or older, or he is blind, or is younger than 65 but has a disability. Those receiving Supplemental Security Income (SSI) get Medi-Cal benefits automatically. Those who don’t receive SSI can still qualify for Medi-Cal as long as their income and assets are under certain amounts. Eligiblity for Medi-Cal through SSI is available in case your monthly income doesn’t exceed

Management Accounting Essay Example | Topics and Well Written Essays - 2000 words

Management Accounting - Essay Example However, contrary to this, the visual arts platform of the society constantly remains under the financial pressures and vulnerability even in the sound economic conditions of the country. The proponents of the visual arts, on this vulnerable situation of the visual arts platform have been raising constant voices over the matter. One the of such voices claim that visual arts organisations in order to successfully meet the societal requirement and expectation of educational and entertainment development shall maintains the system that provides it sound financial strength. However, despite the consensus on the need of the sound financial muscles for the visual arts organisations, there have been contrary views on the system to be employed for achieving them. One dominant view on the matter is pertaining to Royce (2011) view who insists that visual arts organisations shall develop a system similar to the business organisations. According to Royce (2011), well defined systems or more appr opriate to state that conduct like a business is mandatory for the effective results generation from the visual arts organisation. In this perspective, Royce (2011) stated that ‘Sound business models are a necessary component in healthy visual arts ecology and essential for most publicly funded organisations’. Royce (2011), for its concern over the detrimental and vulnerable condition of the visuals arts organisation shall proposed that all such organisations shall also have system for achieving the profitability. Viewing in the context of the definition for the arts in general and among definitions developed for the purpose, Shaw (2000) defined arts and creative industry activities as one that can be determined on the basis of its sustainable impact. As already reported, this impact is spread not only the social aspects but at the same time wide economic impact is also identified in many studies (Landry et al, 1996); hence, it is important to understand the fact that a n organisation in order to fulfil such responsibilities requires strong system. Royce (2011) assessment report was based in reference to the Arts Council England and the Turning Point Network but reflects the overall industry requirement. Visual arts organisation’s financial vulnerability, according to the Royce (2011), is due to the three main factors. First, the culture of organisational conduct prevailing at the visual arts organisations’ is in clear contrast to the economic principle mainly in terms of productivity. This practice is despite the proven facts that visual arts have always played an important role in the economics of the country and society (Reeves, 2002). More importantly, this practices is also in contrast to the development early in the history where since 1980s all cultural activities have been seen in the main context of their contribution the economic development and restructuring as well as revival of the manufacturing industry (Reeves, 2002). S econd factor that is responsible for this vulnerability is the tradition of free entry offered to audience in the many of the

Analog Circuit Computer Aided Design (CAD) Essay

Analog Circuit Computer Aided Design (CAD) - Essay Example This section deals with the existing literatures related to analog circuit optimization. It outlines a summary of all the resource materials, authorial credentials, content credibility, source credibility, text credibility- Fluid integration of the source evaluation. A true literature review gives the proper sense of works that technology has achieved till date into that specified topic which helps one researcher to bring down his own research problem. Han Young et al. (1990) developed an analog silicon compilation system for CMOS op amps (OPASYN). The synthesis starts from a certain specification. From its database, program selects op amp topology that suits most with the given specification. Using parametric optimization the circuit then determines optimal value for its parameters. It also produces Design-Rule-Correct compact layout of the optimized op amp. Yang et al. (1995) proposed a Simulated Annealing (SA) algorithm for topology selection and sizing. In analog cells, topology choice and sizing simultaneously is efficient than normal two step mode synthesis. Basic problem with that approach is that super circuits must be worked out for each sort of analog cells. Chen et al. (2000) placed an iterative optimization idea for improving delay in digital circuit. Instead of only adjusting that gate sizes to reduce delay, they adjusted wire loads of the gates by repositioning them using geometric program. It gave better result in deep sub-micron design where the effect of interconnect delays dominates Mandal P and Visvanathan V (2001) devised an efficient technique for sizing of op amp by sequential convex optimization problem. This method then prototyped in MATLAB to apply into CMOS two stage op amp.

Herman Millar Inc. Essay Example for Free

Herman Millar Inc. Essay The office furniture manufacturing industry market in the United States is very competitive since many companies offering similar products. Companies compete primarily on price, product and service quality, differentiation, design, speed of delivery and customer service. Firms compete within each market segment and are pressured by growing competition from overseas manufacturers particularly from China and Vietnam. Six manufacturers-Steelcase, Herman Miller, Haworth, HNI, Kimball International and Knoll-account for approximately 60% of the U. S. office furniture market. The remainder of the market is captured by a large number of small and privately owned businesses that successfully supply the local communitys retail demand. The large number of existing companies definitely shaped the landscape of the Chinese market competition. Furniture manufacturing industry concentration has increased in last couple of years because many operators have gone out of business. Following the downturn of US economy, high unemployment rates, have created an intensely competitive environment for existing players; faced with low margins and volatile input costs, many underperforming operators were forced to exit the market. However, as the economy will recover, demand for new office furniture is expected to increase, expanding the number of companies over the five years to 2016. In conclusion, the intensity of rivalry is moderately high. Although current concentration of the industry is a low, the trend of the industry is to become more competitive in future. This would decrease the potential future profit of department store industry. Threat of new entrants The barrier to entry in this industry are medium and are steady. In the US office furniture industry, the capital required to enter the industry is considerably higher. New operators entering the industry face various challenges, including existing and well established distribution networks among operators and suppliers. To remain price competitive, the new operators need to establish strong supply relationships with manufacturers and wholesalers in order to secure good quality and low-priced stock. Since the concentration is expected to rise, it places an indirect pressure on new entrants that need to invest more in advertising to develop brand and market awareness. Marketing and promotional activity must exceed that of the existing players to build customer awareness and overcome retailer resistance. Furthermore, the productivity difference between the small-sized companies and the large-sized companies is very large. The combination of all this evidence indicates that the entrant barrier into the US office furniture industry is relatively high. Bargaining power of Supplier The intense internal competition force for resources among the large number of manufacturers pushed the bargaining power of suppliers to the most significant influence on domestic furniture industry. This refers primarily to suppliers of most important goods i. e. raw material and electric power, which are used in intermediary consumption during furniture manufacture. Purchases of raw materials are the largest expense for the Office Furniture Manufacturing industry, accounting for about 43. 7% of industry revenue. This proportion is typical for manufacturing industries, since operators require significant raw materials to produce final outputs. Input materials used for office furniture include hardwood, such as oak, cherry and maple wood; plywood and veneers; steel; glass; plastic; and glue. During the five years to 2011, the prices of these inputs have been volatile, making it difficult for manufacturers to anticipate future spending and reduce costs. In general, rising commodity prices have negatively affected the industry, increasing purchase costs for manufacturers. Bargaining power of buyers According to the research of IBIS World, department store sales depend heavily on the financial health of the consumer sector, including per capita disposable income. During periods of economic recession and decreasing income of people, consumers cut their spending by delaying purchases or substituting brands’ products with lower level products. This is heavily influenced by the unemployment rate and general economic growth. In the periods of strong economic activity people’s disposable income increase, and vice versa. Threat of substitutes Furniture has been used for thousands of years and built mostly of wood. There is little evidence indicating that wood furniture will be totally replaced by some other material in the foreseeable future. In the industry of furniture manufacture probability of substitutes is almost impossible. Current global trends have a favorable influence on increase in demand for furniture, due to ever faster obsolescence and shorter furniture lifetime, i. . due to frequent changes in design and manufacture technology. Possible threat of trend changes exists, i. e. furniture made from other materials than wood, that is, various metals, plastics and glass. However, despite the reduction of wood in furniture manufacture in the past years, wood is expected to stay one of the most important raw materials for furniture manufacture, because of its advantages when compared with oth er materials. Question: What are the driving forces and the key success factors in the industry? Answer: Having contacts within key markets: It is preferable that manufacturers have established links with a number of customers, including wholesalers, contractors and retail outlets, rather than having one or two that account for the majority of their business. Guaranteed supply of key inputs: Established links with key suppliers enable a steady flow of key inputs and price locks, which may provide cost savings for bulk purchases. Flexible production processes: Furniture items are often custom-made. Producers must be able to adjust products to suit individual requirements. Adapting to changing customer preferences: Goods produced should reflect current trends favored by consumers in order to remain competitive. Highly trained workforce: Staff is required to assemble office furniture efficiently and provide quality workmanship. Question: How have the company’s values shaped its strategy and approach to strategy execution? Provide illustrations of how these values are reflected in company policies. Answer: Question: What is Miller’s strategy? Which of the five generic competitive strategies most closely fit the competitive approach that Miller is taking? What type of competitive advantage is Miller trying to achieve? Answer: They focus on a growth strategy, through innovative products and production processes. Reinvention and renewal. They survived the Great Depression and multiple recessions, recovered from the dot-com bust and were able to continue expanding overseas. They adapted to save the company, by introducing new designs. In 1996, Herman Miller began an aggressive drive to reinvent its operations and established a fruitful relationship with the Toyota Supplier Support Center. Unique to the office furniture industry, the relationship enabled the company to adopt and implement world-class, lean manufacturing processes based on the Toyota Production System principles. Through the Herman Miller Production System (HMPS), the company dramatically reduced manufacturing square footage and inventories, cut lead times for standard product from 8 weeks Question: What is your overall appraisal of Miller’s financial performance? Answer:

Analysis of the Harlem Renaissance

Analysis of the Harlem Renaissance The movement raised significant issues affecting the lives of African Americans through a variety of literature, art, music, drama, painting, sculpture, movies, and protests. The outburst of creativity among black writers of this period was the productof the many moods and circumstances of the time. Therefore, the Harlem Renaissance was more than a literary movement; it was anexciting cultural expression of racial experience which extendedinto every area of black life. The significance of this movement to African American literary art lies in the efforts of its writers to praise the legacy of African Americans and to use their unique culture as a means toward re-defining African American literary expression Harlem Renaissance was the era when African-Americans for the first time had a real reason to experience pride and rejoice in their identity. In Harlem they found something that was uniquely their own. African-American literature, art, music, and beliefs were respected, appreciated and recognized on a national level. African-Americans were first time regarded as intellectuals before Harlem renaissance Afro Americans were generally considered a stereotype from the outside. This stereotype was an individual servile, unqualified, unskillful and with little potential other than as a laborer. After many years of suffering through imprisonment and domination by the White man, African Americans began to come together to express their strong beliefs of racial pride and self-identity. This movement increased self confidence of Afro Americans and made them feel proud and happy. For the first time, all publishers and critics took Afro American literature seriously and Africans Americans started to work with white people. The Harlem Renaissance was a turning point in African American literature; it was no longer read mainly by black people, but started to be absorbed into the whole American culture. Due to all reasons mentioned above Harlem Renaissance stands as one of the most celebrated movements in African-American culture and American history. It is known as the golden period of African American art and literature. The purpose of the Harlem Renaissance was for African Americans to express their need for racial equality. Civil Rights activists such as W.E.B. Du Bois, who helped to establish the National Association for the Advancement of Colored People (NAACP), decided that instead of using direct political means to achieve their goals of racial equality, that they would employ artists and writers of their culture to achieve their goals. During the Harlem renaissance there was an outburst of artistic creation in all fields including visual arts, literature and poetry, music and dance that both represented and gave voice to the afro American thoughts. Even Newspapers and magazines such as The Messenger, Crisis, and Opportunity: A Journal of Negro Life, were also highly important because they exposed the evils of discrimination. African Americans looked to these pieces of literature for leadership and direction. The main goal of the writers of the Harlem Renaissance was to show the Negro as a talented individual, worthy of the same respect given to white Americans. Writers such as Claude McKay and Langston Hughes not only changed the way Negros have been portrayed in theaters throughout history but also blazed the path for the future generations to follow. The Harlem Renaissance was a transitional time when poetry changed a state of African-Americans to outstanding heights. It was one of the most vital expressive vehicles used for the promotion and celebration of African American history, culture and political awareness. The presence of many lower and middle-class blacks in theNorthern ghettoes who could buy books and magazines and go totheaters and clubs provided the financial backing to support thecreative blacks who contributed to the Harlem Renaissance. One of the chief poets who emerged from the period was Langston Hughes. He was born in 1920 in Joplin, Missouri and spent most his youth in the American Midwest. He first came to New York in 1921 to attend Columbia University. A year later he shipped out as a salesman and cook’s helper on a tramp steamer to Africa and Europe. He lived and worked in Paris and Italy and then returned to the United States, where he took a job as a busboy in a Washington DC, hotel. There in 1925, he was discovered by the poet Vachel Lindsay, who praised Hughes’s poems and advised him to devote himself to literature. His first books, The Weary Blues (1926) and Fine Clothes to the Jew (1927) won poetry prizes and brought him wide acclaim. Unlike many of his peers who were turning inward for poetic expression. Hughes explored the expressive validity of black vernacular in urban and rural black lifestyle. His dynamic and insightful representation of African-Americans touches the souls of many. His poetry paints a picture of the complications faced by African-Americans with a mixture of music, culture, happiness and environmental struggles. Langston Hughes lived ina society that was completely dominated by White men. Heremembers the company of his grandmother, â€Å"She†¦held mein her lap and told†¦stories about people who wanted to makethe Negroes free†¦.† (Emanuel19). Thus, not only social atmospherebut his family experiences have also made him touse poetry as a weapon by which he could give an effectiveexpression to cultural and ethnic qualities of his black race inorder to shape a society. â€Å"He has asserted his voice of selfacceptance†(Berry 87). For the first time, there has been aman on the literary scene to glorify his â€Å"Blackness† and not tofeel ashamed of his being Black. Hughes is most famous for his poetry but he contributed to numerous forms of literature and nonfiction throughout his long career.His first novelNot Without Laughter appeared in 1930. Hughes had a wide range of talent. He was a successful humorist and a historian of the lives of blacks. He wrote proudly and sanguinely about the African American conditions. His most famous fictional character is Jesse B. Semple, nicknamed Simple, who uses humor to protest and satirize the existing injustices. Apart from poems and novels he also wrote short stories, children’s books, song lyrics and operas. He translated foreign writers and wrote numerous plays, three of which were produced on Broadway. Langston Hughes in his essay The Negro Artist and The Racial Mountain (1926), expressed the new rebellious mood of the Renaissance writers: Let the blare of Negro jazz bands and the bellowing voice of Bessie Smith singing Blues penetrate the closed ears of the colored near-intellectuals until they listen and perhaps understand. Let Paul Robeson singing Water Boy, and Rudolph Fisher writing about the streets of Harlem, and Jean Toomer holding the heart of Georgia in his hands, and Aaron Douglas drawing strange black fantasies cause the smug Negro middle class to turn from their white, respectable, ordinary books and papers to catch a glimmer of his own beauty.(Ervin 48) Much of his best writing was journalistic. In 1937 he served as a foreign correspondent covering the Spanish Civil war for the Baltimore,Afro American news –paper. His most popular works were news paper sketches written for the Chicago Defender in the 1940s .The sketches recounted the adventures opinions of an innocent downtrodden Negro, â€Å"Simple,† whose penetrating views of blacks and whites provided Hughes with the means for making broad satirical and critical commentary on society and government. Hughes was a worldly cosmopolite who lived an almost nomadic life. He traveled to Mexico, Cuba, and the Caribbean, to Africa, Western Europe, The SovietUnion, China and Japan. But he was most influenced by his American experience, by his black heritage, and by the vivid life of New York’s city and Harlem, with its blues and jazz music that so influenced the structure and rhythm of such poems as â€Å"The Weary Blues†. He was the first black American to support himself as a professional writer. In all, he produced more than sixty books. He was also one of the first American writers to receive extended and serious critical attention for realistic portrayals of black Americans. Through his poetry, fiction, and essays, he became one of the dominant voices speaking out for the significance of black culture at the core of life in the twentieth –century America. In the Twenty-first century his work still proclaims, â€Å"I, too, am America.† He created a new literary art form called jazz poetry.He was perhaps the most original of African American poets in the breadth and variety of his work and assuredly the most representative of African American writers. He believes in the ideals of liberty,equality and universal brotherhood. His creative oeuvrereflects that how he constantly struggled for the dignity andequal rights of African Americans. Claude McKay, from Jamaica, was another most influencing poet of the Harlem Renaissance. He was born on September 15, 1890 in, Clarendon Parish, Jamaica, and West Indies. Youngest of eleven children he was sent to live with his oldest brother at an early age so that he could be given the best education. McKay was an avid reader who began to write poetry at the age of ten. Much of his writings are a reflection of that shock he felt about American racism. With the publication of two volumes of poetry, Spring in New Hampshire (1920) and Harlem Shadows (1922), McKay emerged as the most militant voice of the Harlem Renaissance. His poetry gained a lasting admiration among African-Americans during the Harlem Renaissance and addressed social and political concerns. McKay wrote three novels: Home to Harlem (1928), a best-seller which won the Harmon Gold Award for Literature, Banjo (1929), and Banana Bottom (1933). He also authored a collection of short stories, Gingertown (1932), and two autobiographical books, A Long Way from Home (1937) and Harlem: Negro Metropolis (1940). His book of poetry, Harlem Shadows (1922) was among the first books published during the Harlem Renaissance. His book of collected poems, Selected Poems (1953), was published posthumously. Langston Hughes and Countee Cullen identified McKay as a chief inspiring force, even though he did not put pen to paper for modern verse. His poem â€Å"If We Must Die earned excellent remarks for him from fellow writers such as James Weldon Johnson and Walter White. Lines from his poem, If We Must Die, indicate the spirit of protest: If we must die, let it not be like hogs Hunted and penned in an inglorious spot, While round us bark the mad and hungry dogs, Making their mock at our accursed lot. If we must die, O let us nobly die, So that our precious blood may not be shed In vain; then even the monsters we defy Shall be constrained to honor us though dead!

The Ability Of Sound To Shatter Glass Environmental Sciences Essay

The Ability Of Sound To Shatter Glass Environmental Sciences Essay There is a myth that claims that the piercing voice of the soprano vocalist has the power to shatter a wine glass. In this media-driven world, we are often shown television portrayals of such events; there is also evidence and personal testimony that supports the statement. Scientific research has also proved that sound can break a glass and the laws of physics have proven that this is possible through sound resonance. In this extended essay, I will compare the ability of sound to shatter glass through using different sized beakers and also different shapes of glass. The significance of this experiment is to relate the physics concept with our lives. During my experimentation, three different sizes of beaker and three different shapes of glass have been utilised to test the ability of sound to shatter glass through using the laws of physics. All the beakers and glasses are made of the same glass and are of the same thickness. The experiment is conducted by resonating the glass and beaker at its natural frequency. The glass and beaker will vibrate when sound waves are emitted to the wall of the glass. In order to shatter the glass, the amplitude of the sound is increased until the glass shatters. If lower amplitude is needed to shatter the glass, this will indicate that the glass is more easily shattered. All the three different sizes of beakers and three different shapes of glass will then be compared. . The results show that actually the smaller sized beaker is more easily shattered when compared to the bigger sized beaker; the results also demonstrate that the beaker glass is more easily shattered when compared to the wineglass, which is curved inwards and outwards at the rim. 1.0 Introduction 1.1 SCOPE OF WORK I have studied about sound waves and its subtopic which is resonance in Physics at High School and also during my diploma programme. .But I was disappointed to find that I couldnt locate any literature that explores how the sound waves can shatter glass through sound resonance. This essay is an attempt to study the phenomenon that involves the factors that affect the vibration of glass through the emission of sound waves of the glasss natural frequency Shattering of glass can be because of many factors. Thus I set myself the objective of doing this research which is to determine whether changing the size of glass will affect the amplitude of sound needed to shatter glass. Another objective of this essay is to investigate whether changing the shape of glass will affect the amplitude of sound needed to shatter glass. Therefore, my research will be based on the two objectives. To achieve the objectives in this research I have posed two research questions which are: Research Questions: Does changing the size of the beaker affect the amplitude of sound needed to shatter the glass through sound resonance? Does changing the shape of the glass affect the amplitude of sound needed to shatter the glass through sound resonance? 1.2 Background Information and Literature: The most important thing about this essay is to know the basic information that makes the experiment related to the physics concept. In this essay the main physics concept that will be talked about is sound resonance. Using this concept, the glasses will be forced to vibrate at their respective natural frequencies until they shatter into smithereens. There are several key terms that need to be clarified before performing the research. The first term would be the natural frequency. The natural frequency is the frequency of a system which oscillates freely without the action of external force  [1]  . Another term that is important is resonance. Resonance is the state which the frequency of the externally applied periodic force equals the natural frequency of the system.  [2]  .All objects have their own resonance frequency. This includes glasses. 2.0 Research Question This extended essay will be guided by two research questions. The research questions formed were set to be the parameters of this essay. First research question: Research Question: Does changing the size of the beaker affect the amplitude of sound needed to shatter the glass by sound resonance? Three beakers with different diameters of rim of glass are used to test the ability of sound waves to break the beakers. Type of glass Size of glass Diameter of rim of glass, cm ( ±0.01cm) Beaker A Small 6.28 Beaker B Medium 9.46 Beaker C Large 11.39 Table 2.01: Size of the glass and the diameter of the rim of the glass for Beakers A and B and C Second Research Question: Research Question: Does changing the shape of the glass affect the amplitude of sound needed to shatter the glass by sound resonance? Different glass can be moulded into different kinds of shape. Different shapes of glass are used to test the ability of sound waves to break the glass at its natural frequency. Type of glass Diameter of rim of glass/cm Shape of the glass Beaker A 6.28 Straight shape Wineglass A 6.13 Curvature (inwards at the rim) Wineglass B 6.31 Curvature (outwards at the rim) Table 2.02: The table of the diameter of the rim of the glass, the shape of the glass for Beaker A , Wineglass A and Wineglass B. 3.0 Variables Experiment I Dependent: The amplitude of the sound waves needed to shatter the glass. Independent: The size of the beaker used. Constant: The natural frequency of the glass, the thickness, type and shape of the glass. Experiment II Dependent: The amplitude of the sound waves needed to shatter the glass. Independent: The shape of the glass being used (beaker and wineglass). Constant: The natural frequency of the glass, the thickness, type and size of the glass. 4.0 Apparatus and Materials Apparatus Quantity 1000ml beaker 1 600ml beaker 1 150ml beaker 1 Wineglass 1 Wineglass with outwards curvature at the rim 1 Metal spoon 1 Microphone 1 Headphones 1 Eye Goggles 1 60 Watt Speaker/Amplifier(Roland Cube 60X) 1 Cool Edit Pro 2.0 (Frequency analyzer)-laptop 1 Signal/Frequency generator(Programmable analysis software) 1 Vernier Calliper 1 In this experiment, most of the apparatus and material were available at the science laboratory. The apparatus and materials used are: Table 4.1 Table of list of apparatus and materials and the quantity used. 5.0 Methodology 5.1 Safety Precaution The experiment must be done by wearing eye goggles and headset/earplugs because of the danger posed by shattering glass and due to the hazard posed by the high pitched sound. 5.2 Making a measurement for the frequency of glass Frequency is very important in this experiment. Frequency of the glass can be determined by hearing the ping sound produced when hitting the glass with a metal spoon. But it will only show the qualitative result which is not the actual frequency of the glass. In order to get the quantitative data for the frequency of the glass, a microphone was used and connected to a laptop so that the sound could be analyzed by using the software, Cool Edit Pro 2.0 by Syntrillium Software Corporation. The software Cool Edit Pro 2.0 detects the sound produced by the glass and changes the sound into a Sine-wave. The wave form will be very dense and close to each other. A stable form of sine wave needs to be chosen in order to find the period for the wave. The frequency of the glass can be found by using the formula: Where, f = frequency of glass T = period of glass The frequency that measured is the frequency of the glass. Then the frequency needs to be trailed around  ±100 Hz to get the actual natural frequency of the glass that can resonate the glass easily. Experiment I and Experiment II The steps for Experiment I and Experiment II are the same. The only difference is that for Experiment I, three beakers with a different diameter at the mouth of the glass are used. Measure the diameter of the glasses using vernier callipers and label it as Beaker A, Beaker B and Beaker C. Then, for Experiment II, three type of glass are used: a beaker, a wineglass with an inward curvature and a wineglass with an outward curvature. The glasses are labeled as Beaker A, Wineglass A and Wineglass B. After that, for Experiment I, Beaker A is taken to start the first experiment. The frequency for Beaker A is found by using the steps as stated earlier. Roland Cube 60X, an amplifier with a built in loudspeaker which is capable of generating more than 110dB of power of sound is used to shatter the glass. Place the beaker very near to the speaker to so that it is in full contact with the glass. The frequency of the sound is generated by using a frequency signal generator. The frequency signal generator will produce sound waves with the desired frequency, generated by the Roland Cube 60X. The frequency generated will be tested on the beaker; a straw is put into the beaker to see the vibration of the beaker. Then, the volume of the sound is increased until the beaker expands and shatters. The amplitude of sound produced by the Roland Cube 60X that caused the glass to shatter is then recorded. All the data is recorded in a table .The experiment is then repeated by using the Beaker B followed by Beaker C. All the steps for Experiment I are then repeated in Experiment II. In this experiment the glasses are changed into three different shapes of glass: Beaker A, Wineglass A and Wineglass B. 6.0 Data Collection and Processing This section explains the data collected after the experiment was conducted. All the data was taken when tabulated into the table as shown in the table below: Experiment 1 Type of glass Diameter of rim of glass/cm ( ±0.01cm) Frequency of the glass calculated, Hz ( ±1Hz) Actual Natural Frequency of the glass,Hz ( ±1Hz) Amplitude of sound needed , dB( ±1dB) Beaker A 6.28 1515 1466 123 Beaker B 9.46 689 747 128 Beaker C 11.39 625 658 130 Table 6.1: Table of Diameter of rim of glass , natural frequency, the actual natural frequency and the amplitude of the sound needed to break the beaker A,B and C The highest frequency calculated is Beaker A, followed by Beaker B then Beaker C. In this experiment, Beaker A only needs 123 dB to reach its elastic limit. Beaker B needs 128 dB to be broken into pieces while Beaker C is the hardest to shatter, needing 130 dB amplitude of sound to break the beaker. Experiment 2 The data from the second experiment was tabulated in the table below. Type of glass Diameter of rim of glass/cm ( ±0.01cm) Frequency of the glass calculated, Hz ( ±1Hz) Actual Natural Frequency of the glass,Hz ( ±1Hz) Amplitude of sound needed , dB( ±1dB) Beaker A 6.28 1515 1466 125 Wineglass A 6.13 1250 1153 132 Wineglass B 6.17 1449 1388 Cannot be broken Table 6.2: Table of Diameter of rim of glass, natural frequency, the actual natural frequency and the amplitude of the sound needed to break the Beaker A, Wineglasses A and B In this experiment, the highest natural frequency for the glasses is Beaker A. Wineglass B is the second highest followed by Wineglass A. All of the glasses are shattered at their natural frequency except for Wineglass B. Wineglass B cannot be broken, which will be explained in the discussion section of this paper. 7.0 Discussion and Analysis 7.1 How glass can be shattered This part of extended essay will explain the actual concept of how a glass can be shattered. There are several factors that will affect the ability of sound to break a glass. The sound wave used to resonate the glass must be of a high pitch and it will start to make the object vibrate. The constructive interference occurring at the glass walls make the vibration of the glass more visible. Then the following conditions will happen: Figure 7.1a Figure 7.1b Figure 7.1 Figure of an exaggerated example of the view of the rim of the glass from the top view when the sound wave is generated to the glass In the diagram above, it shows that in figure 7.1a, there will be four nodes when the sound wave is resonated to the glass. This type of condition occurs if the frequency generated is the same as the natural frequency of the glass and the amplitude of the sound produced is high. If the amplitude is further increased, the shape of the ellipsoidal rim will increase until it reaches an elastic point until the glass shatters. Comparatively, the diagram in figure 7.1b shows there will be six nodes produced when a higher or lower frequency than the natural frequency of the glass is used to resonate the glass. This is not the most efficient frequency for the oscillation of the glass. Thus the rim of the glass will vibrate in all directions. Below are the properties that will occur when the glass resonates: When sound waves are generated to the wall of glass, constructive interference will occur and the glass will oscillate inwards and turn into an ellipsoidal-like shape at A as shown in the figure. The ellipsoidal-like shape which oscillates inwards will be reflected back to its original position as it doesnt have enough energy (amplitude of sound) to reach its elastic limit B The reflected oscillation of the glass will then exceed its actual rim position as it will oscillate in an ellipsoidal-like shape outwards of the actual rim shape at B. The oscillation will continue as long as the frequency generated is the same as the natural frequency of the glass. But to exceed the elasticity limit of the glass, a higher amplitude of sound wave needs to be generated. A longer ellipsoidal-like shape will be produced. Later will exceed the elastic limit and break the glass into pieces. Diagram 7.2- Properties of wineglass when it undergoes resonance If a different frequency rather than its natural frequency is used, more nodes of oscillation will be produced and it is harder to break as it doesnt reach the glass elasticity limit, as shown in diagram above. The lower number of nodes produced, the further the stretch of the oscillation will be. 7.2 The quality factor (Q-factor) Q factor is a dimensionless parameter that describes how under-damped an oscillator or resonator is  [3]  . It is known that Q factor is inversely proportional with damping  [4]  . The Q factor can be determined by measuring the time taken for the glass from rim to steady mode and has the highest resonance frequency. In the experiment of shattering of glass using sound resonance, the glass cannot be affected by any damping massively. Damping is the decrease in the amplitude of an oscillating system  [5]  . Damping will oppose the direction of vibration of the glass so that it can reduce the glasss vibration. Thus for shattering a glass, the glass with a high Q factor is the best as it will have less damping and higher resonance frequency. Experiment I ( size of the beaker) In this experiment the only difference between the beakers is the size of the beakers. It brings a difference to the amplitude of the sound wave needed to break the glass. After the experiment has been done, it becomes clear that there is a connection between the size of the beaker and the ability of the sound to break the glass. From the result, it can be seen that smaller sized glass beaker will break more easily when sound wave of its natural frequency is directed to the wall of the glass. However, it is hard to investigate the exact math relationship between the natural frequency of the glass and the amplitude of the sound wave needed to break the glass. The high amplitude is used to expand the solid state of the glass to a more elastic shape ( liquid state characteristic) of the glass so that the intermolecular forces between the particles can be overcome. In this experiment, the easiest glass to break by sound resonance is Beaker A as the amplitude needed to break the glass is the lowest when compared to the other beakers. This is because the beaker has a high resonance frequency. When the resonance frequency of the beaker is high, the beaker will vibrate more in a period of time. Since the glass is vibrating at a high frequency, the damping effect on the glass less effective. As small beakers will have a low damping effect, the elastic limit for the glass will also be lower. Thus less energy (amplitude of sound) needed to shatter the glass. So for the Beaker A, the size of the beaker is small, the resonance frequency is high and the damping effect is low, thus the quality factor for the glass is high. That is why lower amplitude of sound is required to shatter Beaker A For Beaker B, higher amplitude of sound is needed to break the beaker. This because the size of the glass is bigger than Beaker A. Beaker B will have a lower resonant frequency compared to Beaker A. This is because the natural frequency of Beaker B is lower when compared to Beaker A. Thus there will be less vibration of the particles of glass per second. As the resonant frequency of the glass is lower when compared to Beaker A, the damping for Beaker B will be higher when compared to Beaker A. Therefore, the elastic limit for the glass to break will also be higher when compared to Beaker A. Since damping is inversely proportional to Q factor, thus the Q factor of Beaker B will be lower when compared to Beaker A,. Thus it will require a higher concentration of energy (amplitude of sound) to reach the four nodes mode oscillation of glass and later to exceed the elastic limit of the glass. The hardest beaker to shatter is Beaker C. This is because the size of Beaker C is bigger than Beaker B and Beaker A. In this case, the glass with the lowest resonance frequency is Beaker C. This is because the frequency of Beaker C is very low when compared to the other two beakers. Lower frequency means a lower number of vibrations of the particles of glass per second. Thus there will be a higher damping effect for Beaker C. Damping will oppose the force of the vibration, thus making it harder for the glass to resonate. The Q factor for Beaker C is the lowest compared to Beakers B and A. Thus the amplitude needed to break Beaker C will be the highest as the beaker need more energy to reach the beakers elastic limit. What is needed for the glass is to have a strong resonance where it will vibrate at a higher resonant frequency, with less damping effect and a high Q factor. Then it is possible to force the beaker to vibrate with a bigger displacement and then break. Experiment II ( Shape of the glass) In this experiment, the most important factor that is manipulated is the shape of the glass. The shapes used in this experiment consist of shapes that have tall sides and sides with curvature. These two shapes of glass can be broken easily by sound resonance because of the structure of glass that has a certain type of periodic structure. The connection between the sound resonance and the periodic structure of the glass makes the vibration of the glass stronger. Strong vibration can reach the four nodes mode of the glass until it reaches the elastic limit of the glass. The shape of Beaker A is with less curve and more tall sides when compared to the wine glass with curved inward or outward sides of glass. The amplitude needed to break Beaker A, Wineglass A and Wineglass B are not the same as the shape of the side wall of the glass will play a major role in the ability of sound to break the glass. When comparing all three type of glass, the glass most easily shattered is Beaker A. Having a glass with tall sides with minimum curve promotes better vibration of the glass and makes it easier to break. This is because; there will be less damping effect that will occur when using Beaker A. The tall sides with minimum curve will reduce the damping effect of the beaker. Since the damping effect for Beaker A is low, the resonance frequency of Beaker A will be high and thats why the natural frequency of the beaker A is the highest. Since the Q factor is inversely proportional to the damping effect, thus Beaker A has the highest Q factor. Thats why lower ampli tude of sound is needed to shatter the beaker when compared to Wineglasses A and B. The curved shape of Wineglass A makes it hard for the glass to resonate at its natural frequency. Curved walls make the glass wall more suitable for damping. Due to the damping effect, the structure of the curvature in the wall can easily reshape to its actual position even though it vibrates under sound resonance. This will increase the elastic limit of the glass thus making it harder for Wineglass A to shatter. Thats why Wineglass A needs higher amplitude of sound to break the glass when compared to Beaker A. As the damping effect for Wineglass A is higher than Beaker A, thus the resonance frequency of wineglass A is lower when compared to Beaker B and the Q factor for Wineglass A is lower when compared to Beaker B. Thus Wineglass A is more resistant to being broken by sound resonance when compared to Beaker A. In contrast, Wineglass B is different from Wineglass A and Beaker A. This is because Wineglass B cannot be shattered even though 140 decibels of sound are emitted to the glass. The shape of the wineglass itself causes it to stay rigid and it cannot be shattered. The shape of Wineglass B is curved outwards at the rim of the glass. The shape of Wineglass B makes the wineglass easier for damping. This is because, when Wineglass B is resonated at its natural frequency, it is hard for constructive interference to occur between the waves as damping occurs easily. The damping effect of Wineglass B is higher when compared to Wineglass A and Beaker A as the shape of Wineglass B is not a periodic structure. Though the natural frequency of Wineglass B is higher than Wineglass A , Wineglass B still cannot be shattered into pieces because the energy supplied to the glass is not enough to overcome the high damping effect of the glass. Thus in this experiment, glass with sides which dont curve in t oo much at the top and also have tall sides of wall of the glass are most easily shattered by using sound resonance. Conclusion and Evaluation There are several factors that affect the shattering of glass such as the size of the glass, the shape of the glass, the thickness of the glass and also the type of glass used. In this experiment, the research concerned the question: does changing the size of the beaker affect the amplitude of sound needed to shatter the glass? After conducting the experiment, it can be seen that in Experiment I, the lowest amplitude needed to break the glass is on the smallest beaker which is Beaker A. It only needs amplitude of 123dB to shatter a glass with diameter of 6.28cm The second easiest size of glass to be broken by sound resonance is Beaker B; it only needs an amplitude of 128dB to shatter a glass with the diameter of 9.46cm. The most difficult beaker to shattered through sound is Beaker C as it needs an amplitude of 130dB to shatter a glass with diameter of 11.39cm. This answers the research question as there is a pattern to the ability of sound to shatter glass: the smaller the size of t he beaker, the easier it is for the glass to be shattered as it requires lower amplitude of sound. Thus the size of glass plays an important role in determining the amplitude of sound needed to break the glass. For the second experiment, the investigation was based on the research question of does changing the shape of the glass affect the amplitude of sound needed to shatter the glass by sound resonance? The result from the experiment proves that the less the curvature of wall of the glass, the more easily the glass is shattered by sound resonance. In this experiment, Beaker A has the lowest curvature structure of the wall and it requires 125 dB of amplitude of sound to shatter the glass. It is followed by the Wineglass A with the wall curved inwards. Wineglass A needs a sound with amplitude of 132dB to shatter the glass. Wineglass B cannot be shattered by sound resonance. Thus the Wineglass B is the hardest to shatter by sound resonance when compared to Beaker A and Wineglass A. Thus a different shape of glass needs a different amplitude of sound to shatter it and in this experiment Beaker A is the easiest to shatter. The method used in this research is not the most efficient way to find the amplitude of sound needed to break glass. This is because there are weaknesses and limitations to this experiment that can affect the results of the experiment. One of the weaknesses of the experiment was the calculation of the natural frequency of the glass. The natural frequency of the glass, which was calculated by using the software Cool Edit Pro, was not accurate enough. That is why to get the actual natural frequency of the glass was hard because we need to trail at about  ±100Hz. This is because when recording the sound produced when the glass is hit by a metal spoon, there will invariably be a background sound recorded along with the sound from the glass. Thus this will affect the frequency of the glass calculated. Instead of using the microphone and Cool Edit Pro, another device can be used to detect the frequency of the glass: a frequency analyser. Another weakness of the experiment was that the sound generated by the amplifier wasnt concentrated enough upon the glass. This is because there might have been leakage of the sound energy. The size of the amplifier was very big and the sound directed to the glass was not efficient enough, thus it will have excited the glass in an inefficient way. But this can be overcome by using a compression driver. This is because the compression driver has a small diaphragm. Thus it can concentrate and direct the sound into one side of the glass wall. This way of generating sound is more efficient when compared to using Roland Cube 60X. The sound from the compression driver also needs to be generated close to the wall of the glass. To reduce the leakage of the sound, a Perspex box should be used so that all the sound energy will be concentrated upon the glass. The biggest limitation of the research is that the apparatus that can be found in the college library makes it hard to break the glass efficiently. This is why it is hard to break the wineglass and also the beaker at its natural frequency. The apparatus that was used from the college laboratory made it impossible to perform extensive research into the experiment. That is why it is hard to break Wineglass B with the apparatus. The apparatus that can be improved is using a compression driver instead of the loudspeaker/amplifier. Other than that, instead of detecting the volume by using the amplifier, a volume meter in decibels should be used so that a more accurate measurement of the amplitude of sound can be measured. The experiment can be extended into more in depth research by using a greater variety of sizes of glasses so that a pattern can be seen for the volume of sound needed to shatter the glass. Other than that, a greater variety of different shapes of glass also should be used so that a standard measurement of the volume of the sound needed to shatter the glass can be calculated. This experiment is important as it will explore the effect of sound resonance upon our lives. Sound resonance can vibrate any object in the world, thus this experiment has been to explore the beauty of the mechanical resonance that can distort the shape of glass.

The American Dream in The Great Gatsby :: The Great Gatsby F. Scott Fitzgerald Essays

  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"The American Dreamâ€Å": what does it mean? Wealth, material possessions, and power are the core values of â€Å"The American Dream.† For many Americans, the dream is based solely upon reaching a higher standard of living. Gatsby was one of these Americans who lived his whole life in pursuit of wealth and power.   Ã‚  Ã‚  Ã‚  Ã‚  Gatsby based his whole self-being on how much money he earned and the possessions he had. He felt that with money came many other advantages to life. Gatsby’s sole purpose for acquiring wealth was to win back his old love. When Gatsby first met Daisy he was underprivileged and considered unworthy because of his lower class status. He knew that while he was poor there was no chance of them ever uniting as a couple. â€Å"I was poor†, Gatsby had no money and he thought that Daisy â€Å"was tired of waiting around for me† (131). Gatsby felt that the only way to win Daisy back was to reach for what many people considered the â€Å"American Dream.† Gatsby achieves â€Å"The American Dream†, but his idealistic faith in money and life’s possibility twist his dreams and life into worthless existences based on falsehoods.   Ã‚  Ã‚  Ã‚  Ã‚  Gatsby was able to reach his aspiration in becoming wealthy. He worked all of his life employed in many different jobs in hope of making it big and being able to show Daisy what he had become. He felt that money would be able to buy him happiness. Gatsby also bought a huge house to try and impress Daisy. â€Å" A factual imitation of some Hotel De Ville in Normandy, with a tower on one side, and a marble swimming pool and more than forty acres of lawn and garden† ( 5.) His house was nothing more than a symbol of his wealth. Gatsby used the house in an attempt to win Daisy back. He would throw party after party hoping that one day she would attend and be amazed at what Gatsby had become. He bought all of his possessions not for himself, but to show others what he was worth.   Ã‚  Ã‚  Ã‚  Ã‚  Gatsby realized that Daisy’s main and only concern in life was money. She was so caught up in money and material things that it was more important to her than true love. This made Gatsby believe that anything was possible when you had money. After becoming wealthy his only purpose was to swoon and impress the shallow Daisy.

Phytoremediation :: essays research papers

Introduction: In recent years it has become clear that some environmental chemicals can cause risks to the developing embryo and fetus. Evaluating the developmental toxicity of environmental chemicals is now a prominent public health concern. The suspected association between TCE and congenital cardiac malformations warrants special attention because TCE is a common drinking water contaminant that is detected in water supplies throughout the U.S. and the world. There is a lot of concern about the clean up of toxic pollutants from the environment. Traditional methods for cleaning up contaminated sites such as dig and haul, pump and treat, soil venting, air sparging and others are generally harmful to habitats. Some methods strip the soil of vital nutrients and microorganisms, so nothing can grow on the site, even if it has been decontaminated. Typically these mechanical methods are also very expensive. Most of the remediation technologies that are currently in use are very expensive, relatively inefficient and generate a lot of waste, to be disposed of. Cleaning up contamination: Phytoremediation is a novel, efficient, environmentally friendly, low-cost technology, which uses plants and trees to clean up soil and water contaminated with heavy metals and/or organic contaminants such as solvents, crude oil, polyaromatic hydrocarbons and other toxic compounds from contaminated environments. This technology is useful for soil and water remediation. Mechanisms: Phytoremediation uses one basic concept: the plant takes the pollutant through the roots. The pollutant can be stored in the plant (phytoextraction), volatized by the plant (phytovolatization), metabolized by the plant (phytodegradation), or any combination of the above. Phytoextraction is the uptake and storage of pollutants in the plants stem or leaves. Some plants, called hyperaccumulators, draw pollutants through the roots. After the pollutants accumulate in the stem and leaves the plants are harvested. Then plants can be either burned or sold. Even if the plants cannot be used, incineration and disposal of the plants is still cheaper than traditional remediation methods. As a comparison, it is estimated a site containing 5000 tons of contaminated soil will produce only 20-30 tons of ash (Black, 1995). This method is particularly useful when remediating metals. Some metals are also being recycled from the ash. Phytovolatization is the uptake and vaporization of pollutants by a plant. This mechanism takes a solid or liquid contaminant and transforms it to an airborne vapor. The vapor can either be the pure pollutant, or the plant can metabolize the pollutant before it is vaporized, as in the case of mercury, lead and selenium (Boyajian and Carriera, 1997; Black, 1995; Wantanbe, 1997).

Modernists

Literature has evolved time and time again as individuals and societies experiment and explore different themes and techniques in writing.   Modernism is a particular literary movement that follows the Romantic and Victorian eras of poetry.   While its definition composes many different elements, such as the rise of pessimistic thought caused by postwar disillusionment, and the rise in appeal of the imagist movement.Davis and Jenkins cite Peter Brooks who claims that readers have to acknowledge a â€Å"plurality of modernisms which sought to innovate on different artistic and cultural fronts† (3) while continuing to argue that â€Å"modernism is an unfinished project† (4).   Lee and Jenkins also argue that modernism is a function more of place than timeThree poets forged the way for this movement in English poetry:   William Butler Yeats, T.S. Eliot, and Dylan Thomas.   As evidenced by these poets, modernist poetry is a mixture of many diverse elements, includ ing pessimistic themes, disjointed time and recurring symbolic images whose understanding may depend more upon psychology than the intrinsic beauty of nature.William Butler Yeats is the oldest of these three, but not the first to write in the modern style.   As he began experiencing with the poetic transitions, he came to be known as a realist-symbolist who revealed meaning through symbol.   T.S. Eliot is often credited as one of the poets that began the movement, along with Ezra Pound, and is known also for his symbols and haunting poetic images.Dylan Thomas is also known for his highly ordered images which represented the cycling of life for humankind.  Ã‚   All three presented themes that would have turned the poets of earlier eras, known for complimentary elegies, harmonious pastorals, and carefully ordered time, to drink.Eliot’s poem, â€Å"The Waste Land,† considered by most literary reviewers as the quintessential modernist poem, offers a spiritual yet dis connected view of society which mirrored the wasteland produced the spiritual disillusionment felt during the 1920s and the physical hardships associated with the Depression, the rise of Hitler and the threat of another war (Abrams 2137).   Eliot’s poems probe into the psyche of man that could live during any time period.   They leave behind the romantic and the beautiful to deal with the obscure and the dark aspects of humanity.The first four lines of â€Å"Waste Land,† illuminate the ideas of precise images and theme.   The suggestion that â€Å"April is the cruelest month† (â€Å"The Waste Land† ln. 1) runs counter to the idea that spring is a time of renewal and rebirth.   The image of lilacs growing from the arid land and of roots withering from the lack of rain support the initial assertion of the first line.   Throughout this lengthy poem, Eliot twists images from what the reader expects to see into something unexpected and thought-provok ing.Likewise, in Yeats’ â€Å"Leda and the Swan,†Ã‚   past history would suggest that this poem might be in praise of a Greek deity, when it actually, through its images, seems to be chronicling a rape.   The first four lines suggest this image rather clearly:A sudden blow: the great wings beating stillAbove the staggering girl, her thighs caressedBy his dark webs, her nape caught in his bill,He holds her helpless breast upon his breast† (lns. 1-4).Similarly, Thomas’ images of a misshapen man in the park are juxtaposed with images of animals.   He â€Å"slept at night in a dog kennel†(ln.11) and was â€Å"eating bread from a newspaper† (ln. 7). None of these images are veiled in the rosy light of Romanticism and present rather sad, violent and pessimistic images of society.In contrast with the chronological narratives of Romantic and Victorian poetry, these poets’ works are essentially nonlinear.   The words are broken and fragme nted, and only at the end do these seemingly unrelated bits come together, if at all.   Time and structure in these poems are fragmented.   F.R. Leavis in â€Å"T.S. Eliot’s Later Poetry† discusses this concept of fragmented time in depth as necessary to presenting the realism sought after by these poets. â€Å"The Love Song of J. Alfred Prufrock† clearly reveals this disjointed and chaotic journey through the mind of an everyman.   The poems shifts time periods and locations several times, but remain an imagistic representation of England with its nightlife, discussions of Renaissance art, and references to Shakespeare’s Hamlet.The action takes place entirely within the head of the speaker, who is deliberating about attending a social function.   He ponders as his brain wonders chaotically from one topic to the next. ).   In line 69, the speaker becomes aware of his own ramblings and muses, â€Å"And how should I begin?†Ã‚   Later, he qu eries, almost nonsensically, as if he, himself, has become the embodiment of the chaos of swiftly moving time:â€Å"I grow old†¦I grow old†¦Ã‚  I shall wear the bottoms of my trousers rolled† (lns. 120-121).   Ã‚  This fragmentation of time seems to lead, as it does in â€Å"The Waste Land† to disastrous results as evidenced by the last line of the poem – â€Å"and we drown† (ln. 130).   The disjointedness of time and thought seems to be representative of a confused state of mind, both in individuals and in society.  Ã¢â‚¬Å"The Waste Land† begins in arid desolation, both physically and spiritually for its inhabitants.   In the first stanza of Part I, the chronology moves swiftly from the present reflection of the speaker to a childhood memory, back to the reflection, and then to another incident a year in the past.   This style is much like that of an interior monologue, in which the thoughts of the speaker are presented just as they flow, without any organization, to help the reader understand.   Yeats presents a similar confusion in â€Å"The Second Coming.†Ã‚   This poem projects to the return of a god figure, but not with rejoicing.   The society is described by the first four lines as fragmented and chaotic:Turning and turning in the widening gyreThe falcon cannot hear the falconer;Things fall apart; the centre cannot hold;Mere anarchy is loosed upon the world† (lns. 1-4).Again, the vision of fragmentation is created by the images presented in the first four lines of this poem.A common theme among the modernist poets is that of the individual alienated from his society, a society that is generally as fragmented and dysfunctional as time.   The grandeur to which Prufrock ascribes his place in the world, as exhibited by â€Å"Dare I dare/Disturb the universe?† (lns. 45-46). Prufrock, with all of his insecurities, ineptitude and physical shortcomings, and the masses of individual s he represents, will never be able to actually disturb the inner machinations of the universe.   Similarly, â€Å"The Waste Land† offers no heroic figure for the readers to identify; the speaker can be anyone, but his demise is certain to occur and certain to happen alone.Likewise, all three of these poems seem to be fascinated with death, not as the ultimate redemption as presented by earlier poets, but as a frightening, even horrible, reality that should be challenged.   Eliot’s â€Å"Love Song† ends with the figurative death of not only Prufrock but of society as a whole.   â€Å"The Waste Land† describes a society that is in a state of apocalypse.   Yeat’s poem, â€Å"The Second Coming† describes, as discussed above, a disjointed society that fear the return of a savior, the new deity:That twenty centuries of stony sleepWere vexed to nightmare by a rocking cradle,And what rough beast, its hour come round at last,  Slouches tow ards Bethlehem  to be born?† (lns. 18-22).This example parallels Eliot’s â€Å"Journey of the Magi† which adopts the persona of the Biblical magi who describe their journey as not joyful, but full of hardship.   They question their dedication to the birth and actually equate it with death, seemingly contradicting the traditional Christmas story:     Ã‚  The lines  Ã‚  Ã¢â‚¬ ¦this Birth was  Hard and bitter agony for us, like Death, our death.  We returned to our places, these Kingdoms,  But no longer at ease here, in the old dispensation,  With an alien people clutching their gods. I  should be glad of another death (lns. 38-43). Reveal this questioning that has resulted from the disillusionment and doubt with the classical views of religionlThomas actually suggests battling with death almost physically in his poem â€Å"Do Not Go Gentle into That Good Night.†Ã‚   He continually exhorts those near death to â€Å"Rage, Rage against the dying of the light† in the last line of each stanza.   Instead of accepting death as a reward for a Christian life, these poets present death as a time of fear and uncertainty which could be representative of a spiritual disillusionment. Even theological elements of Christianity and life-after-death are no longer held sacred by the modern poets.While modernism, at least as Yeats, Eliot, and Thomas present it, may be a reflection of many different eras of poetry, it deviates in its themes, symbols and chaotic presentation of time.  Ã‚  Ã‚   The pessimistic themes and perplexing images they create are reflective of the societal and spiritual disillusionment prevalent in this postwar era.   These poets are icons of modernist thought and poetry.   Their complex works reject the focus on beauty and narration that other genres utilize and paint a picture of mankind and society as a spiritually arid and ghastly.Works CitedAbrams, M.H. Ed. The Norton Anthology of English Liter ature:   The Major Authors.   6thEd. New York:   Norton, 1996Eliot, T.S. â€Å"The Journey of the Magi†Ã¢â‚¬â€.   â€Å"The Love Song of   J. Alfred Prufrock†Ã¢â‚¬â€.   â€Å"The Waste Land†Jenkins, Lee M. and Alex Davis.   Locations of Literary Modernism: Region and Nation inBritish and American Modernist Poetry. Cambridge, UK:   Cambridge UniversityPress, 2000.  Leavis, F.R. â€Å"T.S. Eliot’s Later Poetry.†Ã‚   T.S. Eliot:   A Collection of Critical Essays. HughKenner, Ed.   New Jersey:   Prentice Hall, 1962.Thomas, D. â€Å"Do Not Go Gentle into That Good Night†Ã¢â‚¬â€ â€Å"The Hunchback in the Park†Yeats, W.B. â€Å"The Second Coming†Ã¢â‚¬â€. â€Å"Leda and the Swan†

Plato, Descartes, and The Matrix Essay

The Matrix movie had many similarities with the readings from Plato and Descartes. All three discussed the scenario in which reality was discovered to be a non-reality. Specifically, in The Matrix, reality that was experienced by multitudes of people is actually a computer simulation called â€Å"The Matrix†. This is actually a deviation from the Plato and Descartes readings in that computers were not mentioned or available at the time of those writings. Plato (380 BC) speaks of people having their â€Å"legs and necks fettered from childhood†, while a source of the restraint is not specifically mentioned, it is most certainly a physical restraint as opposed to the material, computer generated reality as described in The Matrix movie. Descartes was the only one of the three situations that contemplated God in the various reality verses truth contemplations. Plato speaks to the initial shock of discovering that known reality is actually a lie and goes on to speak of the resulting repercussions of this discovery. The denial of the true reality is so tangible that the people in the described scenario would rather believe that the lie was real than to believe and accept what they were actually experiencing. In The Matrix movie (1999) Morpheus asks â€Å"Have you ever had a dream, Neo, that you were so sure was real?† Similarly, Descartes (1641) also contemplates how often he dreamt that he was in familiar circumstances, dressed and by a fire, only to realize that he was undressed and lying in bed. Plato, Descartes, and The Matrix are all similar in that they consider people living in a world that they discover is not real and that they exist in perceived delusions that produce resulting anti-realities. The Matrix movie is parallel to the Descartes reading in that they both examine our senses as sources of realities. Descartes contemplates how our senses occasionally mislead us  whereas The Matrix describes a continual sensual overhaul which is controlling our mind and ultimate realities while our bodies lay dormant. In The Matrix movie Neo never expresses happiness over his liberation from the computer program but he does feel the need to liberate those still living under the control of the computer program. In contrast, the Plato reading describes and expresses a feeling of joy that would be experienced after emerging from the controlled reality. Can we prove the world we are experiencing is real? In order to contemplate how we know that our current state of being is real we must first decide what â€Å"real† is to us. What is reality? In my opinion, reality is what we see, hear, smell, feel and taste in the present. Reality is what is occurring to us right now, this very second. Is what is happening to us, the world we are experiencing, real and can we prove that it is real? How do we know we are not dreaming? It has been my experience that dreams do not produce anything but thoughts and visions. I do not feel, taste or smell while dreaming. Therefore I can prove that the world I am currently experiencing, while I type this essay, is real because I can feel the keyboard that I am typing on and I can taste and smell the coffee that I am drinking. Which is better: the harshness of reality or the â€Å"ignorance is bliss† of illusion? In my opinion, the harshness of reality is a far better state than the â€Å"ignorance is bliss† illusion. I believe this to be true because I believe that true depth of character cannot be achieved without experiencing the full harshness of reality. How can our intellects and philosophies be explored without experiencing the full range of life events? If you lived your life in ignorance then the world you experienced would skew the thoughts you pondered while excluding the full range of contemplations, restricting them to a bliss-filled reality. With intelligence comes a plethora of knowledge, both good and bad. Conclusion In conclusion, through the viewing of The Matrix and the reading of both Plato and Descartes, we can see that all three bring to mind many philosophical questions related to actual and perceived reality. Obviously, it is very fascinating to imagine a world where alternative and controlled  realities are possible and even very real. The truth is sometimes stranger than fiction and, in my opinion, The Matrix and the thoughts contemplated by Plato and Descartes are just stories that will never be reality. I believe that my Christian worldview is such that would prevent me from ever believing any different. While all of the situations explored were interesting, they will remain, in my mind, fantasies. References Plato. (380 BC). â€Å"The Allegory of the Cave.† In The Republic (Book VII, 514A1 – 518D8). Descartes, R. (1641). Meditation I of The Things of Which We May Doubt. In Meditations on First Philosophy. Wachowski, Andy, and Lana Wachowski. The Matrix. Directed by Andy Wachowski and Lana Wachowski. Los Angeles: Warner Bros. Pictures, 1999.

A Summary of Quine’s Problems with Carnap’s Philosophy Essay

In his Two Dogmas of Empiricism, Quine addresses what he views as problematic claims made by Carnap. The first problem Quine has with Carnap’s epistemology is about his definition of state-descriptions. The problem is in two parts: first Quine says that Carnap’s version of analyticity is conditional, because it requires atomic sentences in a language to be mutually independent. The second part of the problem is that, Carnap’s attempt to explore analyticity by way of his state-descriptions results in a problematic definition of analyticity, which ends up being more indicative of logical truth. In conclusion, Quine presents a solution to his problems with Carnap positing that the boundary between synthetic and analytic is imagined. In his attempt to define analyticity Quine encounters a problematic attempt at defining the term, by Carnap. Carnap â€Å"has tended to explain analyticity by appeal to what he calls state-descriptions†(195). Carnap’s state-descriptions are problematic for two reasons; one reason is that â€Å"a statement is †¦ explained as analytic when it comes out true under every state description†(195), this necessitates every atomic sentence to be mutually independent- meaning that two statements that mean the same thing are supposed to exist as two completely separate meanings. However, as Quine points out this would mean â€Å"there would be a state-description which assigned truth to ‘John is a bachelor’ and falsity to ‘John is married’, and consequently ‘All bachelors are married’ would turn out synthetic rather than analytic under the proposed criterion†(195). This truth gives rise to the second problem of Carnap’s state-descriptions, that analyticity as it refers to state-descriptions only works for languages that do not contain synonymous words such as bachelor and unmarried. So, Quine submits that Carnap’s state-descriptions are indicative of logical truth, not of analyticity. To generalize, these problems that Quine has with Carnap’s philosophical system equate to a single point of disagreement, that there is an absolute distinction between analytic and synthetic. Quine points to our â€Å"pragmatic inclinations to adjust one strand of the fabric of science rather an another in accommodating some particular recalcitrant experience†(207). Quine believes that Carnap’s drawing a distinction between analytic and synthetic points to our quest for simplicity in science, possibly deriving from a deconstructionist belief that everything can be equated to simplified smaller elements that make up a whole. Quine challenges Carnap’s methodology as well as his philosophical system. To conclude, Quine notes that he understands the philosophical approach attempted by philosophers like Lewis, and Carnap, but does not think that it is a beneficial one. â€Å"Total science, mathematical and natural and human, is similarly but more extremely underdetermined by experience. The edge of the system must be kept squared with experience†(207). Carnap’s constructed language is a scientific one, and since science is based on our experience, when Carnap attempts to encompass our world using his language with strict rules, he does an injustice to science’s close relationship to experience, making his language based on the rules of arithmetic instead. Finally, Quine points to Carnap’s employment of pragmatism as one that comes up short, and does not justify the strict division between synthetic and analytic. â€Å"Their pragmatism leaves off at the imagined boundary between the analytic and the synthetic. In repudiating such a boundary I espouse a more thorough pragmatism†(207). Quine feels that the division between synthetic and analytic has been too hastily assumed, and that a more thorough approach to the relationship would be helpful. He believes that the boundary between analytic and synthetic is too harshly drawn, and that the difference is only in degrees. He asks Carnap to suppress his foundations in our traditional scientific method and suggests that sometimes it is not always pragmatism that shapes our perception.

Freud, Jung, & Adler

Assignment One Jeremie William Edwards PSY/250 Elaine Parks Assignment Two Freud, Jung, and Adler are commonly referred to as the fathers of modern Psychology. The three men spent much time delving into why people act and think the ways which they do. Freud’s psychoanalytical approach tells us that the human psyche consists of three different parts that drive us to our thoughts and actions; the Ego, Super-Ego, and the Id (direct Latin translation is the it). Adler was at differences with Freud in this separation of these three parts.Adler believed that the Ego, Super-Ego, and the Id were not separated but viewed as a whole; He believed that it was more important to look at the entire picture rather than trying to separate these parts, as Freud would. Jung and Freud had a difference on personal motivation that drives each of us. Freud believed that all human motivation was sexually based, where Jung thought that every person suffered from a type of inferiority complex. I can ag ree with portions from all of the doctors and their theories.I believe that there is a sexual connotation to most everything that people do, whether it is out-right or hidden in context. I can also see where most everyone suffers from some type of inferiority complex. Every person can admit to be lacking in some area in which they would rather excel. As far as Jung and his individuation on the other hand, I believe this to be lacking in substance. His thoughts on humans being social creatures and the influence that our surroundings have on us are quite valid.I also believe that we do have an Id or a primal instinct inside of us, but that Id is not in conflict with our Ego and Super-Ego. These three parts work in unison to drive us and propel each of us into becoming better people yet not letting us forget from where we originate. Sigmund Freud had a five stage theory on human personality development. The five stages in order are; Oral/Dependency, Anal/Potty Training, Phallic, Latenc y Period, and Genital. The Oral stage is from the time of birth up to about two years old.This stage talks of breastfeeding and how a person can develop an oral fixation if weaned too early from the teat. An oral fixation can manifest in the forms of smoking, eating, or drinking. The second stage, Anal, is where the child is learning to use a toilet properly. The child uses the anal sphincter as a means of maintaining control of the situation. For example, if a child does not want to learn how to use the toilet they may withhold their feces or defecate in places or at times that are seen as inappropriate. These actions will allow the child to perceive that they are still in control of the situation.Under this understanding is where Freud believes that a person can develop obsessive compulsive disorder or dreams of spinning out of control and the person left trying to get everything back in order. The Phallic stage is the third stage of Freud’s. This stage is from the ages of three to five, this is the time where a child starts to become more aware of the differences between men and women. This time frame is when a person can develop an Oedipus or Electra complex, depending on the gender of the person. What this entails is the child becoming jealous of the same sex parent.For boys this would present because of the child wanting a relationship with the mother that the father has, this scenario in turn makes the boy child adopt the acts and mannerisms of the father in order to live vicariously through him in this relationship. For a girl child, she is jealous of the mother and wants the father’s penis (penis envy). The fourth phase is a latency period where no real advancement is made. The final stage of Freud’s five stages is the Genital stage. The Genital stage starts around the age of 12 and ends in the peak of puberty.This stage is a reawakening of a person’s sexual interest. In this stage a person will start to feel sexual attract ion towards the opposite sex (the writer does not know about homosexuality in this theory as of yet). The urges and needs are to pleasure the genitals and a sort of coming of age, or growing up. Freud had many different defense mechanisms. The three we will be looking at are; Denial, Rationalization, and Repression. Denial is a fairly self-explanatory defense; it is when a person argues with the reality of what has actually happened. E. G.When a woman has been raped she must deal with an extraordinary situation which she had no choice in. Some women face this reality with denying that it ever actually happened. Rationalization is a bit different in a person will fabricate a truth rather than facing what the observable truth is. Say a person gets fired from a position; he/she may claim that it is because they refused to kiss up to the boss when in reality it was because of a lack in performance. Repression is when a person forces something out of memory, often a person will repress m emories of child abuse.