Analysis Of Bradbury s Fahrenheit 451 - 1727 Words

Vanessa Aguilar English II HP/Period 4 Vandervort November 14 2014 Bradbury’s Prediction Worldwide, one in five people are illiterate. Even in the United States where one receives a free education, fifty percent of American adults are not able to read at an eighth grade level (Reading Statistics, 1). This is the complete opposite scenario in the novel Fahrenheit 451 by Ray Bradbury, where he describes a world where people are no longer allowed to certain literature and are limited in expanding their knowledge. The protagonist, Montag, works as a fireman who instead of putting out fires, sets books on fire. And throughout the story tries to find the true reason for his unhappiness through the banned books. Meanwhile, his wife projects as the basic representation of their society in where she doesn’t think for herself and follows blindly. Bradbury foresees a future world where people are censored in what they can think about. Books, which allow them to explore their imagination, are out of public’s reach. The people are easily distracted and do not find a rea son for being alive. Bradbury s prediction of society s state of ignorance and mental laziness has become true due to the fact that the United States’ population in relation to technology, irrationality, and violence has made us have more in common with Mildred’s mindless behavior. Nowadays, technology is everywhere. It is a symbol of how we have progressed as a society over the years. Technology has not only providedShow MoreRelatedAnalysis Of Ray Bradbury s Fahrenheit 451 Essay2089 Words   |  9 PagesThe analysis of Ray Bradbury s dystopian novel, Fahrenheit 451, shows that literature as books, education and alike is abused and criminalized in the hero’s reality, who is Guy Montag. The novel’s setting is when new things seem to have totally replaced literature, fire fighters set flames instead of putting them out, the ownership of books is deserving of the law and to restrict the standard is to court demise. The oppression of literature through innovation and technology can be analyzed throughRead MoreAnalysis Of Ray Bradbury s Fahrenheit 4511743 Words   |  7 PagesIn Fahrenheit 451, by Ray Bradbury, the protagonist, Guy Montag, suddenly realizes his overwhelming discontent with life when he meets Clarisse McClean, a seventeen year old g irl who introduces him to beauty of the world and the notion of questioning ones surroundings. This novel, having been released shortly after the Second Read Scare, a time when fear of communism lead to the baseless accusation of political figures by Senator McCarthy, was received with mixed reviews. However, today more so thanRead MoreAnalysis Of Ray Bradbury s Fahrenheit 4511722 Words   |  7 Pagesclaim can be interpreted as meaning that heroes, whoever they may be, are people who have the courage to revolt against injustices that are viewed by most as fixed or unchangeable parts of their societies. In Ray Bradbury’s acclaimed 1953 novel Fahrenheit 451, the protagonist Guy Montag certainly qualifies as a hero as he rebels against the dystopian society he lives in, which has completely eschewed critical thinking and reading books. Montag begins to realize that this society is unjust, becauseRead MoreAnalysis Of Ray Bradbury s Fahrenheit 4511633 Words   |  7 PagesBradb ury’s Fahrenheit 451: Dissecting the Hero’s Journey to Dystopic World Each person has a perception of the world. People are capable of judging the place they live in, human beings often find it either satisfactory or not. Creative writers have displayed similar, albeit different worlds in their works. They are similar in the way they portray societies with varied amounts of good and evil which may be reflective of how we view our own. On the other hand, they can also be different, as creativeRead MoreAnalysis Of Ray Bradbury s Fahrenheit 4511193 Words   |  5 Pages In Ray Bradbury’s Fahrenheit 451, ideas such as dystopian society, the dulling of emotions, personal freedom, and government censorship are utilized to illustrate how technology, the advancement of society, and government control has blindfolded the population from the creativity, knowledge, and truth of the past. Bradbury employs each of these ideas frequently throughout the novel to further enhance the deeper meaning behind his masterpiece. When one looks at Fahrenheit 451 like a work of fictionRead MoreAnalysis Of Ray Bradbury s Fahrenheit 4511241 Words   |  5 Pagespeople who do not do anything about it† (Albert Einstein). In Ray Bradbury’s novel Fahrenheit 451, the novel explores censorships role as a hindrance on individuality, and the severe toll it takes on society’s self-awareness. Academia has widely argued the reason behind Bradbury’s dystopian themed work of art. Most interpretations of the novel suggest the work resembles anti-censorship propaganda. On the other hand, Bradbury himself stated: â€Å"I wasn’t worried about censorship-I was worried about peopleRead MoreAnalysis Of Ray Bradbury s Fahrenheit 451 1486 Words   |  6 Pagesthe story. The novel Fahrenheit 451 concludes with a corrupt censored society in which hundreds of oppressed individuals are killed by an atomic bomb leaving Guy Montag and a few others to rebuild humanity. Many will propose that the ending was not appropriate because there were too many questions left unanswered. For example, â€Å"What happened to Professor Faber?† or â€Å"How will a couple of homeless men survive post from a nuclear war?† The conclusion of Ray Bradbury’s Fahrenheit 451 leaves the readerRead MoreAnalysis Of Ray Bradbury s Fahrenheit 451 Essay1311 Words   |  6 PagesAuthored by Ray Bradbury in 1953, Fahrenheit 451, a descriptively written science fiction, presents its readers with his bitterly satirical view of the foreboding future and the consequences that may come with it. The novel depicts a dystopian society in which freedom of expression and thought is limited and books are outlawed. Written after WWII, when book burning and the blacklisting or censorship of films was a common threat. Technological advances were beginning to spread and therefore, influencingRead MoreAnalysis Of Ray Bradbury s Fahrenheit 451 875 Words   |  4 PagesGiridhar Batra Ross-1 Aug 29. 2014 Fahrenheit 451 Essay The Role of Technology as a Theme in Ray Bradbury’s Fahrenheit 451 The average person in our society spends 7-8 hours a day(The Washington Post) using technology; that is stuff like television, video games, surfing the web, etc. Let that set in; that’s a long time. Our society procrastinates also is constantly distracted by technology like no other. We are practically glued to technology; before we become slaves of technology we must changeRead MoreAnalysis Of Ray Bradbury s Fahrenheit 451 1396 Words   |  6 PagesAn Analysis of Freedom of Information in Fahrenheit 451 by Ray Bradbury This study examines the issue of freedom of information in the story of literary oppression found in Fahrenheit 451 by Ray Bradbury. Bradbury presents the oppression of an authoritarian state that does not allow its citizens to reads books. Guy Montag is initially a servant of the state that requires him to locate and persecute members of the community that still collect books. In various cases, Bradbury defines the rights

Frankenstein Paper Final Free Essays

Mary Shelley, the author of Frankincense, views nature as being both sublime and beautiful, but lives that the latter is a more powerful emotional tool and thus Uses it accordingly in her book to influence the mood and emotions of characters. Mary Shelley uses incredibly detailed and expressive language to paint realistic portraits for the reader of the elegance of the setting behind the novel. Ruined castles hanging on the precipices of piney mountains; the impetuous Rave, and cottages every here and there peeping forth from among the trees, formed a scene of singular beauty† (68). We will write a custom essay sample on Frankenstein Paper Final or any similar topic only for you Order Now Victor makes this observation of his surroundings, and it is quite easy to see through the secretive language, that Shelley wants us to fully understand and behold the beauty of nature. Notice she does not use adjectives like â€Å"astounding’ or â€Å"daunting† implying that this particular locale is more aesthetically pleasing than it is awe inspiring. In one spot you view rugged hills, ruined castles overlooking tremendous precipices, with the dark Rhine rushing beneath; and, on the sudden turn of a promontory, flourishing vineyards, with green slopping banks, and a meandering river, and populous towns, occupy the scene† (120). In this example Shelley has painted an easily imaginable strictures vista, one that could easily be plucked out of any fairy tale. While we can easily see through her description that the landscape is so striking it might cause a mix of awe and fear, she chooses to focus on the more artful aspects that lends it lens of elegance. While it is easy to find example of Shelley conviction that nature is beautiful, it is just as easy to notice that she does include the properties that imply she also thinks of nature as being sublime. A prime example of this is on page 1 20 where Henry Cleaver describes a storm he has seen in such vivid detail that the reader can actually eel the tension and dread of the moment when it was experienced, despite the fact that it was being recounted in a story. Where the snowy mountains descend almost perpendicularly to the water, casting black and impenetrable shades, which could cause a gloomy and mournful appearance, were it not for the most verdant islands that relieve the eye by their gay appearance; I have seen this lake agitated by a tempest, when the wind tore up whirlwinds of water, and gave you an idea of what the water-spout must be on the great ocean, and the waves dash with fury the base of the mountain, where the priest and his mistress were overwhelmed by an avalanche, a nd where their dying voices are still said to be heard amid the pauses of the nightly wind. As dictated in is writing On the Sublime and the Beautiful, Edmund Burke says that something in nature that is sublime causes†Ã¢â‚¬ ¦ Astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other† Here Edmund states that in order for something to be sublime it must cause certain amount of dread, a sentiment mirrored by the fearful manner in which Shelley has Cleaver describe the forces of nature. This notion of equivalency between apprehension and sublimity is echoed many times throughout the book, most commonly when describing mountains. † But it was augmented and rendered sublime by the mighty Alps, whose white and shining pyramids and domes towered above all, as belonging to another earth, the habitations of another race of beginnings† (68). In this quote Shelley implies that the Alps are so incredibly imposing and sublime that they eave the ability to impart a level of sublimity to the wilderness surrounding them, just through association. Overall Selfless definition of sublimity is the same as Edmund Burke’s and she reflects this in the way she evokes a sense of dread with her depictions of scenery. Victor Frankincense, the main character, is a man whose mood swings from one extreme to the other rapidly. When a pivotal moment in the plot has stemmed from Victors emotions that emotion almost always was initially caused by his observations of the intrinsic beauty of nature. This is reflective of Shelley faith that evicting the beauty of nature is more stirring to the reader than depicting it as sublime. While examples of this can be found almost every few pages, there are some in particular that illustrate the power of Mother Nature’s beauty particularly well. â€Å"The present season was indeed divine: the flowers of spring bloomed in the hedges, while those of summer were already in bud: was undisturbed by thoughts which during the preceding year had pressed upon me, notwithstanding my endeavors to throw them off, with an invincible burden† (48). This is a thought Victor has when reflecting on how markedly his lath and disposition has improved. Here one can notice that Shelley rather than having Victor comment on the awe-inspiring properties of the wilderness around him, has him explain how its aesthetic value has improved his demeanor. The previous quote was an excerpt taken from the beginning of a hiking trip that Victor and his best friend embarked on, and this quote is from a short period of time later on the same trip. L remained two days at Lausanne, in this painful state of mind. I contemplated the lake: the waters were placid; all around was calm, and the snoopy mountains, wherein Victor ascribes the restorative effects that the scenery has on him â€Å"the palaces of nature,† were not changed. By degrees the calm and heavenly scene restored me, and I continued my journey towards Geneva. † (Shelley, 51) Here Victor clearly states that the allure of the nature that engulfs him has had a direct effect on hi s emotions, by allowing him to regain his happiness. At one point Shelley attempts to use sublimity to solve Victor’s emotional degradation, but one can easily see that this, â€Å"These sublime and magnificent scenes afforded me the greatest consolation that I was capable of receiving. (69)†, is not very elated nor interesting. These examples quite clearly illustrate Shelley belief that nature is mostly beautiful rather than sublime and because of this uses it to realistically influence characters moods. In conclusion Mary Shelley uses the same definition of sublimity as author Edmund Burke in his work On the Sublime and the Beautiful, that in regards to nature, sublimity means that it instills a measurable degree of fear in those who behold it. That being said Shelley acknowledges that nature can be beautiful as well, and when she depicts it as such, it allows the reader to become more emotionally invested n the moment and to greater identify with any character. Rubric for Analytical Writing: Essay pursuing an interpretation of a text or texts Exceeds Expectations (A) Meets Expectations (B) Meets Some Expectations (C) Fails to Meet Most Expectations (D or F) Thesis/ Ideas: The core assertion of an analytical essay, the organizing principle of the Inquiry. The thesis is clear, insightful, specific, arguable, significant, and overall intellectually demanding. It may require a reader to consider whole new and interesting view of the text. The thesis is clearly stated at the end of the introductory paragraph. Fulfills demands of the assignment. 18-20 The thesis goes beyond the observational and makes a claim, but fails to be fully coherent, or stretch beyond familiar readings. Or, thesis makes claims that are difficult to fully support. The thesis may be buried, or slightly out of synch with argument. 16-17. 9 The thesis goes beyond observation to make an argument, but the argument is one with which disagreement is impossible. The thesis does not follow logically from the rest of the introductory paragraph. The thesis may be in pieces that do not fully connect. 14-15. 9 There may be a statement of the essay’s topic, but it presents a list of subtopics rather than a unified claim. Thesis remains observational, general, factual, or is not useful for understanding the text. A reader asks, â€Å"So what? † The thesis is not stated, or does not correspond to the argument. 0-13. 9 Argument/ Organization: The case in support of the thesis, including an introduction and conclusion. The essay has a clear organizational plan reflected through effective transition phrases. The argument satisfies demands of the thesis; topic sentences are clearly expressed corollaries of the thesis. The argument is based on focused paragraphs that each develop a singular claim. 27-30 The argument is well-sequenced, solid, and builds a compelling case. The argument is substantial in both range and relevance. The argument may not fully explore the implications of the thesis, but fleshes out most of its requirements. Separate points may seem inconsistently connected, so that at times a reader must wait to see their value until another Step in the argument. 24-26. 9 The argument has an intentional sequence, but does not make a compelling case. The argument does not explore the implications of the thesis but lashes out some of its requirements. Separate points are disconnected; even upon further reading the reader is left to guess as to their connection to the argument. The argument contains some generalizations that fail to engage with specifics of the text. 21-23. 9 Argument contains logical gaps or organizational defects. The argument may seem to be pursuing separate observational points whose relationships are not clear. The argument lacks clearly stated corollaries or topic sentences that link back to the thesis. The argument relies on vague generalizations hat fail to engage with the specifics of the text. 0-22. 9 Evidence: Direct quotation, factual and us Mary detail to be examined in support of the argument. Relevant textual evidence supports the argument and is placed in context. The author artfully incorporates direct quotation and provides ample analysis of that evidence. The author has carefully selected and edited the essential evidence, preserving the intention of passages. Evidence supports interpretation, not observation. Plot supports specific points. 640 Evidence fully supports some points, but may be unevenly conceptualized, incorporated, or analyzed. Occasionally, analysis of the evidence appears redundant The author may provide slightly more than the essentials of a quoted passage, or has edited quotation down too far to preserve its original meaning. Evidence primarily works to support interpretation. Some extraneous plot summary may slow the argument. 32-35. 9 Evidence parti ally supports some points but does so leaving gaps so that the reader must supply connections between evidence and argument. Often analysis of the evidence appears either redundant or insufficient. How to cite Frankenstein Paper Final, Papers

The Heart of Darkness The Horror! Essay Example For Students

The Heart of Darkness: The Horror! Essay The Heart of Darkness: The Horror!David YuIn Heart of Darkness it is the white invaders for instance, who are,almost without exception, embodiments of blindness, selfishness, andcruelty; and even in the cognitive domain, where such positivephrases as to enlighten, for instance, are conventionally opposedto negative ones such as to be in the dark, the traditionalexpectations are reversed. In Kurtzs painting, as we have seen,the effect of the torch light on the face was sinister (Watt 332). Ian Watt, author of Impressionism and Symbolism in Heart of Darkness,discusses about the destruction set upon the Congo by Europeans. Thedestruction set upon the Congo by Europeans led to the cry of Kurtzs lastwords, The horror! The horror! The horror in Heart of Darkness has beencritiqued to represent different aspects of situations in the book. However,Kurtzs last words The horror! The horror! refer, to me, to magnify onlythree major aspects. The horror magnifies Kurtz not being able to restrainhimself, the colonizers greed, and Europes darkness. We will write a custom essay on The Heart of Darkness: The Horror! specifically for you for only $16.38 $13.9/page Order now Kurtz comes to the Congo with noble intentions. He thought that eachivory station should stand like a beacon light, offering a better way of lifeto the natives. He was considered to be a universal genius: he was an orator,writer, poet, musician, artist, politician, ivory producer, and chief agent ofthe ivory companys Inner Station. yet, he was also a hollow man, a manwithout basic integrity or any sense of social responsibility. Kurtz issuesthe feeble cry, The horror! The horror! and the man of vision, of poetry, theemissary of pity, and science, and progress is gone. The jungle closesround (Labrasca 290). Kurtz being cut off from civilization reveals his darkside. Once he entered within his heart of darkness he was shielded from thelight. Kurtz turned into a thief, murderer, raider, persecutor, and to climaxall of his other shady practices, he allows himself to be worshipped as a god. E. N. Dorall, author of Conrad and Coppola: Different Centres of Darkness,explains Kurtzs loss of his identity. Daring to face the consequences of his nature, he loses his identity;unable to be totally beast and never able to be fully human, healternates between trying to return to the jungle and recalling ingrotesque terms his former idealism. Kurtz discovered, A voice!A voice! It rang deep to the very last. It survived his strengthto hide in the magnificent folds of eloquence the barren darkness ofhis heart. But both the diabolic love and the unearthly hate ofthe mysteries it had penetrated fought for the possession of thatsoul satiated with primitive emotions, avid of lying, fame, of shamdistinction, of all the appearances of success and power. InevitablyKurtz collapses, his last words epitomizing his experience,The horror! The horror! (Dorall 306). The horror to Kurtz is about self realization; about the mistakes he committedwhile in Africa. The colonizers cruelty towards the natives and their lust for ivoryalso is spotlighted in Kurtzs horror. The white men who came to the Congoprofessing to bring progress and light to darkest Africa have themselves beendeprived of the sanctions of their European social orders. The supposedpurpose of the colonizers traveling into Africa was to civilize the natives. Instead the Europeans took the natives land away from them by force. Theyburned their towns, stole their property, and enslaved them. Enveloping thehorror of Kurtz is the Congo Free State of Leopold II, totally corrupt thoughto all appearances established to last for a long time (Dorall 309). Theconditions described in Heart of Darkness reflect the horror of Kurtzs words:the chain gangs, the grove of death, the payment in brass rods, the cannibalismand the human skulls on the fence posts. .u14c0bb4237fd93a3f2fae63c86dc1ac4 , .u14c0bb4237fd93a3f2fae63c86dc1ac4 .postImageUrl , .u14c0bb4237fd93a3f2fae63c86dc1ac4 .centered-text-area { min-height: 80px; position: relative; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 , .u14c0bb4237fd93a3f2fae63c86dc1ac4:hover , .u14c0bb4237fd93a3f2fae63c86dc1ac4:visited , .u14c0bb4237fd93a3f2fae63c86dc1ac4:active { border:0!important; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 .clearfix:after { content: ""; display: table; clear: both; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u14c0bb4237fd93a3f2fae63c86dc1ac4:active , .u14c0bb4237fd93a3f2fae63c86dc1ac4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 .centered-text-area { width: 100%; position: relative ; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u14c0bb4237fd93a3f2fae63c86dc1ac4:hover .ctaButton { background-color: #34495E!important; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u14c0bb4237fd93a3f2fae63c86dc1ac4 .u14c0bb4237fd93a3f2fae63c86dc1ac4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u14c0bb4237fd93a3f2fae63c86dc1ac4:after { content: ""; display: block; clear: both; } READ: harriet tubman EssayAfricans bound with thongs that contracted in the rain and cut tothe bone, had their swollen hands beaten with rifle butts until theyfell off. Chained slaves were forced to drink the white mansdefecation, hands and feet were chopped off for their rings, menwere lined up behind each other and shot with one cartridge,wounded prisoners were eaten by maggots till they died and were thenthrown to starving dogs or devoured by cannibal tribes (Meyers 100). The colonizers enslaved the natives to do their biding; the cruelty practiced onthe black workers were of the white mans mad and greedy rush for ivory. Theunredeemable horror in the tale is the duplicity, cruelty, and venality ofEuropeans officialdom (Levenson 401). Civilization is only preserved by maintaining illusions. JulietMclauchlan, author of The Value and Significance of Heart of Darkness, statedthat every colonizer in Africa is to blame for the horror which took placewithin. Kurtzs moral judgment applies supremely to his own soul, but hisfinal insight is all encompassing; looking upon humanity in fullawareness of his own degradation, he projects his debasement, failure,and hatred universally. Realizing that any human soul may befascinated, held irresistible, by what it rightly hates, his stare iswide enough to embrace the whole universe, wide and immense. embracing, condemning, loathing all the universe (Mclauchlan 384). The darkness of Africa collides with the evils of Europe upon Kurtzs last words. Kurtz realized that all he had been taught to believe in, to operate from, wasa mass of horror and greed standardized by the colonizers. As you recall inConrads Heart of Darkness, Kurtz painted a painting releasing his knowledge ofthe horror and what is to come. A painting of a blindfolded woman carrying alighted torch was discussed in the book. The background was dark, and theeffect of the torch light on her face was sinister. The oil painting suggeststhe blind and stupid ivory company, fraudulently letting people believe thatbesides the ivory they were taking out of the jungle, they were, at the sametime, bringing light and progress to the jungle. Kurtz, stripped away of his culture by the greed of other Europeans,stands both literally and figuratively naked. He has lost all restraint inhimself and has lived off the land like an animal. He has been exposed todesire, yet cannot comprehend it. His horror tells us his mistakes and that ofEuropes. His mistakes of greed for ivory, his mistakes of lust for a mistressand his mistakes of assault on other villages, were all established when he wascut off from civilization. When Conrad wrote what Kurtzs last words were to be,he did not exaggerate or invent the horrors that provided the political andhumanitarian basis for his attack on colonialism. Conrads Kurtz mouths his last words, The horror! The horror! as amessage to himself and, through Marlow, to the world. However, he did notreally explain the meaning of his words to Marlow before his exit. ThroughMarlows summary and moral reactions, we come to realize the possibilities ofthe meaning rather than a definite meaning. The message means more to Marlowand the readers than it does to Kurtz, says William M. Hagen, in Heart ofDarkness and the Process of Apocalypse Now. The horror to Kurtz became thenightmare between Europe and Africa. To Marlow, Kurtzs last words camethrough what he saw and experienced along the way into the Inner Station. Tome, Kurtzs horror shadows every human, who has some form of darkness deepwithin their heart, waiting to be unleashed. The horror that has beenperpetrated, the horror that descends as judgment, either in this pitiless andempty death or in whatever domination there could be to come (Stewart 366). .u3ae059d4eee39c808370e07e4f87215e , .u3ae059d4eee39c808370e07e4f87215e .postImageUrl , .u3ae059d4eee39c808370e07e4f87215e .centered-text-area { min-height: 80px; position: relative; } .u3ae059d4eee39c808370e07e4f87215e , .u3ae059d4eee39c808370e07e4f87215e:hover , .u3ae059d4eee39c808370e07e4f87215e:visited , .u3ae059d4eee39c808370e07e4f87215e:active { border:0!important; } .u3ae059d4eee39c808370e07e4f87215e .clearfix:after { content: ""; display: table; clear: both; } .u3ae059d4eee39c808370e07e4f87215e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u3ae059d4eee39c808370e07e4f87215e:active , .u3ae059d4eee39c808370e07e4f87215e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u3ae059d4eee39c808370e07e4f87215e .centered-text-area { width: 100%; position: relative ; } .u3ae059d4eee39c808370e07e4f87215e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u3ae059d4eee39c808370e07e4f87215e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u3ae059d4eee39c808370e07e4f87215e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u3ae059d4eee39c808370e07e4f87215e:hover .ctaButton { background-color: #34495E!important; } .u3ae059d4eee39c808370e07e4f87215e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u3ae059d4eee39c808370e07e4f87215e .u3ae059d4eee39c808370e07e4f87215e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u3ae059d4eee39c808370e07e4f87215e:after { content: ""; display: block; clear: both; } READ: Soft Skills are Smart Skills: Necessity of Soft Skills for LIS Professionals in this Twenty First Century EssayOnce the horror was unleashed, there was no way of again restraining it. BibliographyDorall, E. N. Conrad and Coppola: Different Centres of Darkness. Heart ofDarkness. By Joseph Conrad 3rd ed. Ed. Robert Kimbrough. New York: NortonCritical 1988. 306, 309. LaBrasca, Robert. Two Visions of The Horror!. Heart of Darkness. ByJoseph Conrad 3rd ed. Ed. Robert Kimbrough. New York: Norton Critical 1988. 290. Levenson, Michael. The Value of Facts in the Heart of Darkness. Heart ofDarkness. By Joseph Conrad 3rd ed. Ed. Robert Kimbrough. New York: NortonCritical 1988. 401. McLauchlan, Juliet. The Value and significance of Heart of Darkness.Heart of Darkness. By Joseph Conrad 3rd ed. Ed. Robert Kimbrough. New York:Norton Critical 1988. 384. Meyers, Jeffrey. Joseph Conrad. New York: Charles Scribners Sons, 1991. Stewart, Garrett. Lying as Dying in Heart of Darkness. Heart of Darkness. By Joseph Conrad 3rd ed. Ed. Robert Kimbrough. New York: Norton Critical1988. 266. Watt, Ian. Impressionism and Symbolism in Heart of Darkness. Heart ofDarkness. By Joseph Conrad 3rd ed. Ed. Robert Kimbrough. New York: NortonCritical 1988. 332.

Spanish Possessive Pronouns

Spanish Possessive Pronouns If youve learned the long form of the possessive adjectives, you already know the possessive pronouns of Spanish. In fact, some grammarians classify the long-form possessive adjectives as pronouns, even though they are used to describe nouns. What Are Possessive Pronouns? Possessive pronouns are the equivalent of the English pronouns mine, yours, his, hers, theirs and its, but they arent used in exactly the same way in Spanish as they are in English. As the name suggests, possessive pronouns are used in the place of nouns rather than to describe nouns as adjectives do. Here are the possessive pronouns of Spanish with simple examples of their use: mà ­o, mà ­a, mà ­os, mà ­as - mine Tu madre y la mà ­a no pueden cantar. (Your mother and mine cant sing.)No me gustan los coches rojos. El mà ­o es verde. (I dont like red cars. Mine is green.)Cuido de tus mascotas como si fueran las mà ­as. (I take care of your pets as if there were mine.) tuyo, tuya, tuyos, tuyas - yours (singular informal) Este libro no es mà ­o. Es tuyo. (This book isnt mine. Its yours.) ¿Dà ³nde est mi mochila? La tuya est aquà ­. (Where is my backpack? Yours is here.) suyo, suya, suyos, suyas - his, hers, yours (singular formal or plural formal), its, theirs Mis calcetines son rojos. Los suyos son negros. (My socks are red. His/hers/yours/theirs are black.)Amo a mi esposa. Él no ama a la suya. (I love my wife. He doesnt love his.) nuestro, nuestra, nuestros, nuestras - ours Este coche es nuestro. (This car is ours.) ¿Te gusta tu casa? No me gusta la nuestra. (Do you like your house? I dont like ours.) vuestro, vuestra, vuestros, vuestras - yours (plural informal; infrequently used in  Latin America) Nuestra casa es muy vieja.  ¿Y la vuestra? (Our house is very old. And yours?)No me gustan los coches de vuestros competidores. Prefiero los vuestros. (I dont like your competitors cars. I prefer yours.) As you can see from the examples, possessive pronouns must match the noun they represent in both number and gender, just as do the long-form possessive adjectives. They do not necessarily match the number or gender of the person or thing that has possession. Spanish Possessive Pronouns The possessive pronouns of Spanish take the same form as the long form of the possessive adjectives, namely mà ­o, tuyo, suyo, nuestro, and vuestro along with their plural and feminine counterparts.Except when followed by forms of ser, a verb meaning to be, the possessive pronouns are preceded by el, la, lo, los, or las.  Because  suyo is ambiguous, it is sometimes replaced by phrases such as de à ©l or de ellas. Definite Articles With Possessive Pronouns Note that unlike the equivalent pronouns in English, the Spanish possessive pronouns are usually preceded by a definite article (el, la, los or las), the equivalent of the. The article is usually dispensed with when the possessive pronoun follows a form of the verb ser, such as son or es, as in the examples, although it is sometimes retained for emphasis. Ambiguous Suyo Suyo and the related forms can be ambiguous since they can mean his, hers, yours, theirs, or its. When context doesnt make its meaning clear, the possessive pronoun can be omitted and replaced by a prepositional phrase such as de à ©l (instead of his) or de ellos (instead of theirs). Examples: No es mi coche. Es de ella. (Its not my car. Its hers.) ¿Dà ³nde estn mis zapatos? Los de à ©l estn aquà ­. (Where are my shoes? His are here.)En nuestras listas hay luchadores; en las de ellos, cobardes. (On our lists there are fighters; on theirs, cowards.) Note that you wouldnt normally use the de object pronoun to refer to those that arent included in the meaning of su. So, for example, you wouldnt normally substitute de mà ­ for mà ­o. Using the Possessive Neuter Form The single, masculine form of the pronouns can also be treated as neuter and thus be preceded by the definite article lo. Even though singular, the pronoun can stand for more than one object. The neuter form is used when no specific object is being referred to. Examples: No toques lo mà ­o. (Dont touch what is mine. Dont touch my things.)Lo mà ­o es importante. (What is mine is important. My things are important.)Es intolerable que nuestro là ­deres no defiendan lo nuestro. (It is intolerable that our leaders dont defend what is ours. It is intolerable that our leaders dont defend our traditions.)

How to Measure a Vessels Beam

How to Measure a Vessel's Beam When describing the hull of a vessel three basic measurements give a rough outline of the shape of the hull. These are Length, Beam, and Draft. What Is Beam? Beam is a measurement of a vessels width. It is always measured at the widest point because it is often used to determine if passage can be safely made near an obstacle. Beam is important in determining the handling characteristics of a ship design. A narrow beam hull will run fast but will not perform well in heavy waves because of the narrow cross section. A hull which has a wider beam will be less efficient in cutting through the water because of the larger mass of water that is being displaced. This larger mass also tends to roll less. Beam can also be measured at specific points on the hull like the pilot house or cargo area but these measurements will be designated with the names of these structures. The main measurement of beam is taken at the widest point of a vessel. Naval architects use length, beam, and draft measurements to shape a hull for a specific job by using the concept of Deadrise. The three main hull measurements along with deadrise give the hull a specific shape and handling characteristics. The Origin of Beam in Ships Origin of the word comes from early wooden ship design. The large timbers that sit on top of each rib as they extend up from the keel span the whole width of the ship for strength. On top of this was a deck made of smaller boards that also acted as the ceiling for the first level cabins. From the inside, the ship resembled a house with its floor beams and exposed underside floor decking. A common way to talk about a ship was by the size of her roof beams which would tell you how wide the vessel was and how that proportion related to her length and rig. You could tell everything about a ship from the dimension of this single element of construction. How Beams Are Used Today Today, in modern ship construction, wooden beams are replaced with steel boxes which are much wider than the beams. Wooden beams may have been as wide as a person, steel beams called torsion boxes which are as wide as twenty people are set across the hull. Once this is welded together the ship becomes much more rigid because of something called a stressed skin design which makes ships strong and light. Modern cars use the same idea and use the floor pan and body to make a stiff structure that doesnt need the weight of a heavy solid frame. Another benefit of a stressed skin design is a wide open interior. In wooden ships, two interior posts rose from the chine at each rib to help support the beam which made the interior cramped. In warships, these posts were used to lash down the cannons when they werent in use. They also held the hammocks which really were used on ships of the era The space below the deck was damp and only the lower ranked men slept there. Officers and the Master had better cabins with the junior officers in the bow and the Masters cabin at the stern and raised above the deck by one or more levels. Examples You may hear someone refer to a vessel as Beamy. This means that a vessel has a wide beam in proportion to her length.

What is Archaeology Essay Example | Topics and Well Written Essays - 250 words

What is Archaeology - Essay Example The concept of the study of archaeology seems very important since it explains the existence of human beings, and other natural features such as plants, and rocks in the society. Insights and knowledge that one acquires from the study of archaeology helps in understanding the origin of humans, and so on. One of the concepts of archaeology that one might need clarification on is the concept of how apes are the ancestors of human beings. The main question will be â€Å"why apes no longer evolve or why don’t humans evolve to become another creature.†? This concept seems unclear to many students because the concept of human evolution is not convincing, and other archaeological facts that history depicts (Davis, 2005). In conclusion, deeper explanation of these archaeological findings might be very important to the central and the larger context of the class. The nature of archaeology is complex in the sense that it has so much for students to learn, and it offers a lot of information that is debatable both in, and out of class. The study of archaeology is one of the most interesting concepts in history of all

Final Assignment Essay Example | Topics and Well Written Essays - 500 words - 1

Final Assignment - Essay Example The definition of terrorism varies from state to states and also among individuals. Notably, many definitions suggested cover the three aspects of terrorism including the causes, perpetrators and the means of attack.1 Defining terrorism is very difficult because the meaning of the term has changed frequently since its inception, that is, it was initially seen as a positive, politically focused and state-sponsored activity but with time, it has been largely associated with violent non-state actors and criminal implications. Secondly, terrorists never admit being terrorists and they never accept being violent and a threat to the international community but they perceive themselves as focused individuals participating in legitimate struggle using the only available means to them. In addition, the use of neutral names such as Al Qaeda attracts different public opinions. For instance, the victims of terrorism perceive the perpetrators as criminals and while majority firmly opposes terrori sm, some individuals offer sympathy and support to them. Therefore, conflicting views makes it difficult to come up with a universally accepted definition. Uncivil network are seen as the drivers of the conflict as they encourage individuals to cause violence and engage in activities that disrupt peace.2 In most cases, uncivil networks are formed for political reasons. They are fraud to acquire power or political influence. In addition, they are formed to challenge the legal rules and they are mostly associated with illegality or criminal activities. Human trafficking is a process whereby individuals are transported from their communities or countries via the use of threat or deception and forcing them into unfavorable work conditions and dehumanizing activities. Agreeably, it is mainly done to exploit individuals, for instance, it includes sexual exploitation, forced labor and marriage, and removing organs from individuals among others. It is a violation