Joan Miro :: essays research papers

Working Thesis:   Ã‚  Ã‚  Ã‚  Ã‚  The Catalan struggle and Spanish Civil War greatly influenced Joan Mirà ³Ã¢â‚¬â„¢s art; Mirà ³Ã¢â‚¬â„¢s techniques of forceful strokes with paint and ceramics enable Mirà ³ to express his feelings and depict the Catalan people’s struggle through art.   Ã‚  Ã‚  Ã‚  Ã‚  Surrealism in the 1920s was defined as a fantastic arrangement of materials that influenced Mirà ³, due to the fact that he was one of the most original and sympathetic artists during the Surrealism periods. Mirà ³ was born into the Catalan culture in April 20,1893 in Barcelona, Spain (Munro 288). Having to be born into the Catalan culture gave Mirà ³ an opportunity to have an intense nationalist activity. In which much attention was paid not only to political expressions of the need for autonomy, but also to the re-Catalanizing of every day life (Higdon 1). â€Å"It was necessary to fight so that Catalan, our language might be recognized as a cultural language† (â€Å"Mirà ³Ã¢â‚¬ ). In 1910 Mirà ³Ã¢â‚¬â„¢s parents bought a masia which is a sort of traditional farmstead of Catalonia, where the family has its roots on the paternal side. Mirà ³ described the masia in his painting The Farm of 1921-1922 (Figure1). Clement Greenburg a close friend of Mirà ³ who is also a critic, said that Mirà ³Ã¢â‚¬â„¢s art is based on ideas â€Å"of painting as an irrevocable two dimensional medium† (Munro 289). Greenburg also stated â€Å"Mirà ³ is known for his almost total lack of interest in political matters† (Munro 289). The only thing that really kept Mirà ³ interested was his people and their culture. What really shot Mirà ³ down was the Spanish Civil War, he stated that â€Å"I am not in favor of separatism. I am in favor for Spanish unity, European unity, and World unity.† He believed that they should be able to celebrate their myths, and abide by their own laws (Higdon 1). Being Catalan was pretty hard on Mirà ³ as well as his people and their culture. For one, the government tried to shut them out or at least make them in to a Spanish-speaking country. Yet the Catalans had to push on their struggle for freedom. Mirà ³ used his paintings to show his urge for unity, and wanted his people to have the right to practice their customs (Munro 288). He was extremely devoted to his people and their aspirations. He wanted to bring out Catalan traditions as well as their language (Higdon 2). Mirà ³ career in art was sort of brought on by destiny.

The House on Mango Street :: essays research papers

The House on Mango Street The affects of an unreliable narrator in The House on Mango Street is it affects the tone, characterization, and style. There are a lot of examples of those three affects. Some of those examples are on different chapters of The House on Mango Street.   Ã‚  Ã‚  Ã‚  Ã‚  Characterization explained in the chapter called â€Å" Earl of Tennessee.† It is explained in the way that people say that Earl’s wife looks different ways when she asks different people. Esperanza says in the chapter† We never agree on what she looks like†(pg.71). Another example of characterization can be found in the chapter called†Sally.† In the chapter Esperanza says†The boys at school think she’s beautiful...†(pg.81) Characterization is explained in this chapter in the way that Sally wears make-up to school and skirts that she pulls up, but when she goes home she washes off the make-up and pulls down her skirt so her father won’t notice anything.   Ã‚  Ã‚  Ã‚  Ã‚  Tone is explained in the chapter called† Darius and the Clouds† because a lot of people in Esperanza’s school think of him as a fool. Then when one day he says something wise, something smart, people don’t think of him as such a fool. In the chapter Darius says,†You can fall asleep and wake up drunk on sky, and sky can keep you safe when you are sad.†(pg.33) He also says,†Here there is too much sadness and not enough sky.†(pg.33) Tone is also explained in the chapter called†Red Clowns.†Esperanza becomes very mad with Sally because Sally left her alone and some guys come and have their way with her. Esperanza says†Sally, you lied. It wasn’t what you said at all. What he did. Where he touched me. I didn’t want it, Sally.†(pg.99) Esperanza get very emotional about what happens to her. She becomes very mad and changes her tone in the way that she isn’t the cheerful happy girl.   Ã‚  Ã‚  Ã‚  Ã‚  Style is explained in the chapter called â€Å" The Monkey Garden† in the way that â€Å"the Monkey Garden† stands for the Edenic Bower. Esperanza and her friends love to play in the garden. Esperanza says,†This was a garden, a wonderful thing to look at in the spring.†(pg.94) The â€Å"The Monkey Garden† stands for the Garden of Eden.Another example of Style can be found in the chapter called†Chanclas.

Recrystallization and Melting Point Determination

Consider what happens when a solid material is placed in a solvent in which it has a low solubility. Not much! A small fraction of the solid will dissolve, but the rest will just sit there. (Actually, it doesn't just ‘sit there' since an equilibrium is in effect, with solid molecules going into solution, and an equivalent number of dissolved molecules reforming solid, but we see the same amount of undissolved material). How can we get the entire solid to dissolve? One way is to heat the solution — most materials are more soluble in hot solvent than in cold. Suppose we heat to the boiling temperature of the solvent (the highest temperature which is practical), and the entire solid goes into solution. If we now let the solution cool, what will happen? Obviously, at some temperature, the concentration of solute will exceed its solubility, and the solid will start to come back out of solution – it will crystallize. By the time we return to the initial temperature, nearly all of the original material has formed crystals, which can be removed from the solvent by filtration. Now, suppose that the original solid contained small amounts of impurities. These would go into solution as well, but since the impurities are present only in small amounts, they remain soluble when the temperature is lowered again. Thus, the crystals, which come out of solution, are more pure than the original sample. This is the essence of purification by recrystallization (Fig. 1). [pic] Figure 1: An impure solid in: (A) cold solvent in which it has low solubility, (B) solvent that has been warmed up to dissolve all of the solid, and (C) solvent that has cooled down to the original temperature. The crystallized solid is now pure, while the impurities remain in solution. Recrystallization Recrystallization is the preferred method for purification of organic solids. The technique can be used for large or small quantities of materials, and is usually very effective and efficient. The most important aspect of the recrystallization technique is the selection of the solvent. A large number of solvents are commonly used for recrystallization of organic compounds. Among these are water, ethanol, ethyl ether, and hexane to name just a few. A solvent, which works beautifully for one recrystallization, may be totally unsuitable for purification of a different compound – the choice for recrystallization solvent is made on a case-by-case basis. This is because of the variation of solubility of different organic compounds in these solvents. We can identify a set of characteristics which are desirable for a recrystallization solvent: 1. The substance to be purified must have a high solubility in the solvent at its boiling point, and a significantly diminished solubility at lower temperatures (limited only by the freezing temperature of the solvent). Obviously, the first part is necessary so that you can get the material into solution, and the second part is required so that the purified compound will come back out of solution. 2. The solvent should dissolve the impurities at all temperatures. Actually, its OK if the impurity dissolves readily or doesn't dissolve at all, as we'll see. The important point here is that purification will be accomplished only if the impurities remain in solution as the mixture is cooled. This isn't too hard to accomplish if the amount of impurity is small. Obviously, it's a bit more difficult if a large amount of an impurity is present, but if the solubility characteristics of the desired substance are sufficiently different from the impurity, as is often the case, a suitable solvent can usually be found. 3. The solvent must not react with the substance to be purified. It's hard to get your compound to come back out of solution when it is consumed by a reaction. 4. A reasonably volatile solvent is preferred. This consideration is dictated by the need to ultimately remove traces of solvent from the crystals, and this is most easily accomplished by evaporation, either at room temperature or in an oven. Even with an oven to aid in the drying, only moderate temperatures can be used, since you should stay below the melting temperature of the solid, and definitely below temperatures where the material will decompose. Generally speaking, solvents with boiling temperatures below ~150 °C are OK. 5. Ideally, the solvent should be inexpensive, non-toxic, and non-flammable. These are not absolutely required, but desirable characteristics, which can help to determine the choice of a solvent. Obviously, water is an ideal choice based on these criteria, and is the preferred solvent if it satisfies conditions 1-4. How does one go about choosing the proper solvent? If you are dealing with a known compound, it makes sense to use solvents that have been used before. You can go to the CRC Handbook of Chemistry and Physics (printed or online), and frequently a solvent suitable for recrystallization will be indicated. This may show up in two places: First, in the column headed â€Å"color, crystalline form† is often listed the solvent used to obtain the crystals in question. Otherwise, you can move to the columns near the right-hand side of the page, which deal with solubility. The CRC has changed its presentation of solubility data over the years. For this purpose, the older editions (before 1980) are significantly better than the recent ones. Whereas the new editions simply list solvents in which the compound is soluble, the older ones provide more information, which can be useful in selecting a crystallization solvent. Qualitative indicators for solubility in various solvents range from i (insoluble), d (slightly), s (soluble), to v (very). Especially useful is the fact that some solvents are given two listings, one for hot solvent, the other for cold. What if you are working with a brand-new compound, which is often the case? Here, the only thing to do is try different solvents. The choice of solvents is often more art than science – everybody has their personal favorites based on their own experience, but those mentioned above are typical solvents to try. A small amount of the solid is placed in a test-tube and a few drops of cold solvent are added. If the solid dissolves, you can forget this solvent – you need low solubility at low temperature. If the solid remains, so far, so good, but this is only the beginning. Now the sample is warmed to the boiling point. If the solid dissolves, things look good. The next test is to let this solution cool, and to see if nice crystals actually form. If they do, you're in luck. Further tests with this solvent on larger samples of material can then determine whether the desired degree if purification is achieved, and if the loss of material is acceptable. Sometimes, though, no crystals form. This may be a problem with the rate of crystal nucleation – that event where the first few molecules get together to form the growing crystal. A trick which often works in this case is to take a glass rod and rub vigorously the wall of the test-tube just below the solvent surface. Often, this will stimulate crystal formation, presumably because some of the microscopic scratches serve as nucleation sites. Alternatively, the solution can be ‘seeded' with a few tiny crystals of the substance (if these are available), and then to allow the solution to stand undisturbed until crystal formation is complete. If no crystals form, you must consider the possibility that the substance is too soluble in this solvent, and the fact that it did not dissolve at first may simply be because it dissolves very slowly. If this is the case, it's back to the drawing board with a new solvent. A not-uncommon result is for the solute to separate from solution as an oil which will not crystallize. This annoying situation arises particularly for low-melting solids and frequently results when the solution becomes saturated at a temperature higher than the melting point of the solute. A remedy which is often effective is to ensure that separation does not occur until the solution has cooled below this melting temperature, either by using more solvent or by switching to a different solvent. Once this is settled, scratching and/or seeding are often helpful for obtaining crystalline product. Quite often, a single solvent which gives suitable results cannot be identified. In such cases, the use of mixed solvents (solvent pair) is often successful. Two solvents are chosen, one which dissolves the substance readily, and another in which the solute is only sparingly soluble. Note that the two solvents must be completely miscible. The usual procedure is to dissolve the crude solid in the better solvent at its boiling point, and to add the weaker solvent dropwise until a faint cloudiness persists, indicating that the solute is starting to come out of solution. A few drops more of the better solvent are then added to put the solute back into solution, and the mixture is allowed to cool to effect crystallization. Typical solvent pairs are water and ethanol, or hexane and benzene, where the ‘weaker' solvent is listed first. These mixed solvent systems are interesting — it seems that the solubility characteristics of the better solvent dominate at higher temperatures, while the mixture behaves more like the weaker solvent at lower temperatures. Once the crystallization solvent is chosen, consideration can be given to other features of the crystallization process. The idea is to maximize the recovery of purified compound. Enough solvent must be used to keep the impurities in solution, but if an excessive amount of solvent is used, a large part of the desired compound will remain in solution, and the recovery will be low. For this reason, the minimum amount of hot solvent which will dissolve the desired compound should be used. It is possible to further improve the recovery of material by harvesting a ‘second crop' of crystals. After the purified crystals have been separated by filtration, the filtrate (called the ‘mother liquor') is concentrated by evaporation of ~1/2 – 2/3 of the solvent. On cooling, more of the compound will crystallize, and this can be isolated by filtration. The purity of these crystals is generally not as good as the original crop, since the concentration of the contaminants in the mother liquor is always increasing. The proper apparatus for recrystallization is the Erlenmeyer flask. A beaker is not appropriate. The shape of the Erlenmeyer flask allows swirling of the mixture without sloshing, and the conical walls tend to condense and return refluxing solvent. The flask should not be overfilled – about 60% of the listed capacity is the maximum, and so the flask volume should be chosen accordingly. Decolorizing a Solution and Hot Filtration Special problems are posed by insoluble impurities and highly colored, resinous contaminants. The best way to remove insoluble material is to filter the hot mixture, while the desired material is dissolved. Insoluble debris will be trapped on the filter paper. The colored, resinous impurities are usually large, relatively polar organic molecules which have a strong tendency to be adsorbed on surfaces. Crystals grown from solutions containing such resins are often discolored by surface contamination by these materials, and it is therefore desirable to also remove them from the solution before recrystallization. They can be taken care of by addition of a small amount of powdered, activated charcoal (Norit ® or Darco ®, also decolorizing carbon) to the hot solution before filtering. Decolorizing carbon has a huge surface area, and readily absorbs the colored impurities. The hot filtration then removes the charcoal; the filtrate, now free of this contamination, is allowed to cool and deposit crystals. The decolorizing/hot filtration procedure requires some care. First, the addition of the powdered charcoal to hot solvent can cause a vigorous foaming which may result in loss of some of the solution. This can be avoided if the hot solution is allowed to cool for 15-20 seconds, and the charcoal is added cautiously. Only a small amount of charcoal is required — add too much and significant amounts of the desired compound will also be absorbed, and low recovery will result. After addition of the charcoal, the mixture should be heated to a gentle boil for a few minutes, to ensure that any compound which might have precipitated during cooling is brought back into solution. Filtration of the hot mixture must be done rapidly to avoid crystallization of material on the filter paper or in the funnel. The setup depicted in Figure 2 shows how the filter can be kept hot during filtration. The speed of filtration is enhanced by the use of a ‘fluted' filter paper and a stemless funnel. ‘Fluting' a filter paper is organic chemistry origami and the process is best demonstrated in person. A fluted paper uses the entire surface area of the filter paper, and therefore filters more rapidly than the conventional conical fold. The stem of a funnel is susceptible to clogging by formation of crystals, so a stemless funnel is used. To minimize crystallization in the filter paper it is common to place a small amount of solvent in the receiving flask, and to heat this to boiling during the filtration. The hot vapors help to keep the filter warm. In addition, it is prudent to use about 10% more than the minimum amount of solvent, to account for evaporation during the heating, and to allow for the small amount of cooling which will occur. Finally, the mixture should be poured onto the filter in small portions which will filter within about 30 s, so that excessive cooling does not occur. The [pic] remainder of the mixture is kept heated until it can be poured on the filter. When all of the solvent has been filtered, it is a good idea to rinse the flask and filter with a small portion of fresh, hot solvent (~5 – 10% of the volume already used). This will help to dissolve and pass through the filter any material which has crystallized. The filtrate should be collected in an appropriately sized Erlenmeyer flask. Some crystals may have formed in the flask by the end of the filtration, but these are often very small and not well formed. They should be dissolved by warming the filtrate. The best crystals are obtained by slow cooling without agitation of the solution. Therefore, the filtrate should be placed in a spot where it can remain undisturbed as it cools. The mouth of the flask may be loosely stoppered, but this is normally not necessary. Crystal growth is normally well along by the time the mixture reaches room temperature. Further cooling in an ice-water bath will cause additional crystallization. Crystals come in a variety of shapes and sizes: long needles, blocky prisms, and flat plates are common. Slow crystal growth not only gives the most pleasing display; the product is generally purer. Too-rapid crystallization generally leads to smaller, more poorly formed (and less pure) crystals. pic] Vacuum Filtration Once crystal formation is complete, the product is isolated by vacuum filtration. This technique permits fast and efficient removal of the mother liquor. A special flat-bottomed funnel (a Buchner funnel) is used in conjunction with a heavy-walled Erlenmeyer flask with a sidearm called a filtering flask. The apparatus is illustrated below (Figure 3). A circle of filter paper, small enough to lie completely flat on the perforated base of the Buchner funnel, but large enough to cover all of the holes, is placed in the funnel, and moistened with a small amount of solvent to hold it in place. With the vacuum on, the cold crystallization mixture is poured as rapidly as possible onto the filter paper. It helps to swirl the flask a few times to loosen the crystals, and with a little bit of skill the entire mixture can be deposited on the filter, with only a few stray crystals adhering to the walls of the flask. The mother liquors are rapidly drawn into the filter flask by suction, and the crystals are squeezed dry of solvent by pressing with a clean cork while drawing air through them. Now, this procedure does not remove all of the mother liquor. Invariably, there is a film of solvent coating the surface of the crystals. Since the mother liquor contains impurities, this must be washed away with fresh solvent. The crystals are washed as follows: the suction is stopped and enough fresh, cold (why? ) solvent is added to just cover the crystals in the funnel (this solvent can be used to rinse the last few crystals out of the crystallization flask). The crystals should be stirred gently with a glass rod or a spatula so that all come in contact with the wash liquid, then the vacuum is restarted and the crystals sucked and pressed dry as before. In some cases, it may be necessary to repeat the wash a 2nd time. Air is drawn through the crystals until they are as dry as possible, at which time they are spread on a watch glass for further drying in the air or in an oven. The steps in recrystallization can be summarized: 1. Dissolve the crude material in a minimum amount of hot solvent. 2. Treat with decolorizing charcoal. 3. Filter hot solution to remove charcoal and other insoluble impurities. 4. Cool to effect crystallization 5. Filter crystals, wash to remove adhering mother liquor. 6. Dry crystals to remove last traces of solvent. Melting Point Determination Once we have purified a solid, how do we establish that the product is, in fact, pure? Undoubtedly, the simplest criterion for purity is determination of the melting point, or more accurately, the melting range. Strictly speaking, the melting point is defined as the single temperature at which the vapor pressure of the liquid phase of a compound is equal to the vapor pressure of the solid phase, and so the liquid and solid are in equilibrium. These values are actually rather difficult to measure. Much simpler is the determination of the capillary melting range, which, as the name implies, is the temperature interval over which the compound is found to melt. Since, during the melting process, the system is not at equilibrium, this is not identical to the true melting point, but the values are normally very similar. In fact, most of the ‘melting points' in the literature are actually capillary melting point ranges. An important distinction is that the latter is always presented as a range of two temperature readings, from the temperature where melting is first observable to that where melting is complete. For pure compounds, complete melting normally occurs over a very narrow range, often

Executive and managerial planning for Bosch-Kazakhstan Essay

The founder of the Bosch Group, Robert Bosch , described an important value of the HR philosophy of the company:† It is my intention, apart from the alleviation of all kinds of suffering, to promote the moral, physical and intellectual development of the people† which is greatly integrated into the employee development in the Bosch. Based on the company international executive and managerial planning and country-specific situation, this article will plan and reason the number in a chart for the future eight-year executive and managerial planning in Kazakhstan. An action plan related to the managerial staffing target will be provided. The EMP of the Bosch Group for Kazakhstan, a country with relatively small population and only 4 percent of the population holds a university degree, met four main problems. 1) The labor market for qualified and specialists is very small. 2) The production sites are located in rural places which are hardly attractive to qualified employees. 3) There is growing demand of expatriates for the diesel site. 4) Russian is used in everyday business by most of the people in Kazakhstan. In order to resolve these problems, the human resource manager has to make a plan according to the Bosch employee development scheme. In Bosch, the first typical staffing policy is that the managerial promotion of employees is mainly from within Bosch rather than from outside. For this principal, most of the employees of the manager level in Kazakhstan should be expatriates. Second, the Bosch headquarter constructed a complete and functional promotion procedure for the development of employees called â€Å"manager development plan† (MDP). Employees with outstanding performance in Kazakhstan will be systematically prepared for the next management level. Third, the promotion is directly connected with mobility potential as well as willingness to take on international assignment. This means the work experience in Kazakhstan will be helpful to career advancement. As a result, in spite of the tough work condition in Kazakhstan, these international HR management policies facilitates not only on company business side but also on employees’ development side. Based on the policies and Kazakhstan specific situation, I develop an executive and managerial planning chart for future eight years. Executive and Managerial Planning Kazakhstan This chart is separated into two periods. The first four years from 2007 to 2010 which focus on the input stemming from growing business planning of the diesel division. The second four years from 2011 to 2014 is more stable and more succession planning. So you may see in the chart that staffing needs 2011-2014 are mainly due to replacement rather than further growth. Staffing sources, as a result, are mostly expatriates and local MDP members but not new hire from outside the company. For example, the middle managers 2011-2014 are mainly comprised of expatriates from headquarter or cross-division assignments and the local MDP members who are promoted from lower managers in 2007-2010 and no external hires for middle management because of no growth 2011-2014. Then I will analyze the staffing sources in detail for four main reasons: 1. External hires are mainly from qualified local people who meet the requirement of the lower management level, are familiar with local condition and have language strengths. At the same time, compare with the other sources, they are low cost. However, the qualified and specialists in Kazakhstan is very small, external hires are limited and not as many as expatriates in low management level. In order to solve this problem, we can hire people from Russia, located close to Kazakhstan and share the same business language. I set a few external hires in the middle management level 2007-2010 because there still has a few local talented people who have the same international managerial experience and more familiar with Kazakhstan’s culture and situations. 2. All of junior managers  (JUMP) are set in lower management level. Since the case mentioned that the goal of the program is to recruit junior managers with the potential to assume a middle management position in 6-8 years. They stay in Kazakhstan for about six-month (short-term) to train a common set of worldwide standards, experiences and activities and then go back to Germany. 3. For local MDP members who show an above-average development potential and have already been familiar with both local environment and company cores are more likely to get the position of middle and upper management level than of lower management level. The target of the MDP candidates is to promote into the next management level in no more than four years (long-term). Some of the local MDP members in middle management level 2011-2014 are from those of lower management level 2007-2010. For upper management level, local MDP members are the ideal choices for all aspects such as capability, experience and environment familiarity. 4. Because labor market for qualified and specialists in Kazakhstan is very small and the rural locations hardly attract local employees, more expatriates are needed than other sources in lower management level. For example, it is a good opportunity for associates and supervisors who performed well from headquarter and divisions to gain managerial experience outside. In addition, expatriates show more loyalty to the company which is good for organizational control. Expatriates stay in Kazakhstan at least eighteen-month (middle-term) to meet the demand of technical shortage. However, they are not the best person for upper level because of the language and familiarity concerns. Action plan 1) External hires: qualified employees from local and neighbor states In order to attract local employees as many as possible, the Bosch can offer them higher compensation compared with local companies. Local candidates can also attend training with other expatriates to broaden their vision. In addition, due to the little mobility, local employees are more suitable for long-term work in their home country. Personnel exchange to other country is not necessary. 2) Programs (JUMP): According to talent management policy, the target for junior managers’ work in Kazakhstan is to increase their managerial skills and experience. Six-month rotation arrangement for each batch of JUMP is preferred. In my  plan, about two to three junior managers will be transferred to Kazakhstan semi-annually within future eight years. Training focusing on managerial practice and work under middle managers should be provided for the purpose of worldwide standards. 3) Local MDP members: Most of local MDP members are from Germany who had outstanding performances in headquarter and worked in Kazakhstan for couple of years. They need to stay in Kazakhstan for about four years (long-term) in order to promote into the next management level. Culture awareness programs and language training are necessary before the international assignment. 4) Expatriates: employees and managers from headquarter and divisions A majority of these expatriates are assigned due to technical, process expertise and management experience. For the first four years, part of the personnel needs is due to the fast growth of diesel division. Expatriates have to stay in Kazakhstan for 3 years. For the smooth transition, new expatriates to Kazakhstan should be separated into small batches to match the expatriates’ return and retirement. After assignment’s completion, they will go back to headquarter or their home countries. Culture awareness programs and language training are provided in advance.

The ways in which ideas were communicated to the audience in War Spectacular

We constructed War Spectacular to be an abstract piece made up of a number of unconnected scenes; this structure enabled us to tell numerous different stories, all with their own message. We realised early in the devising process that in order to keep this piece objective we would have to keep all of the scenes and settings non-specific, if we used the real names of locations, religions or people it may have caused offence to the audience, thus drawing away from our message. There were many different messages we wanted to convey to the audience; however there was one theme which ran throughout the piece, ultimately connecting the disjointed scenes; we were showing the different ‘faces of war'. The first ‘face of war' which we wanted to show was the human element of war. The original concept for the play was to show the affect of a conflict upon two families, show their struggle, and ultimately their collapse. Although this concept was scrapped the themes were kept for use during War Spectacular. You can read also Audience Adaptation Paper If we were to show the human and emotional side of war it was obvious that we needed to use a group of ‘real' characters (opposed to the more abstract characters which would use throughout the play which would lack exposition and depth) who would open up to one another and show their hatred for the conflict. We constructed a scene with three soldiers who had been split from their unit and were forced to take shelter from the enemy in a bomb crater. My character was bitter and angry with my superior who, with his little leadership experience had got them no closer to safety. With talk of home and arguments together the two showed their insecurities and ultimately their fear. In this scene home was constructed to be the place which was away from this conflict, it is ‘safe, it's warm†¦ and dry'. However, in the scene ‘War spectacular' this ideal of home was destroyed. The execution of a man within his own house was used to show that war is now not just on the battlefields but in our streets and homes. This intrusion of safety was not just meant literally but metaphorically too – with modern media we are spared no detail of a conflict; past generations believed that their ‘brave boys' were safe and doing the good of the country, now the truth is only too evident. At the beginning of the devising process I was very keen to have a subtext of media manipulation throughout the play; this was achieved through two scenes. First I wanted to make the ironic point about the hypocrisy of a news report (‘War Spectacular' by Kate Adie) which compares a missile launch to a fireworks display, and then attempts to convey the reporters concern for the human suffering of mugged refugees. Reciting this piece while playing Holst's Saturn, an eerie classical track gave the reading a strange poetic nature which a war report really shouldn't have. This recital was made DSR, whilst a soldier robbed a dead body CS; this abstract staging was used to show the reporters obliviousness to the events which were actually happening around her. With these juxtapositions, the article lost all the sincerity with which it may have be written; showing how easy it is to both overlook the true meaning of news we are being provided with, and how what we are being shown with can never be the full story, and just the observations of one person. The second scene showing our media subtext was our most complex, both to construct and to perform. Set in a Middle Eastern bar we meet three journalists, Danny Richards, Kate Stevens and Malcolm Grey – Danny and Kate are both shown as rookies and Malcolm the veteran. A number of flashbacks are used throughout the scene as a means of exposition for each of the characters but also showing their different journalistic styles. Half way through the journalist scene we cut to Kate standing DSR reporting from the aftermath of a missile attack. We see her emotional report which describes a graphic and horrific scene. When her report is finished she asks the cameraman ‘brutal enough? ‘ – again showing the hypocrisy of the so-called emotionally attached reporter. Continuing in the bar Malcolm questions Danny's integrity, calling him a ‘Two-bit rookie' in response to this the audience is shown an interview between Danny, an interpreter and a woman living in a village which has been raided by American troops. This scene was used to show how drastically information can become. Statements coming from the village woman, through the interpreter and then to Danny are changed ‘Chinese whispers' style until their meaning has been completely lost. For example, the word ‘Americans' is changed to ‘military' and then to ‘militants'. We ensured that it was the interpreter which made the most drastic mistakes, showing that it was not Danny who was at fault, and that this corruption of the truth could happen even to the most professional reporters. So to contrast this media orientated aspect of war we wanted to show a side of war that has very little understanding to it; the new warfare of fanaticism and blind allegiance. However much research we did for these roles it was always impossible to collect information which was objective as everything that we had collected was opinionated and not factual. With this stigma in mind, I felt that it was important to work with the theme of connection between all human beings which had been established in the opening scene as it would have been easy to just cast the characters in this section as inhuman, and so we worked to show the audience familiarities with these characters that they otherwise would have trouble connecting with. With the child soldier it was the shock of his revealed age which worked to remind the audience that the ‘inhuman' soldier was still a small boy, and as the audience was made up of students and parents we felt that this would force them to think of children close to them. Similarly, the suicide bomber, whilst fanatical, still showed very human traits. He had thoughts of his family, performed this act because he believed that he was right and ‘just', and ultimately showed fear. In contrast to this very new attitude to war we wanted to depict a very old fashioned warfare which looking back on it is now highly comical. The ‘new generation' of weaponry was presented to the audience in the form of a ‘1950's style' advert. The main purpose for this scene was to provide the audience with a comic relief from the seriousness of the play. However, whilst this was an opportunity to relax placing this scene previous to the suicide bomber scene it to show a drastic change in attitude to warfare, whilst the character of the advert believed that that their weapons would drive the empire into the 20th century, the suicide bomber represents a very modern and much more dangerous enemy; one which does not have a flag or country, but just a cause and the will to cause destruction. The piece was concluded with the recital of the poem, ‘All things are connected' which we quoted for the opening sequence. With lines such as ‘Man did not weave the web of life, he is merely a strand in it' it worked well to convey our themes of unison as a race – although the hope of total peace is a fantasy, it is the theme which ultimately runs throughout the whole of the piece.

Both Charlotte Perkins Gilman and Kate Chopin

Both Charlotte Perkins Gilman and Kate Chopin give the reader a taste of what marriage must have been like and is still like for some. Both the narrator in Gilman’s â€Å"The Yellow Wallpaper† and Mrs. Mallard in â€Å"Story of an Hour† are repressed wives. The society they live in and gender roles contribute to their repressed states. Both Chopin and Gilman write of women’s’ issues in many of their works and explore the roles and lives of women but in very different ways. Both authors show us women who feel very trapped and do not have control of even the most obvious aspects of their lives.Freedom is achieved in very unconventional ways in both these stories, but the kind of freedom these narrators achieve is not available to most women of the time. In Charlotte Perkins Gilman’s â€Å"The Yellow Wallpaper,† the narrator, who significantly is never named, is significantly repressed by her husband. Her husband is a doctor who is at bes t patronizing and at worst demeaning to her For example, â€Å"John laughs at me, of course, but one expects that in marriage† (Gilman). This quote is included to make the reader question this relationship.Were women supposed to be laughed at in marriage? Another example of this would be â€Å"Then he took me in his arms and called me a blessed little goose† (Gilman). Again, her husband is patronizing her. It is not that she doesn’t love her husband or even that he doesn’t love her. It is simply that this is the way marriage is expected to be. She must bend to his every whim and do exactly what he tells her. She doesn’t even have control of her own body or her own medical treatment in this story. Her husband is a man and a doctor, both of which make him â€Å"right.† The reader infers that the narrator has recently had a baby and is suffering from post-partum depression, which is undiagnosed at the time Gilman writes. Her husband John has ta ken her to a vacation home/mental health facility for the summer. She has no say in this decision but is only told to rest and recover. When she wants to go visit her cousins Henry and Julia, she is again turned down. Her husband really plays more of a parental role with her. Eventually she begins to peel the wallpaper to give her something to do, and she sees a woman trapped behind the wallpaper. This woman represents her.She is trapped in this house, in this life—only she has no one to help her escape. She sets about freeing this woman; only when she does, she suddenly becomes the woman. The narrator says, â€Å"I've got out at last,† said I, â€Å"in spite of you and Jane! And I've pulled off most of the paper, so you can't put me back! † (Gilman) Significantly, she has escaped although she has lost her sanity as well. Charlotte Perkins-Gilman herself tells us why she wrote this story, and that is to stop women from going crazy. Women need to free themselves from the bonds of men. In â€Å"Story of an Hour,† Kate Chopin’s narrator seems like a typical wife.Her husband has gone on a hunting trip, and when she gets news of his death, she is at first very sad. Then she begins to understand the ramifications of him being gone, the idea that she can now live for herself, and she celebrates. â€Å"She said it over and over under her breath: â€Å"free, free, free! † (Chopin) The narrator realizes exactly what her husband’s death means. â€Å"There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature.† (Chopin) However, this celebration is brief because she then gets news that in fact, her husband is still alive. She dies of heart failure. Everyone believes that she has died from â€Å"the joy that kills,† (Chopin), but the reader knows that she has died over the unpleasant shock that her husband is still alive. Kate Chopin, of course, is implying for us that â€Å"real happiness cannot exist without the necessary conditions of freedom and equality. † While Mrs. Mallard has not been miserable in her marriage, nor did she spend her time thinking about whether her marriage was happy, she has now had a glimpse of what her life would be like alone.She loved the thought and was excited about facing life alone. The reader understands that while the narrator did not necessarily know it at the time, she was still repressed by her marriage and that constant bending of her will to another human being. Both of these authors provide us with a realistic picture of what marriage could and can be like. They are repressed and trapped in their relationships, but each author shows us a different way out. In Charlotte Perkins Gilman’s â€Å"The Yellow Wallpaper,† ironically the na rrator escapes through insanity.She frees the woman in the wallpaper, thereby freeing herself of societal expectations. In Kate Chopin’s â€Å"Story of an Hour,† the narrator first escapes through the death of her husband and then through her own death. It isn’t that she doesn’t love her husband. She does experience momentary grief, but through her grief and fear, she gets a glimpse of what her future could look like. She understands that she will finally be able to live for herself. So, when she finds out her husband is alive, she dies of a heart attack. How sad it is that these women can escape in no other ways.Both Gilman and Chopin were masters at allowing the reader to see the way that women were repressed in their society. We don’t hate the men; we just wish women did not have to be so subservient. Works Cited Chopin, Kate. â€Å"The Story of an Hour,† http://classiclit. about. com/library/bl- etexts/kchopin/bl-kchop-story. htm Esch, S tacy Tartar. http://brainstorm-services. com/wcu-2005/poe-story-hour. html 2001-2005. Accessed March 18, 2007. Gilman, Charlotte Perkins. â€Å"The Yellow Wallpaper,† http://classiclit. about. com/library/bl-etexts/cpgilman/bl-cpgilman-yellowwall. htm

How Does the Constitution Guard Form Tyranny? Essay

Imagine being in world where you are forced to wear certain things. Forced to practice the only religion allowed. Imagine not being able to know what you want, when you wanted! The Constitution was made on September 17, 1787 in Philadelphia, Pennsylvania. It was made to provide the framework for the U.S. government. It creates things like presidency, the Congress, and the Supreme Court. From May to September of 1787, men known as framers were thinking of how to make this Constitution. How does the Constitution guard from tyranny? Well first off, a tyranny is when a ruler goes a little crazy with the power given to him/her to rule over the country. The Constitution guards it with the Bill of Rights. Without the Constitution, the U.S. would be under tyrannical law. I say this because without the first amendment (which is, in fact, in the Constitution), we wouldn’t have freedom of religion that means that you would have to practice whatever religion the government wanted you to. Without freedom of speech, we would be forced to say what the government wanted us to against our own will, etc. Without the Bill of Rights (which is in the Constitution too), the government could do whatever they wanted whenever they wanted which gives them too much power, which is a tyranny. So again, how does the Constitution guard against tyranny? By giving us human rights that we are allowed to do as a U.S. citizen. In the Constitution, it says that we must have 3 branches of government. Separation of powers. The federal government is separated into 3 branches, Executive, Judicial, and Legislative. Each branch has its own powers. No one can run the government by itself. This protects against tyranny by not allowing 1 person to rule over everything or to have too much power. There are checks and balances that prevent this from happening. Checks and balances prevent tyranny from happening. Each of the branches has its own power and each branch can check on another branch to make sure that they aren’t overpowering. So big decisions, like passing a law, require cooperation of all branches. So if therefore, going back to the main question, â€Å"how does the Constitution guard against tyranny?† the Executive, Legislative, and Judicial branches block each other from abusing too much power. The Executive can veto legislation and appoint justices. The Legislative is the only one that can make laws and overturn vetoes. The Judicial branch can declare laws and executive actions unconstitutional voiding them. So no one can be too overpowering. Federalism is in the Constitution, because that would be the pursuit of happiness. Federalism is when all the states join together to form a federal government, which has certain powers over the states. The states are not sovereign. It leaves many powers to the states. Thus, if you find too much power in one state, you can move to another. Of course, one mans tyranny is another mans unlighted government, so your mileage may vary. So in my conclusion, the Constitution in fact, DOES prevent tyranny and it gives freedoms and the Constitution is the reason we are who we are today. Sources: http://www.freerepublic.com/focus/f-news/1316376/posts http://davidsrdg0910.edublogs.org/2011/04/05/how-did-the-constitution-guard-against-tyranny/ http://wiki.answers.com/Q/How_did_the_constitution_guard_against_tyranny http://collab2.hawthorn73.org/users/zhanjef/weblog/50d07/