First Chapter of Lord of the Flies Essay

The primary part of Lord Of the Flies presents Ralph at the very beginning meandering the wilderness. This adds to the secrecy of the writing. Not disclosing to you where he originated from or why he is there makes the story alluring and engaging. The creator was adding to the rising activity. The setting in the earliest reference point was the Jungle. After Ralph strolls for a limited quantity of time, a voice shouts to him requesting help, and to hold up. This is another approach to cause the story to appear to be strange. He learns it is a kid with the epithet Piggy. Piggy joins Ralph and they stroll to a tidal pond. There they discover a conch shell and Ralph blows through the conch which at that point approaches an enormous measure of young men. The creator no doubt added this to make another bend to the story. To show how much about the spot Ralph and Piggy didn’t know. At the point when the enormous gathering showed up, a kid named Jack Merridew asked where the boat was, and where a grown-up was. This demonstrated how oblivious Ralph was on the grounds that he did not understand what the conch sound intended to the individuals that were at that point there. At that point Johnny and the twins Sam and Eric showed up alongside numerous other more youthful and more seasoned young men. They talk as though they all have instruction which shows they were likewise put here, not brought into the world here. The exchange appears to be current and effectively justifiable, which shows that the setting is later than verifiable. Ralph is casted a ballot head and orders that they investigate to check whether where they are is an island. Going with Ralph is Simon and Jack. Piggy is abandoned to log names, which upsets him. The explanation the creator expounded on the investigation is to show the others don’t know where they are either. All through the endeavor, the young men are confronted with a progression of things in their way. They push a rock off a precipice. The creator in all likelihood added this to show they weren’t pitifully abandoned on the island. The finish of the part the young men acknowledged they were ravenous. They scanned for food and found a pig, in the holds of the ‘creepers’. The creator didn’t clarify what the creepers were and it made it significantly more slippery. Jack neglects to cut the pig sufficiently fast and he came up with pardons concerning why he couldn’t. It shows that he isn’t almost as intense as he lead on to be. He pummels his blade into the tree to show he is in certainty still the alpha male. The main part left numerous unanswered inquiries.

Final Project Plan for IBM Company Research Paper

Last Project Plan for IBM Company - Research Paper Example In November 2014 they reported a worldwide organization with Twitter. These associations had diverse however useful data frameworks that must be coordinated into the IBM framework. A viable joining of the data frameworks at the organization must be done dependent on a usage plan that will guarantee support for an endeavor wide business process reconciliation and normalization. ERP frameworks can be intricate and hard to actualize, yet an organized and trained methodology can enormously encourage the execution. The IBM Company is an enormous organization that has a few branches everywhere throughout the world, correspondence and support of self-rule is one of the central point that must be considered in actualizing the combination of data frameworks. Also, IBM is perhaps the biggest provider of innovation consequently there must be exactness in the stock and all exchange exercises in all the branches and members of the organization. At long last, the organization consistently dispatches all the buys to various goals in the worl consequently the requirement for precision and follow up in transportation of all items from the organization. Tis report is an execution plan for the reconciliation of the new data frameworks at IBM. The works incorporate the diagram of existing framework and ensuing recognizable proof of the applications and assets required for usage of the reconciliation plan. It likewise incorporates the recognizable proof of the assignments, obligations and the time period for culmination of the undertakings. The task includes an evaluation of the present venture reconciliation in the organization. The recognized joining plan is spread out and the means are obviously expounded. The various obligations are relegated and the assets and time plans are designated to the various undertakings and exercises. Endless supply of the venture the outcomes expected incorporate the improvement of administration arrangement at all IBM branches,

A Separate Peace: Finny - How Things Change Essay example -- essays re

A Separate Peace: Finny - How Things Change      In the novel "A Separate Peace," by John Knowles, a kid named Gene visits his secondary school 15 years in the wake of graduating so as to locate an internal harmony. While going to the private young men school during the subsequent World War, Gene's closest companion Phineas kicked the bucket and Gene realizes he was halfway dependable. Phineas, or then again Finny as he was some of the time called, was the most famous kid in school. He was an attractive, provoking, adrenaline junkie competitor. Quality, then again, was a desolate, independent scholarly. By one way or another the two turned out to be old buddies, or so Finny thought. Quality, lamentably, was chomped by the green-peered toward beast of envy. Quality just couldn't grasp the possibility that an individual of Finny's height would need to be his companion. Quality's jealousy developed to a point where he was willing to seriously harm Finny for being excessively great. Tragically for Finny, Gene succeeded. Finny's appearing flawlessness, his solid convictions, and his capacity to excuse follow his advancement all through the novel.      Finny's appearing flawlessness was the reason for Gene's disdain towards him. Quality idea that everything Finny did was great, which simply annoyed Gene even more. Finny was flawless to the point that he couldn't have cared less what others thought, like when Finny wore a pink shirt as an insignia after the besieging of focal Europe. " '...Pink! It makes you appear as though a pixie!' 'Does it?' He utilized this engrossed tone when he was considering something more intriguing than what you had said." One time Finny and Gene were at the pool when Finny seen that a kid named A. Hopkins Parker had the record for the 100 yards free style. When Finny understood that A. Hopkins Parker had graduated before they came, he commented, "I have an inclination I can swim quicker than A. Hopkins Parker." He was correct. Quality was euphoric that Finny could do something like this with no preparing or anything. All Gene could state was, "You're too acceptable to even think about being true." In certain ways he was.      Throughout the book Gene realizes that Finny has some solid convictions. The initial three he saw were: "Never state you are five feet nine when you are extremely five feet eight and a half"; "Always state a few petitions around evening time since it might turn out that there is a god"; an... ...y?"      "I trust you. It's alright in light of the fact that I comprehend and I trust you. You've just indicated me and I accept you." Finny excused Gene and everything was well, at any rate for a brief period.      Finny's improvement can be seen all through the novel by following his appearing flawlessness, his solid convictions, and his capacity to excuse. Finny changed from being the best competitor in the school to being the one in particular who couldn't go to the war. Finny was an awesome individual. Finny was an exceptionally firm adherent to what he thought was correct. Finny was a generous individual, putting stock in the absolution of companions. Shockingly, Finny kicked the bucket due to the carelessness of the school specialist. At the point when Finny's leg was being set some bone marrow got away into his circulatory system halting his heart. At the point when Gene heard this news he didn't cry. Quality felt that, alongside Phineas, he himself had passed on, also, you don't cry at your own burial service. Quality returned to his school to come to grasps with the way that he was mostly answerable for Finny's demise. Finny was not great; D's on his tests and terrible evaluations show that. Be that as it may, to Gene, Finny was great and consistently would be.

Predominate Symbols and Their Meanings

Prevail Symbols and Their Meanings Defined Symbolism â€Å"is the act of speaking to things by images, or of contributing things with an emblematic significance or character. An image is an item, activity, or thought that speaks to some different option from itself, frequently of a progressively dynamic nature. † (Wikipedia) Authors use imagery to give their accounts a more profound significance. Images make you look past the undeniable and see the more profound significance. † Symbols have enthusiastic and scholarly force past their strict significance, and authors frequently use them to smaller huge thoughts into straightforward words or expressions. (SPC Blackboard) Authors Shirley Jackson (The Lottery), Susan Glaspell (A Jury of Her Peers), and Katherine Ann Porte (The Jilting of Granny Weatherall) all adequately use imagery is their accounts to pass on a more profound significance, the imagery in their accounts help associate you on an alternate level. In Jacksonâ⠂¬â„¢s The Lottery, there are numerous examples where imagery is utilized to speak to something different. The primary image which is presumably the most evident is the title of the story.When you think about the word lottery you think about a prize or something to that affect, â€Å"In this story the lottery fills in as an amusing symbolâ€something which starts in an innocuous and friendly manner however finishes in disaster. † (Enotes) Another representative reference in this story is the black box that is utilized to draw from. The case is run down and needing some significant fix, yet it is as yet utilized a seemingly endless amount of time after year. ‘They base their connection on just a story that asserts that this black box was produced using bits of another, more seasoned black box. (SparkNotes) The black box represents custom; the individuals of the town are appended to the crate since it has been around so long they don’t know whatever else. There i s no explanation the townspeople ought to be so joined to the container, similarly as there is no explanation they should keep on holding the Lottery however they do in light of custom. (SparkNotes) The third and most upsetting image from The Lottery is the genuine stoning. â€Å"Stoning is one of the most seasoned and most normal types of execution, yet it is additionally one of the most emblematic. (Brilliant Hub Education) It is emblematic on the grounds that regarding the Bible stoning was the best approach to execute honest individuals. It was likewise significant the â€Å"winner† of the lottery be stoned so that there was not only one killer. â€Å"This implies that no single individual has condemned or needs to convey the blame for ending an actual existence alone†, the lottery was a foundation of the general public and not the person. (Splendid Hub Education) Jackson utilizes imagery in this sullen story to reference the Bible and make you set out to find the real story, much the same as Glaspell does in A Jury of Her Peers.In A Jury of Her Peers by Susan Glaspell there is a bounty of imagery. Fundamentally every little detail in this story is emblematic of something different. The most noteworthy images in this story are the winged animal and the birdcage. Mrs. Robust portrays Minnie, before her marriage, as †real sweet and pretty, yet sort of bashful and fluttery† (Learner) which can likewise depict a fowl. The winged creature in its pen speaks to Minnie caught in the relationship with John. She is additionally caught in light of the fact that there is no life saver or correspondence with the outside world, she is having the existence depleted from her.John allegorically chokes the life out of Minnie like he actually chokes the fledgling. At the point when he slaughters the fledgling, he executes the last piece of Minnie’s soul. Minnie â€Å"didn't comprehend what she was about† (Learner) any longer. Another emblematic reference is way Minnie murdered her significant other, Minnie choked the life out of John like he choked the life out of her feathered creature. (Writing Essays) The setting in this story is additionally emblematic in light of the fact that like Minnie it was separated and â€Å"It had consistently been a solitary looking spot. (Student) Minnie arrived at a limit and assumed control over issues. During this timespan there was no separation or partition, so the lady had either to endure it, bite the dust, or kill her better half. Her home is likewise representative of her life, her kitchen was portrayed as â€Å"being in scatter with unwashed skillet under the sink, a dishtowel left on table, a portion of bread outside the breadbox, and other confusion. † (Learner) Just like her kitchen, Minnie’s life was in finished disorder due to the maltreatment she endured.Like Glaspell, Katherine Ann Porte creator of The Jilting of Granny Weatherall, utilizes imagery to relate ordinary occasions and articles to horrendous life occasions. The title itself is emblematic; to â€Å"Weather† implies that somebody has experienced a great deal and encountered a ton of hardships during their life. Granny had â€Å"weathered† a great deal during her life yet had constrained herself to transcend these circumstances. Despite the fact that she is a feeble and biting the dust she needs everybody to think she is fine and doesn’t need anyone’s help. Some f the imagery that happens in The Jilting of Granny Weatherall has to do with Granny’s forswearing. Granny Weatherall is trying to claim ignorance about the majority of a mind-blowing parts. She won't concede that she is biting the dust, will not let anybody think she had her heart broken by the man who left her at the raised area. Before she bites the dust she needs to ensure everybody realizes she carried on with a decent life and did all that any other individual would do, wedded a decent man, had children, and carried on with a decent life, despite the fact that her heart still aches since she was abandoned. The shading blue is additionally emblematic all through the story.There are numerous references to the shading all through the story and as Granny comes nearer to passing on the shading gradually begins to blur. â€Å"At last, blue turns into the shade of the light in Granny’s own psyche, the light she snuffs out herself. ‘She extended herself with a full breath and extinguished the light. ’ (EBookBrowse) It comes to represent the last phase of Granny’s life, when she is sliding into death. † (SparkNotes) These images pull at your feelings and cause you to feel the agony Granny Weatherall has suffered for an amazing duration. By utilizing imagery, these creators add layers to their stories.These layers make the narratives progressively viable on a passionate level. They constrain you to figure out the real story and power you to see the concealed significance in even the littlest of subtleties. Works Cited Bright Hub Education. n. d. 27 October 2012. . EBookBrowse. n. d. 29 October 2012. . Enotes. n. d. 28 October 2012. . Student. n. d. 28 October 2012. . Writing Essays. n. d. 28 October 2012. . SparkNotes. n. d. 28 October 2012. . SparkNotes. n. d. 29 October 2012. . SPC Blackboard. n. d. 27 October 2012. . Wikipedia. n. d. 26 October 2012. .

Book Summary for Siddhartha

Book Summary for Siddhartha Siddhartha is a novel by German creator Hermann Hesse. It was first distributed in 1921. Distribution in the United States happened in 1951 by New Directions Publishing of New York. Setting The epic Siddhartha is set in the Indian Subcontinent (Islands off the southeastern tip of the Indian peninsula), is frequently viewed as a piece of theâ subcontinent. during the hour of the Buddhas illumination and instructing. The period about which Hesse composes is between the fourth and fifth century BCE. Characters Siddhartha - the hero of the novel, Siddhartha is the child of a Brahmin (strict pioneer). Over the span of the story, Siddhartha travels a long way from home looking for profound edification. Govinda - Siddharthas closest companion, Govinda is additionally scanning for profound edification. Govinda is a foil to Siddhartha as he seems to be, not normal for his companion, ready to acknowledge profound lessons beyond a shadow of a doubt. Kamala - a prostitute, Kamala goes about as the represetative to the material world, acquainting Siddhartha with the methods of the tissue. Vasudeva - the ferryman who sets Siddhartha on the genuine way to edification. Plot for Siddhartha Siddhartha fixates on the profound mission of its title character. Disappointed with the ceremonial strict childhood of his childhood, Siddhartha leaves his home with his partner Govinda to join a gathering of monks who have disavowed the joys of the world for strict reflection. Siddhartha stays unsatisfied and goes to an actual existence inverse to that of the Samanas. He grasps the joys of the material world and forsakes himself to these encounters. In the long run, he gets frustrated with the debauchery of this life and again meanders looking for otherworldly completeness. His journey for edification is at last accomplished when he meets a straightforward ferryman and comes to comprehend the genuine idea of the world and himself. Questions Think about the accompanying while at the same time perusing the novel. 1. Inquiries regarding the character: What critical contrasts are there among Siddhartha and Govinda?Why does Siddhartha proceed to address and investigate various methods of reasoning and thoughts regarding religion?Why does Siddhartha dismiss the lessons of the Buddha?In what way is Siddharthas child like his father?Explain the double job of the ferryman. 2. Inquiries concerning the subject: What job does the common world play in the topical advancement of the novel?What is Hesse saying about the mission for enlightenment?How does the inside clash of Siddhartha add to the prototype subject of Man versus Himself?In what way does adore perplex Siddhartha? Conceivable First Sentences In the same way as other extraordinary books, Siddhartha is the tale of a person looking for answers about himself and his world.The thought of profound illumination is very complex.Siddhartha is a disclosure of Eastern religion and reasoning.

Quiz Go Wild Over These Collective Nouns for Animals

Quiz Go Wild Over These Collective Nouns for Animals (0) You may know school of fish, herd of cattle, or even pod of dolphins, but can you guess the collective noun for crocodile? Perhaps our multiple choice quiz on collective nouns for animals will give you a clue. It’s a rhyming word safari and the challenge is to uncover the answers hidden right in front of you. Looking to up your general English knowledge? Read our grammar guides to catch up on the basics, or run your next paper through the EasyBib plus grammar and spell check to receive suggestions on how to improve your writing. .wq-quiz-18285 { --wq-question-width: 100%; --wq-question-color: #009cff; --wq-question-height: auto; --wq-bar-color: #00c479; --wq-font-color: #444; --wq-background-color: #ecf0f1; --wq-title-size: 20; } Energetic, enthusiastic, or just happy not to become a lion-lunchâ€"when zebras graze side-by-side, this is what we call a bunch. a zeal of zebras a tribe of zebras a coat of zebras Correct! Wrong! Slow on land soaking up the sun, when _________ of crocodiles comes after you, you’d better run. a snap a troupe a bask Correct! Wrong! Perhaps it is difficult for humans to see, but when a group of hedgehogs views each other they spot variety. an array a union a troop Correct! Wrong! One beats his chest, another stamps his foot, the third bursts into song; when gorillas get together, they’ll have you dancing all night long. a squad of gorillas a fraternity of gorillas a band of gorillas Correct! Wrong! Walking in stately rows elephants don’t intend to put on a show, but when they walk together, no other word describes them better. a file of elephants a parade of elephants a concert of elephants Correct! Wrong! Government officials having nothing on these guys because when _________ of owls congregates their decisions are measured, controlled, and wise. a board of owls a parliament of owls a meet of owls Correct! Wrong! Where did they come from? Are they dropping from the sky? A bunch of grasshoppers appeared from nowhere. What shall we call this unusual surprise? a fib of grasshoppers a lock of grasshoppers a cloud of grasshoppers Correct! Wrong! What are you scheming, goldfish in a bowl? Escape may be nearby, but then where would you go? Flopping on land is no place for you. It doesn’t matter if you’re a group of nine, three, or two. a troubling of goldfish a college of goldfish a warren of goldfish Correct! Wrong! Is it jelly or better yet a jam? The name for a cluster of jellyfish sounds like a popular brand-named spread for toast, eggs, and ham. a smack of jellyfish a crowd of jellyfish a float of jellyfish Correct! Wrong! Dear deer, settle down. Everything will be alright. Your needs will be met, there is no need to fight. Hooves stamping all around, this is what we call deer in a crowd. a party of deer a bundle of deer a mob of deer Correct! Wrong! Animal Quiz Lion Leader Pat yourself on the back and take a bow! You’ve proved yourself to be an expert and have earned your place in the pride of lions! Lucky Leopard Nice job on scoring well and flexing your animal knowledge. It’s time to jump for joy with a leap of leopards! Worthy Wombat Not too shabby! You might want to polish your puzzle solving with a wisdom of wombats! Modest Mole Great try, though you’ve got some work to do. Try to dig in and study with a labor of moles! Share your Results: Facebook Twitter VK Cite this quiz or any source in your next research paper with ’s citing tools and guides! Create references with the APA citation generator, answer the question “what is MLA format,” learn a bibliography definition, review an MLA works cited example, and more.

Strategic and Marketing Plan for Stealth Electric Bikes - 3575 Words

Developing Strategic and Marketing Plan: Stealth Electric Bikes (Essay Sample) Content: Stealth Electric BikesNameCourseLectureDateExecutive Summary This report sets out to explore the marketing activities of stealth bikes and a lot of emphasis will be placed on their electrical bikes. The report first offers an overview of the company, product overview and competitor analysis. This section is closely followed by a current situational analysis of the company. The report also looks at the current marketing strategies that the company has adopted in relation to their electrical bikes. The report also offers a number of recommendations that the company can adopt so as to gain a competitive edge in the market and they include: Focusing more on electrical bikes rather than on dispersed market More stringent quality control measures Takeover of some firms and acquisition of the ones that are performing poorly Contents TOC \o "1-3" \h \z \u  HYPERLINK \l "_Toc341528016"
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Objectives and issue analysis  PAGEREF _Toc341528028 \h
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18 IntroductionDue to the outstanding performance of Stealth Electric Bikes limited, most of the products have accessed Queensland market and New South Wales markets. Their products have also been preferred by most customers in comparison to their competitors. This could be caused by some of the recent manufactured competitive products. According to (Van 2012), some of the recently manufactured products are two powerful electric bikes named bomber and fighter that have a speed of over 80km/h. The have quality batteries which covers 70 miles per every charge. These electric bikes are made from high quality and strong aerospace materials. They are also made with integral skills of electric automobile technology. The machines have no sound and the only sound one can hear is when the machine is at a very great speed. It has other models of motorbikes which are sold at afforda ble prices. Stealth limited aims to sell its product in Queens land and New South Wales markets areas because of anticipated potential markets. These areas also have stable political environment, stable sources of incomes, is less affected by inflation rates and has less competitors. It aims at making movement and transport fast and reliable even in jungle areas of Queens land and the southern parts. They also aim to offer their products which are of high quality at affordable prices.Company OverviewWhen conducting the current market situation analysis the company should evaluate it current status and one of the analysis is market overview. Stealth Electric Bikes Company is based in Australia at place called Melbourne. It started during the year 2005. It is an engineering company that is outstanding in production and manufacture of electric bikes. Its products are preferred by people who cover long distances especially on jungles (Van 2012). The company uses marketing principle to operate its day to day business operations. In selling and distributing their products the company sells to customers directly without bias or prejudice. The company also sells through sales representatives who help the company to evaluate the condition of the market at marketing and distribution level. The company has a quality control department that evaluates and enhances quality of motor bikes produced. The products are also in conformity with the bylaws and standards required by the Australian government. The products are also legalized to be sold in Queensland and the south Wales markets (Ciopi 2010).CompetitorsThe company has been devised ways and means of remaining competitive in the Queensland and south Wales markets. One of the ways of remaining competitive is producing fast machines that are of high quality and with affordable prices to the consumers. For instance they have produced very fast electric bikes of 70km/hour. One is called the bomber and the other is called t he fighter. Stealth Electric bikes have a power of over 750 watts. Stealth has also analyzed and identified some of its competitors. Some of the competitors of stealth are Stromer Electric bikes which offers an Electric bike of 600watts power , Focus Jarifa which has about 300 watts and Kalkhoff about 250 watts (Buczynski 2012). Compared to all competitors Stealth electric bikes are the toughest and also affordable.Product descriptionStealth deals in variety of products and services like helmets, hand baggage, ornaments, tresses and racks. Some electric bikes models are fighters, bombers, scooters commuters folding cargo, ladies shopper, budget and standard. They offer guarantee services, repair, and give special offers on all accessories. Stealth electric bikes are also of the best quality and the strongest. They have both pedals and an electric motor which can travel very fast and they are not heavy in weight (Buczynski 2012). Current market situation The company should undertake a pest analysis. Pest analysis includes evaluating the Political, economic, social and technological factors.Technological analysisTechnological factors also have a noteworthy impact on Stealth electrical bikes. In relation to this companies opt to hold meetings online for example using video conferencing. This may ultimately affect the electrical bikes in that a few people will be willing to purchase them. Another factor is attributed to the aspect of people working at home. Therefore little means of transport is required. At the same time other competitors are using growing technological advancement to improve on speed and quality of their products which might affect Stealth products (Choe Orr 2011).Economic analysisThe petroleum prices have increased tremendously and this might make people opt to use Stealth electric bikes. These bikes are economical in consumption of petrol. Most people in Queensland and New South Wales are earning. There is continuous and reliable exchange o f currencies in Queensland and the New South Wales parts. On the other hand inflation rate may hike and these may have adverse effects on the prices of Stealth products. The prices of bikes may increase and most customers would not afford. A great percentage can afford to buy Stealth Electric bikes as they are of best quality and are available at fair prices. The increase in inflation rates may affect interest rates. This would make customers experience difficulties in obtaining loans to buy Stealth products (Choe Orr 2011). Social analysisIn focusing the social aspect the population growth rate of Queensland and the new south parts is on the rise which forecasts a reliable market for stealth products. Many people are employed and the income data shows that most people in these parts are earning. The religious beliefs and cultural practices of Queensland and the new south parts are friendly and welcoming to most people. The perception and attitudes in regards to new products from other countries and other parts is not conservative and therefore people would buy electric bikes as an alternative means of transport (Choe Orr 2011). Political analysisThe government law and regulations are subject to change. The government may change some tariffs, increase some taxation charges or put some business restrictions. This might affect Stealth electrical bikes sales adversely. The political status of the country can change. These can affect business performance. For instance strikes protests and riots would affect the business activity (Choe Orr 2011).Swot Analysis The SWOT analysis is usually used to depict the threats, strengths, opportunities and weaknesses of a firm. It is a popular method that is usually applied in strategic market planning, decision ...

Museum Jeronimo Cloister

Sample details Pages: 16 Words: 4699 Downloads: 9 Date added: 2017/06/26 Category History Essay Type Narrative essay Did you like this example? A â€Å"Cube† of light diffuses through the new extension of the Prado Museum in the Spanish capital. Introduction For many years the Prado was almost a secret in plain sight. Years of Spanish segregation and abandon under General Franco, left a museum in frayed conditions. While every other museum inaugurated new buildings by celebrity architects, and exhibitions were judged through the amounts of visitors passing through their doors annually rather than the quality of it; the Prado, stuck to what best it knew Velazquez, Goya, Titian and Tintoretto in rooms of increasingly worn grandeur, however what really mattered was the painting not the space. However that was then. â€Å"Before, museums were the preserve of the few, but now theyre massively attended. We had to change to match that. Miguel Zugaza The Prado is now marking the termination of a significant stage in the creation of the new Museo del Prado campus that involves the integration of various adjacent buildings into the Prado, including the Cason and the Salon ode Rainos, and the last remains of the Buen Retiro Palace. T he museo del prado has concluded the most important extension to its building in its 200 years of history. The project consists of the design of new exhibition galleries and the restoration of the old cloister of the Jeronimos. When completed, the Prado will augment the already rich facilities to be found in one of the most important art and cultural districts in the world known as the Paseo del Prado in the Spanish capital Madrid. Intervened and designed by Rafael Moneo. Following two architectural competitions, Moneo’s project was chosen for the extension in 1998 the works, begun in February 2002 under the management of the Ministry of Culture. However, cost more than four times its initial budget. The final price tag was around 153 million euros. Before, whenever a new exhibition went up, some of the permanent collection had to be dismounted. Galleries became storage rooms for lack of real deposit space. Visitors were welcomed through side doors not designed to ha ndle crowds, because there was no well-designed main entrance. Don’t waste time! Our writers will create an original "Museum Jeronimo Cloister | History Dissertations" essay for you Create order History Behind The Saint Jeronimo Cloister The most significant difficulty the architect Rafael Moneo faced, hence the significant increase in costs, was led by restoration of the Cloister. The monastery of San Jerà ³nimo el Real had two cloisters. The first and older of the two was destroyed between 1855 and 1856, while the second was a Renaissance cloister built in the 16th century for religious and spiritual use. The latter was replaced about a century after its construction by a Baroque cloister designed by Fray Lorenzo de San Nicolà ¡s. This is the cloister that has survived to the present day and is popularly known as the Cloister of the Jerà ³nimos. As with the rest of the monastery, Fray Lorenzo’s cloister endured considerable sufferings during the 19th and 20th centuries as a result of numerous changes of ownership, use, projects and alterations. As a result, barely the skeleton was left. Fortunately, the finest and most interesting part still had the potential to be rescued. Following the comple tion of the restoration of the almost 3,000 blocks and the start of work on the extension project; Moneo finessed the preservation issue by burrowing below ground for the temporary exhibition galleries, so that the now restored Cloister sits on top, in its original position. It was enclosed within a concrete skin in order to be integrated into the new building, and now plays a significant role in the extension. The modification of the Cloister as part of the expansion has allowed this structure understood as a â€Å"gallery that surrounds the main courtyard of a Church of Monastery† to retain its particular character, given that it can once again be seen as an interior architectural element within a building. The Cloister’s elemental character has not been modified; on the contrary, it has regained the architectural meaning that it had lacked since the demolition of the former monastery of which it originally formed a part. It is enfolded below a skylight and i ntegrated as a â€Å"kind of giant ready made sculpture into the museum, which silences critics who argue that the cloister needed saving, even if the solution somewhat sterilizes the site.† The restoration team set up a computerized database to carefully record the work carried out on each of the stone blocks as well as the restoration treatments applied to each of them. Each of the dismantled and numbered blocks were labeled on the database with an exact description (architrave, cornice, coat-of-arms, etc) as well as its weight, measurements, location and storage, physical condition, treatment and photography (initial and final state). The definitive restoration started with the application of a treatment to remove areas of biological deterioration, applied to all the visible sides of the original blocks as a preventative method. The parts with high salt content were desalinated while the surfaces were cleaned with easily controllable, non-invasive methods that did no t result in damage or any loss of surface material. Cracked stones that were not repaired during the consolidation phase as they were out of line, as well as those that needed reinforcing, were pulled together with fibre-glass rods and epoxy resin, ensuring that future colour change would not take place. In addition to the preliminary study mentioned above, the Cloister was submitted to a procedure of preparatory consolidation prior to being dismantled and subsequently restored and reinstalled. This work was carried out under the direction of two experts from the Gerencia de Infrastructuras of the Ministry of Culture and a restorer from the Instituto de Patrimonio Histà ³rico Espaà ±ol (IPHE). The final report on this work included a study of the stability and possible consolidation of the arcading with a diagram of damage, work carried out and risks. The various studies carried out at this point revealed the serious deterioration not just of the stone but also of the Cloisterà ¢â‚¬â„¢s structure, with the consequent risk of collapse. Once the preparatory consolidation work had been carried out in order to ensure that the dismantling could be undertaken without any risk to the structure, and following the photographic study, restoration started on the stone elements of the Cloister under the direction of four experts from the Ministry of Culture (Gerencia de Infrastructuras and the IPHE). After the dismantling of the 2,820 stones was completed and they were moved to the studios in Alcalà ¡ de Henares where the restoration work was to be carried out, each piece was documented and given an identifying code and number. A sketch of each of the lines of masonry was made in order to be able to subsequently reassemble them and photographs taken of their length and of sides of the stonework not previously visible. â€Å"conservar hasta donde fuera posible el carà ¡cter de lo que fue el antiguo Museo.† History of Extensions Since its creation in 1819, the Museo del Prado grew in a systematic but modest way, resulting in an ongoing need for a large-scale extension project of the type that other historic museums of its stature had undertaken in the last decades of the 20th century: the National Gallery of Washington between 1971 and 1978; the Metropolitan Museum of Art between 1970 and 1990; the National Gallery of London between 1985 and 1991; and the Musà ©e du Louvre in two phases between 1989 and 1993. Apart from differences relating to size and requirements, these extensions all shared the aim of responding for the first time to the contemporary transformation of these great historical museums into ever more visited and dynamic cultural centers. In the case of the Museo del Prado, no more options were left with regard to gaining more space in the Villanueva building. In the 1980s different ideas were therefore proposed. In the early 1990s, and as a response to varying requirements, it was ge nerally felt that the Prado should extend by recuperating the last surviving remains of the Buen Retiro Palace (the Casà ³n and Salà ³n de Reinos, the latter the home of the Museo del Ejà ©rcito [Army Museum]) and possibly the old Cloister of the Jerà ³nimos. This idea focused on the concept of emphasizing the Museum’s historical roots. â€Å"El edificio trata de rescatar o recuperar su historia, el guià ³n que da pie a su vida† In accord with this proposal, in June 1994 the Museum’s Royal Board of Trustees approved a â€Å"Requirement Plan for the Museo del Prado† in which the need to increase its floor space was pointed out. The report was presented to the Council of Ministers by the then Minister of Culture, Carmen Alborch, and agreed with the principal political parties in a unique Parliamentary Pact. Consequently, the first architectural competition was announced in March 1995. This competition clearly stated that proposals should inclu de the incorporation of the above-mentioned buildings into the Villanueva building. Despite the fact that more than 700 architects entered, however out of this number only ten projects made it to the second round, for it all then in September 1995 to be collectively announced invalid, although two entries were awarded second prizes. In 1997, the Museum’s Royal Board of Trustees approved a report which set out a â€Å"Museological Plan† that chose the idea of an expansion onto adjacent areas, proposing that the Prado’s expansion should take place over nearby and if possible neighboring buildings. This encouraged the idea of including the Cloister of the Jerà ³nimos as well as the Casà ³n and Salà ³n de Reinos. As a result of this report, presented by the then Minister of Culture, Esperanza Aguirre, to the Council of Ministers and authorized by that body, the Ministry reached an agreement with the Archbishopric of Madrid under which the Cloister could bec ome available within the area of the Museum’s expansion project. Before the announcement that it would take over the site, the Madrilà ¨nes had no say nor did they show interest, once it became public, neighbors foreseeing years of noisy construction, declared the expansion plan a blasphemy. Set out in an Agreement signed in July 1998 by the Ministry of Culture and the Archdiocese of Madrid, this decision allowed for the organization of a new architectural competition, whose guidelines conformed to the report approved by the Museum’s Royal Board of Trustees and the agreement with the Church. On this occasion, the competition was by invitation and was limited to the ten finalists from the previous one. In 1998 Rafael Moneo’s project, entitled BUEN RETIRO, was collectively selected, although with some modifications suggested by the jury, that involved collaboration of representatives of the Museum, the Government, the Regional Government of Madrid, the City Council and the Church. Rafael Moneo’s project was approved by the Board of Trustees on 15 March 2000 and jointly and definitively approved by the competition jury one week later, on 21 March 2000. The Walk Through The Extension Moneo’s successful design opted to require the previously closed Velazquez entrance on the Paseo del Prado side, in order to allow the passage from this door directly to the Cloister. In fact, the way through from the ‘Puerta’ de Velazquez to the cloister of Los Jeronimos has pieced together a series of interesting architectural arrangements aimed at overcoming the specific problems raised by the programme. The Prado now is designed via a transversal axis that allows passage and communication between the entrance on the Paseo del Prado and the cloister of Los Jeronimos. With the addition of the new wing, the Villanueva building will now permanently exhibit the permanent Prado collections. Whereas the subsidiary activities, essential for the day-to-day organisation of the museum, which were felt to occupy too much space in the old building, will now, be housed around the transversal axis running from the ‘Puerta’ to the cloister. These areas in clude a foyer and all the services required for temporary exhibition galleries, studies and conservation rooms and so forth. The ground floor apsidal hall- in an attempt to imitate Villanueva’s proposed basilica; has been used as an junction between both axes and converts this area into one by coinciding and merging activities between the present day Prado museum and the newly constructed wing. The elimination of the existing Assembly room and the subsequent recovery of the apsidal hall was perhaps one of the most challenging tasks for the architect. The perimeter and the three wide voids that characterise the Basilica hall were kept intact as niches in the original Villanueva building. From this red Pompeian stucco entrance hall the visitor really feels positioned at the heart of the building due to the openings of the basilica hall looking out onto the ground floor galleries, and the windows projecting views to the outside patio and the surrounding buildings right up to the San Jeronimo Church. Floor-to-ceiling glass panelled galleries like walkways, set alongside the open patio space, opening on either side of the apse, lead the visitors into a trapezoidal shaped area. The longer sides align themselves towards the back of the museum and the Calle Ruiz de Alarcon, whereas, the shorter sides used as additional entrances, from the North and the South, the North access set close the Puerta de Goya and the South facing access set close to the Puerta de Murillo and the Botanical gardens. This forms and oblique area which distorts the perspective view and reflects the respective alignments of the san Jeronimos and the Paseo del Prado as well as the open patio from which the red Pompeian apse emerges which the visitor can clearly see through a faà §ade of floor-to-ceiling glass windows. Started by Villanueva, later strengthened by Pascual y Colminar and soon after altered by Jareno and Saavedra, the apsidal hall, dominates the scene from the vestibule area, and reflects the whole style of the museum. The oblique area which strives to avoid a conventional perspective has a slight slope as a result of its transitional role between the different levels of the entrances and this visual instability accentuates its purpose as a foyer and service area. The whole idea is to leave the original Villanueva totally uncluttered from all other services except gallery space. This generous open transitional area, accommodates an open foyer, lockers, cloakrooms, toilets etc†¦as well as a cafeteria/restaurant and a bookshop. The cafà © and bookshop are extremely small in regards to the proportion of the vestibule and museum, evidently this states what the museums priorities are; allowing the visitor to wander around with greater freedom. The architect’s goal of the expansion is achieved notably and clear, it conveys what a museum is supposed to do: show its collection better. The plan is so conservative that it is r adical. We chose him because, in addition to being a great Spanish architect, he is humble, says Zugaza. He knew how to work harmoniously with the neoclassical architecture of the original. â€Å"The new wing was never intended to bear the bold signature of a Pei pyramid or a Gehry curve; it manages instead to be quietly beautiful.† Times Lisa Abend From the large vestibule, the visitor is lead on to an auditorium and temporary exhibition galleries and provides a fluid a vertical access via stairs, escalators and lifts, to the building constructed around the cloister. The level of the Prado museum is kept below ground level and the geometry of the perimeter of the Cloister is predetermines the design of the new building. Furthermore, we must note that the dimensions of the temporary exhibition galleries are determined by the cloister and both reflect the prevailing, though, diverse, structural conditions. Hence, while in one of the galleries the four columns are arra nged to sustain and withheld the weight of the floor slabs, in the other they are set further apart and give rise to an opening/void which brings natural light down from the skylight roof top of the cloister. Therefore, the lantern should not only be seen as an â€Å"object† but as a natural and indispensable structural element. The visitor will continue his/her journey through this transversal axis which starts from the ground floor apse and leads on to the cloister, via a first flight of escalators that takes the visitor up to the level of Calle Ruiz de Alarcon and the entrance door to the new building. Here the form and the arrangement of the temporary exhibition galleries are yet again dictated by the shape of the cloister and where the lantern plays an important structural role. A further temporary exhibition gallery set below the platform designed at the level of los Jeronimos and a loading and unloading area in the Calle Casado del Alisal complete this floor. Con tinuing the ascent in the new building the visitor approaches a mezzanine level accommodating a studio. They will then reach the end of their after being take up the last set of escalators to one of the corners of the Cloister that serves also as the main entrance to it, finally they reach their destination: the Cloister. It is important to stress that the Cloister of San Jeronimo does not purely serve as a reference point to all the circulation movements nor is it solemnly an object but more importantly serves as a structure, framework and support for the new building. The cloister should be dealt and seen as a light that illuminates all of the extension; as a work of art incorporating the museums collections; as an architectural element that embodies and justifies all that is built around it. The cloister is all of this at the same time however, let us not forget that it can also be conveyed and interpreted as a reference to the past a testimony of that built in the time of Phi lip IV, the Patron of Velasquez, also, recalling the importance of the monarchs of the House of Austria in Spanish history. A series of spaces have been arranged around the cloister for use as studios, workshops and for restoration purposes of works of art, together with their corresponding laboratories and services. All these spaces are open towards the cloister using large glazed windows: allowing, natural light to filter from the cloister’s skylight to these spaces yet creates a strong visual â€Å"interaction† between the public and private and the â€Å"public public† at distinct levels. Moneo’s use of literal transparency is evident here. It allows the public realm to interact even though only at a visual level, the activities behind the organization of a museum. The idea that, a visitor coming to the Prado can relate both with the circulation and movement of the alike-visitors and that of the people working in it, really brings everything in to context. The latter: â€Å"public public† at distinct levels, is created via the void of the lantern. At cloister level, not only will light propagate to the other levels, however, there will also be a relation between visitors at different levels in distinct spaces, experiencing diverse spatial movement, atmosphere and light conditions. Having dealt with the transversal axis leading from the main entrance on the Paseo del Prado leading to the cloister, and how this thought through design justifies the architecture of the new building, nevertheless mentioning how this transit affects the urban environment or the impact that these new constructions will have in the area is vital. The fact that the extension of the Museum is situated in the area of the Jeronimos has allowed the architect to act on what may be considered and portrayed as the weak side of the museum, the rear of the building, this having been clear from the start due to the result of the successive extensi ons during the years. This new extension has completely transformed this eastern side at the â€Å"rear† of the museum. The imprecise and uncertain intersection produced between the bank raised by the Calle Ruiz de Alarcon and the additional volumes added to the museum through the years, has been masked by a planted-out platform of box hedges which recall the 18th century gardens, which covers the oblique-shaped foyer area. Interestingly, the architect’s initial intention was to create a transparent roof using steel and glass, however due to both structural and mal interpretational problems. In an interview he continues by saying: â€Å"How are we going to consider this glazed roof that has not got the safety characteristics of the museum and that looks similar to a supermarket, a bus station or a shopping mall? The answer was placing the garden as the building roof’s top† The sloping area, so important to the relationship between the old and the ne w building, is hardly understood from the outside. In fact the visitor is left perplexed, as he/she approaches the new building, what happens to be the foyer area, the trapezoidal area, from the outside looks like an urban irregularity, with a raised/terrace platform supporting a gardened area. It undeniably does not look like a building. The garden set above this terrace may be considered a transitional level between the back of the Villanueva building and the buildings set around the cloister, and a reunion between the museum and the slope running down from the park of the Buen Retiro to the Paseo del Prado, in the same manner of the original Academy building built by Villanueva. As a juxtaposition the emblematic access to the museum via la Puerta de Cristina Iglesias, situated on the Calle Ruiz Alarcon, integrated in the plain, clear pressed brick faà §ade, within a portal of double height, fluted columns crowned by a Macael marble lintel is perhaps the most outstanding featu re. Yet, this entrance is used for ceremonial occasions only, establishing an alternative, independent and complementary route to the ones drawn by the earlier mentioned entrances. The new building and the gardened terrace serve to consolidate the urban profile of both the Casasdo de Alisal and Ruiz de Alarcon streets. The gardened public area covering the foyer ensures that the entire museum is now surrounded b a green blanket and may be considered as a nexus between this and the not too distant Botanical Gardens: creating from a distance a continuous homogenous green carpet. The complex geometry of the terrace has been divided into avenues or parterres set in stone boxes, and is arranged as such that we are invariably lead to the Villanueva apse, which nevertheless, logically, impossible to reach from here, returns the visitor to the very cornerstone of this project and all of those achieved throughout the history of the Prado museum. Transparency The protection and restoration of our architectural heritage is a field where glass, as a construction material, has often been called upon to play an important role. Glass constructions, glass facades, the use of glass in general, can ‘protect’ and ‘harmonise’ monuments and define their new historic phase: the ‘modern’. However, future in glass constructions can also be seen as working with the past: in working with old buildings trying to find forms and ways to keep the authenticity of the historic materials and prove the continuity of human history. The use of glass in construction, allows a building to feel ageless and neutral, in fact the two most important aspects of glass are the following: Reversibility of glass constructions, which refers not only to the level of construction but also to a conceptual level, as transparency offers way to simultaneous seeing. Transference of historic and time scale, as use of glass construction/glass facades/, explicitly state the time elapsed between the historic and contemporary, without confusion regarding time or meaning. Moneo does the latter more literally, his creative work, allows natural light to filter through both sides of the vestibule that connects the old and the new extension, as well as the through the top in the new spaces allocated as temporary exhibition spaces, arranged and distributed in three levels surrounding the cloister. To create different light effects, and spatial atmosphere, the architect, designed a glass lantern, substantially a â€Å"cube of light†, that runs through the three different levels, starting in the cloister. In this way natural light is distributed via the skylight placed on the ceiling of the cloister, down to the ground floor. The use of glazing is a very recurrent material, a recognisable signature of Moneo. In fact, glazing in the extension plays a major role; the architect uses natural light penetrating and diffusin g through it, in a very imaginative way, creating landscapes of natural light. In an article in the Journal of Architectural Education on Transparency it suggests and states that: â€Å"The modern fascination with making interior and exterior space continuous is yet another manifestation of transparency.† There is a clear evidence of this in Moneo’s extension. As the visitor comes through the floor to ceiling windows walkways, the visitor encounters the change from old to new, the â€Å"transportation† of one self from the red Pompeian vestibule to the new foyer of the extension, stopping at a pivotal point: the patio, here the visitors feels neither inside or outside. Moreover, a large glazed opening situated in the most south flank of the extension allows light to filter in at most hours of the day. It is allocated at a higher level both to the patio and the sloped Calle Ruiz Alarcon, and at the north flank of the extension and looking across, the vis itor only encounters a green landscape and trees coming from the adjacent Botanical Gardens, it strongly suggests that Moneo’s intention was to continue this â€Å"landscape† not only at the exterior but also creating the same atmosphere inside the building. We must also note and stress the emphasis Moneo sets on adhering to the historical context. His use of materials and his design clearly recall that of Villanueva’s building. This in a way addresses another from of transparency, his transparency of thought while designing the museum but also underlines his sensitivity and respect in regards to the original building of Villanueva and the unique buildings adjoining it. In an interview Moneo states that: â€Å"I would have liked to prolong the life of the Prado or the life of the architecture of Villanueva executing it in the most†¦I was going to say useful†¦the most judicious way..† moreover continues by affirming that â€Å"good archite cture should protect itself.† Moneo in his interview continues unfolding the various interventions the Prado museum had undergone however, always keeping and maintaining its integrity and identity and felt that he had to do the same, however enhancing the building with the topography, â€Å"not the natural topography, but a new topography that created and constructed the city. We have forgotten that the back of the Prado was an unresolved site. The new design establishes a much more integral relationship between the adjacent streets and the building; it can now be understood either way.† One of the clear characteristics of the building is Moneo’s use of old craftsmanship techniques in his stone work, bronze, wood and stucco, and most importantly brick the most dominant material at its exterior. This passage, the concluding question in the interview the interviewee asks why his choice of materials, Moneo’s response was a clear one, a thought one, a trans parent one: â€Å"Brick is a material that has always been related to craftsmanship, and craftsmanship has always been related to architecture. The XX century has erased a lot of the traditional craftsmanship and buried many of the attributes of vernacular architecture. In this sense, brick is more and more anomalous and odd to the current architecture issues, which are more focused on the industrial processes. I did use bricks when working for Bankinter, in Atocha train station and in the Prado museum, but not because I like this material. I come from a town of pottery and potters and bricks, but it is mostly this respect towards the environment the reason to employ brick. And now that we are talking about the Prado, I remember someone from the council who asked/wondered, in relation to the brick cube we started from, why more modern materials were not used. I believe that next to the Jeronimos church, glazing would have been too shiny, and the use of stone extremely arrogan t.†

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10 Geographic Facts About Easter Island

Easter Island, also called Rapa Nui, is a small island located in the southeastern Pacific Ocean and is considered a special territory of Chile. Easter Island is most famous for its large moai statues that were carved by native peoples between 1250 and 1500. The island is also considered a UNESCO World Heritage Site and much of the islands land belongs to the Rapa Nui National Park. Easter Island has been in the news because many scientists and writers have used it as a metaphor for our planet. Easter Islands native population is believed to have overused its natural resources and collapsed. Some scientists and writers claim that global climate change and resource exploitation may lead to the planet collapsing as did the population on Easter Island. These claims, however, are highly disputed. Interesting Facts The following is a list of the 10 most important geographic facts to know about Easter Island: Although scientists do not know for sure, many claim that human habitation of Easter Island began around 700-1100 C.E. Almost immediately upon its initial settlement, the population of Easter Island began to grow and the islands inhabitants (Rapanui) began to build houses and moai statues. The moai are believed to represent status symbols of the different Easter Island tribes.Because of Easter Islands small size of only 63 square miles (164 sq km), it quickly became overpopulated and its resources were rapidly depleted. When Europeans arrived on Easter Island between the late 1700s and early 1800s, it was reported that the moai were knocked down and the island seemed to have been a recent war site.Constant warfare between tribes, a lack of supplies and resources, disease, invasive species and the opening of the island to foreign slave trade eventually led to Easter Islands collapse by the 1860s.In 1888, Easter Island was annexed by Chile. Use of the island by Chile varied, but during the 1900s it was a sheep farm and was managed by the Chilean Navy. In 1966, the entire island was opened to the public and the remaining Rapanui people became citizens of Chile.As of 2009, Easter Island had a population of 4,781. The official languages of the island are Spanish and Rapa Nui, while the main ethnic groups are Rapanui, European and Amerindian.Because of its archaeological remains and its ability to help scientists study early human societies, Easter Island became a UNESCO World Heritage Site in 1995.Although it is still inhabited by humans, Easter Island is one of the worlds most isolated islands. It is approximately 2,180 miles (3,510 km) west of Chile. Easter Island is also relatively small and has a maximum altitude of only 1,663 feet (507 meters). Easter Island also has no permanent source of freshwater.Easter Islands climate is considered subtropical maritime. It has mild winters and year-round cool temperatures and abundant precipitation. The lowest average July temperature on Easter Island is around 64 F (18 C) while its highest temperatures are in February and average about 82 F (28 C).Like many Pacific Islands, the physical landscape of Easter Island is dominated by volcanic topography and it was formed geologically by three extinct volcanoes.Easter Island is considered a distinct eco-region by ecologists. At the time of its initial colonization, the island is believed to have been dominated by large broadleaf forests and palm. Today, however, Easter Island has very few trees and is mainly covered with grasses and shrubs. Sources Diamond, Jared. 2005. Collapse: How Societies Choose to Fail or Succeed. Penguin Books: New York, New York.Easter Island. (March 13, 2010). Wikipedia.Rapa Nui National Park. (March 14, 2010). UNESCO World Heritage.

The Core Layers Of Defense - 1232 Words

Internet of Things is a new technology that delivers communication among billions of smart devices via the Internet such as smart car, vending machine, smart house, health system and business system, etc. Nearly 50 billion devises and sensors will be connected to the Internet by 2020 and most of them will perform their duties without having security. In addition, the critical mission of a massive interconnected devices are security and interoperability. Hackers will use more complex tools and techniques to breach the network system. Hence, companies should establish strong security countermeasures and the best approach to provide superlative is security by deploying multilayer security method which is called defense in depth. Defense in depth is considered as a vital part for securing the Internet of Things because defense in depth eludes a system from facing single point of failure. This paper discusses the seven core layers of defense in depth approaches which are policy, procedure s and awareness, application security, data security, physical security, host and server security, network and perimeter security, and wireless security. The first layer of defense in depth are policy, procedures and awareness, which are the most important parts of the defense in depth. The first part is policy, policy is a set of rules and principles which are written to govern all organization areas in order to secure the assets. Policy should clearly and accurately determine all of theShow MoreRelatedThe Core Layers Of Defense1237 Words   |  5 Pagesapproach which is called Defense in Depth. Defense in Depth is considered as a vital part for securing the Internet of Things because it prevents a system from facing single point of failure. This paper discusses the seven core layers of Defense in Depth approaches which are: policy, procedures and awareness, application security, data security, physical security, host and server security, network and perimeter security, and wireless security. The first layer of Defense in Depth is policy, proceduresRead MoreThe Core Layers Of Defense1232 Words   |  5 Pages which is called defense in depth. Defense in depth is considered as a vital part for securing the Internet of Things because defense in depth prevents a system from facing a single point of failure. This paper discusses the seven core layers of defense in depth approaches which are: policy, procedures and awareness; application security; data security; physical security; host and server security; network and perimeter security; and wireless security. The first layer of defense in depth is policyRead MoreBetty Neumans Systems Model918 Words   |  4 Pageswholistic overview of human beings. There are four major concepts discussed within Dr. Neuman’s theory; the person, the environment, health, and nursing. The person is a multidimensional being consisting of several lines of defense and resistance in order to protect the basic core structure in the event of a stress response. The environment is defined as the totality of three types of stressors that interact with a person at any given time and has the potential to affect the stability of the systemRead MoreUnit 6 Assignment 6 Chris Wiginton Essay690 Words   |  3 PagesIS-3120 Unit 6 Assignment 6 Cisco-Layer 2 Resiliency Compared to HP’s IRF In order to provide speed and reliability, large and enterprise-level networks today are typically constructed in multiple layers. They are the access layer, also called the network edge layer, the aggregation or distribution layer; and the network core layer. The access layer is usually a mesh of network switches, linked to other switches in the aggregation layer, which in turn is linked to the core. This mesh type application ofRead Morebetty neuman Essay619 Words   |  3 Pagesnurses and humans. The model views the person as a layered, multidimensional whole that is in constant dynamic interaction with the environment. The layers represent various levels of defense protecting the core being. The two major components in the model are stress reactions and systemic feedback loops. Clients react to stress with lines of defense and resistance so as to achieve maximal level of stability. The client is in continuous and dynamic interaction with the environment. The exchangesRead MoreIntensive Short Term Dynamic Psychotherapy ( Istdp ) Developed By Habib Davanloo760 Words   |  4 Pagesagainst it. Symptoms and defenses keep the anxiety, and the feelings out of awareness. This theory utility the Triangle of Conflict and the Triangle of Person to conceptualize clients presenting concern (see figure 1). The Triangle of Conflict developed by Menninger in 1958 operationalized the notion of intrapsychic conflict in which impulses and feelings, defense, and anxiety each occupy one of the three corners (Della Selva, 1996). At the bottom of the triangle are the core emotions. When the expressionRead MoreFreud s Theory Of Anxiety937 Words   |  4 PagesISTDP was developed based on Freud’s second theory of anxiety (Della Selva, 1996). Freud’s theory suggested that anxiety rise when forbidden feelings and impulses are expressed because anxiety acts as a signal for defenses. Defenses are activated so that it would ward off the â€Å"dangerous† emotions, and thus reduce anxiety (Malan Della Selva, 2012). According to Davanloo, â€Å"dangerous† could be any feeling, impulses, or action that could threaten an attachment bond, usually w ith significant othersRead MoreTcp/Ip674 Words   |  3 Pagesstandard designed for large networks consisting of network segments connected by routers, and is the protocol used on the Internet (Hillpot Ivy, 2005). TCP/IP’s roots can be traced back to research conducted by the United States Department of Defense (DOD) Advanced Research Projects Agency (DARPA) as early as 1960. In the best bureaucratic tradition, DARPAs (or ARPA, as it was called at the time) involvement in the creation of the internet began with a memo dated April 23, 1969 that was authoredRead MoreAn Effective Defense Mechanism Within The Organization s It Framework975 Words   |  4 Pagesexperts to believe that having an effective defense mechanism in place is a much viable option than to be reactive to threats. This also makes sense from a business perspective. Companies want their IT investments to further their business goals and not to be constrained too much by focusing heavily on IT security, which could potentially lead to an increase in operational costs to tackle security issues. This executive summary will focus on the â€Å"Defense in Depth† which is a comprehensive securityRead MoreThe Structure And Function Of Endospores And Capsules Work2072 Words   |  9 Pagesincluding heat and UV (Atrih Foster, 2002), and this characteristic is facilitated by their unique spore structure. Bacterial capsules play an important role in the virulence of bacteria for their host, and enable bacterial cells to evade host defense mechanisms and survive hostile environments. The structure and function of endospores and capsules work specifically to benefit the microbial cell; furthermore, various physiological changes occur in these structures as a result of environmental stress

Does Your Mother Tongue Shape How You Think Free Essays

In the article â€Å"Does your mother tongue shape how you think† Guy Deutscher argues that our mother tongue does indeed shape our experiences of the world. However, it does not do so as Benjamin Lee Whorf’s theory suggests but rather because of what our mother tongue habitually obliges us to think. Guy Deutscher takes a claim made by Benjamin Lee Whorf, a chemical engineer, who essentially stated that our native language constrains our mind and we are unable to grasp concepts that are not given words to in our language. We will write a custom essay sample on Does Your Mother Tongue Shape How You Think? or any similar topic only for you Order Now He said that when a language does not have a particular word for a concept, the concept itself cannot be understood by the speaker. Deutscher argues that Whorf did not have any evidence to substantiate this theory and that his claim is wrong on many levels. He gives an example that although there isn’t an English word for Schadenfreude in German; it does not mean that an English speaker is unable to comprehend the concept of pleasure in someone else’s misery. Whorf’s theory was â€Å"an alluring idea about language’s power over the mind, and his stirring prose seduced a whole generation into believing that our mother tongue restricts what we are able to think. † Yet, due to the lack of evidence to back up his claim the theory crash landed. This is where Deutscher presents his argument that our mother tongue can influence and affect what it habitually obliges us to think about. He does so by presenting differences from language to language and explains the many tests that were conducted in recent years to back up his theory. i] Duetscher considers many different languages and compares the differences; such as in English we don’t have to say the gender of the person we are speaking about but in French and German we would be compelled to inform the listeners of the gender. However, in English we must speak of the timing of the event such as past, present or future but in Chinese there is one verb that represents t he concept of time. When a language routinely obliges you to specify certain types of information, this makes people stay more attentive to the details. But the little details can change from language to language and a major example is inanimate objects having a gender. There were various experiments done in recent years with German and Spanish speakers. The test was to see how each person responded to an object. When asked about a bridge the German speaker believed it to be feminine and the Spanish speaker believed it to be masculine. Another test had French and Spanish speakers asked to assign human voices to objects in cartoons. When a fork was shown, the French speakers chose a woman’s voice but the Spanish speakers chose a man’s voice. This is due to how some languages have related many inanimate nouns with gender; which Deutscher believes does affect how people see different things in the world and how it will shape their experience of life. Deutscher uses the Australian aboriginal tongue, Guugu Yimithirr, as a great example to back up his theory because they use cardinal direction which allows them to see and speak of the world in a different way than English speakers or egocentric coordinate speakers. While arguing his point he uses a good example of how these two languages can differ and shape your experience of the world with something as simple as the way you view a hotel. â€Å"One way of understanding this is to imagine that you are traveling with a speaker of such a language and staying in a large chain-style hotel, with corridor upon corridor of identical-looking doors. Your friend is staying in the room opposite yours, and when you go into his room, you’ll see an exact replica of yours†¦But when your friend comes into your room, he will see something quite different from this, because everything is reversed north-side-south. In his room the bed was in the north, while in yours it is in the south; the telephone that in his room was in the west is now in the east, and so on. So while you will see and remember the same room twice, a speaker of a geographic language will see and remember two different rooms†. Deutscher uses this to simplify that our mother tongue does indeed shape our experiences of the world but not in the extreme sense of a â€Å"Prison House† as Benjamin Lee Whorf’s theory suggests. Deutscher concludes that the impact of our mother tongue goes far beyond what has been experimentally demonstrated and is believed to have impacted beliefs, values and ideologies. With all this being said, Deutscher believes that the biggest step we can take toward understanding one another is the simplest step to take; which is to stop pretending we all think the same. ———————– [i] http://aafreenafzal. blogspot. com/2012/10/analysis-does-your-language-shape-how. html How to cite Does Your Mother Tongue Shape How You Think?, Papers

Analyse the poems France and dulce et decorum est Essay Example For Students

Analyse the poems France and dulce et decorum est Essay Analyse the poems France and dulce et decorum est Compare the meanings, themes, attitudes, format and language of the two poems bringing out the similarities and differences between the two poems. Use quotations to support your answers. These two poems were both written in the First World War but at very different times as the mood of the poems change dramatically. E.g. France was written in the very early stages of the war where the mood was very optimistic and victorious. Dulce was written by a poet that experienced what actually happened in the later stages of the war when the mood was very unpleasant and dismal. The poem France is about beautiful green trees and fields in France itself as most of the war was fought in France. This is a very optimistic poem, She triumphs, in the vivid green would show the optimism in the poem already in the first line, vivid green would describe the beautiful green countryside of France where you can imagine looking out of the trenches and being able to see for miles. However, in the poem Dulce, the soldiers are described in the first line as, Bent double, like old beggars under sacks, as to say that they were carrying great big heavy bags -sacks- which would make them bend double due to the weight. In these two poems, the first line of each poem puts the picture across straight away. Both poets experienced the same war, but wrote their poems at completely different times of the war, therefore the attitudes were also very different. Seigfreid Sasoon wrote his poem at the very early stages of the war; therefore, he had a very optimistic approach to the war, with the ideas of triumph, beautiful landscapes, upholding British traditions e.g. Cricket, and that god was on their side. Wilfred Owen wrote his poem at the later stages of the war when the mood was very dismal and gory, he describes the war as very nasty, being deaf to the hoots of gas-shells dropping, lame, blood-shod, blind, drunk, haunting flares, cursing through sludge, and the idea that this was so horrid that even the devil would be sick of the things that were going on in the war. Both poets have used high-powered metaphors and similes to describe landscapes, images, actions, sounds, views and almost anything that was involved in World War One. In the poem France, crowned by cloud pavilions white, showing the upholding of British traditions and how beautifully white the clouds were, where sun and quivering foliage meet, this would have been written to describe the beautifully clear skies and forests of France itself. A breeze of silver sheen describing the beautiful rays of sunlight. On the other hand, Dulce is very dismal and gory, using metaphors and similes to bring these emotions out. Bent double, like old beggars under sacks shows part of the exhaustion that they were suffering from, coughing like hags shows that  they were all ill with chesty coughs. Men marched asleep shows that the men were very tired, walking around like zombies. His hanging face, like the devils sick of sin this is to say that even the devil would be sick at the sight of what was h appening. The two poems were put together very differently France being very straightforward and easy to follow with methods such as enjambement and rhyming couplets, whilst Dulce is a very disjointed poem that contains all types of methods, such as: similes, metaphors, caesuras, rhyming couplets, and oxymoron. There is also feeling of struggling and drama as an .u577565bc9098f20e9b12336f99a60bc5 , .u577565bc9098f20e9b12336f99a60bc5 .postImageUrl , .u577565bc9098f20e9b12336f99a60bc5 .centered-text-area { min-height: 80px; position: relative; } .u577565bc9098f20e9b12336f99a60bc5 , .u577565bc9098f20e9b12336f99a60bc5:hover , .u577565bc9098f20e9b12336f99a60bc5:visited , .u577565bc9098f20e9b12336f99a60bc5:active { border:0!important; } .u577565bc9098f20e9b12336f99a60bc5 .clearfix:after { content: ""; display: table; clear: both; } .u577565bc9098f20e9b12336f99a60bc5 { 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; } .u577565bc9098f20e9b12336f99a60bc5:active , .u577565bc9098f20e9b12336f99a60bc5:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u577565bc9098f20e9b12336f99a60bc5 .centered-text-area { width: 100%; position: relative ; } .u577565bc9098f20e9b12336f99a60bc5 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u577565bc9098f20e9b12336f99a60bc5 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u577565bc9098f20e9b12336f99a60bc5 .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; } .u577565bc9098f20e9b12336f99a60bc5:hover .ctaButton { background-color: #34495E!important; } .u577565bc9098f20e9b12336f99a60bc5 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u577565bc9098f20e9b12336f99a60bc5 .u577565bc9098f20e9b12336f99a60bc5-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u577565bc9098f20e9b12336f99a60bc5:after { content: ""; display: block; clear: both; } READ: Poetry ppt ms EssayRichard Banks 10E4 Ecstasy of fumbling, pain, paradox, and also ironic. Both these poems have completely different approaches to the war, as they are set in different times of the war and therefore have different attitudes towards it. Also the last line of each poem has an effect on the whole poem, in France, Voices of victory and delight meaning that it is a privilege to fight, die, and win the war for your country, whereas in Dulce, The old lie: Dulce et decorum est Pro patria mori, meaning, it is sweet and fitting to for ones country. To me, they both end with almost the same line, with the same approach, very ironic and deep, from the heart. Dulce et decorum est Pro patria mori

Opinion free essay sample

Music is the best type of Art What is art? Everyone knows about it, but could you say a lot about music? May be yes, may be no. Music is the best type of art. Before proving it , let’s talk about what music means. Music is an art form which medium is sound and silence. In many cultures music is an important part of people. Music contains all their history. May be for someone music is just noise of instruments, but not for me. Music reflects history, people’s fantasy, and theirs opinions about things in environment. Nowadays music has many different types.They are: Pop, Rock, Jazz, RB, RAP, Classic, etc. Everyone chooses the type which is more pleasant for him. Music is important for us. I am inclined to believe that music is the reason for our good health, high mood and active life . Music is medicine for our brain and heart. We will write a custom essay sample on Opinion or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I think that we really can use music as treatment. When you come home tired and nervous, just listen to classical (or any other) music. Then your brain start to relax, rest after all of the fuss. Your nerves will calm down by themselves and your body will relax. There are some facts, that proved that music is very useful in medicine.There is an example from article â€Å"Music as medicine†, when Victor Fabry laid in his hospital bed, a quiet symphony filled into his room. The steady pulse of a cardiac monitor marked the progress of his mending heart. His heart fell in rhythm, the music became his medicine. â€Å" Very restful, very soothing† said Fabry and added â€Å" The mind influences your recovery. Anything that your anxiety is powerful. â€Å" Dr. Claudius Conrad, a senior surgical resident at Harvard Medical school and, himself, a gifted pianist said â€Å"Modern medicine is just starting to understand how it works.Research has already shown that if you play a piece like Mozart at a certain slow beat, the listener adapt their heart beat to the beat of the music. † Also Dr. Ali Rezai, director of the center for Neurological Restoration at Ohio’s Cleveland Clinic said â€Å"We know music can calm, influence creativity, can energize. That is great. But music’s role in recovering from disease is being ever more appreciated. † In short, music is very useful for our health, it makes us strong and I can audacity say that music is medicine. Secondly, music can raise our mood.Modern technique’s give us chance to always enjoy music. Nowadays we have different kinds of Mp3 players, iPOD, mobile phones, in which we can download all our music’s which we like to listen. In anytime and anywhere you can listen to music. When you are crying or if you are sad, music is always ready to raise your mood. If you say that music is only for young generation, you will be wrong. It is for everybody. I think it is normal if any adult person listens to music. It is not bad that he wants to enjoy and have a high mood. In â€Å"Sad – in a nice way! Annelies van Goethem argues that we can regulate our mood with music. It is not matter chosen or not, music will influence our mood. But everyone knows that music which chosen influences more in anywhere. Also there is some sentences which I liked: â€Å"From exposure and lifelong experience with music, we develop knowledge of which kinds of music influences us in which ways. We use this knowledge to actively influence our moods in the direction we desire – maintaining a relaxed mood, changing an angry mood, creating a happy mood or even enhancing a sad mood. All I want to say is that music is one of reasons for our high mood. Finally, music forces us to lend active life style. More adult people like doing some exercise in the mornings. Also people like to keep himself shape, so they sometimes visit fitness clubs, running in the morning and cycling. Are there any reason to do it without music? Sure no. I think it is very useful for sportsmen. When he is training with music, benefit is more, because he moves in the rhythm of music. He will develop himself with pleasure. Dance is activity too. Can you imagine an empty night club?I think that of course no. Every teenager wants to visit a night club. I know few people who don’t like or can’t dance. If someone says to me that, I will just think that he feels embarrassed. But it is so beautiful when movements of your body merge with music beat, dynamic and rhythm. When I see it, I can say that is an art. In conclusion, music is one of the most important things in our life. It always taken place in the heart of everyone. Music is something without which many peoples can not stay specially teenagers, but life is too important compared to music if there is life you can enjoy music.