The Sons Veto Essay Example for Free

The Sons Veto Essay The Son’s Veto is a short novel written by Thomas Hardy. The three protagonists in the story are Sophy, Sam and Randolph. Sophy is from a lower class background however marries a clergyman. Mr Twycott commits social suicide when he marries Sophy, so they move away from North Wessex to London where no one knows about Sophy’s past. Thomas Hardy generates sympathy for Sophy here because she has moved away from her home town and is separated from her family and friends. Also she moves away from her husband to be Sam. Whilst Mr Twycott is alive, Sophy is reasonally content with her lifestyle yet still isn’t quite adjusted to a ‘lady’ life. We see this when her son Randolph corrects her grammar. ‘Surely you know by this time’. When Randolph belittles his mother we feel sympathy for Sophy as this is an unnatural mother and son relationship. ‘His mother hastily adopted the correction, and did not resent his making it..’. Thomas Hardy makes Sophy seem very unconfident and timid towards her own flesh and blood, which makes us feel sympathy for her. Also, Sophy is mostly in a wheel chair due to her ankle injury whist in Wessex. She is unable to walk and on the occasions she does she finds it a struggle. As readers we sympathise with her here because not only is she trapped and out of place in London, she is also trapped in her own home because she cannot walk. Her son Randolph is her aid to getting around and without him she is stuck. Thomas Hardy makes us pity Sophy because she is very vulnerable to her son because he holds the power. Thomas Hardy generally makes us feel sympathy with Sophy because she did not marry her husband out of love, she married him out of respect. ‘Even if she had wished to get away from him she hardly dared refuse a personage’ When her husband dies, Sophy starts to reflect on her former life in the ‘native’ village in North Wessex. During the time period, women were not very well respected so Sophy cannot go to her own husband’s funeral. After a while of not sleeping and reminiscing of her life in Gaymead, it is when she is glancing out the window where she sees the former gardener of Gaymead, Sam. She realises that she misses the way she used to live but she is ‘trapped’ because of Randolph who is a ‘gentlemen.’ So far in the parts we have read, Thomas Hardy generates sympathy for Sophy Twycott by constantly reminding us of her former past and how it would be very hard to go back because of her son.

Charlotte Haze

Charlotte Haze Literature is not solely a method of entertainment. It is also used to expand a readers mind by allowing them to enter a different world. To do so, a reader will often have to suspend their disbelief. It is very rare that one must question what he/she is reading. Vladimir Nabokovs Lolita is the confession of an erudite European intellectual with an obsessive desire for nymphets-girls between the ages of nine and fourteen who are, as he judges them, sexually aware. In Humbert Humberts confession, he admits to the years of molestation of a young girl referred to as Lolita (Dolores Haze). This confession is written by him while awaiting trial for a seemingly unrelated murder. At the end of the novel, Humbert states that the murder he committed was an act of love and he rationalizes not only his violence but his pedophilia. Although the confession seems free-flowing and a spur of the moment decision on the part of the narrator, how does Nabokov indicate that Humbert Humbert is an unrelia ble narrator through the use of literary devices and linguistic patterns in Lolita? Despite Humbert Humberts horrid crimes, his language and wordplay make for a more pleasant reading experience than one would expect. Through the use of characterization, diction, and comparison and contrast, Nabokov suggests that Humbert is unreliable and knowingly writes a tale that paints himself as a victim of circumstances. Characterization: As Humbert Humbert is the narrator of the novel, he characterizes the individuals in the story. No second opinions are presented; therefore the reader is given a one-dimensional interpretation of each character. There are clues in the novel that suggest Humberts descriptions are biased in his favour, including the rapid changes in the characters personalities and the tone in which they are described. Humberts descriptions of Charlotte Haze, in particular, change significantly as the story progresses. Charlotte, Lolitas mother and Humberts eventual wife in the novel, is a middle-class American housewife who aspires to be sophisticated and cultured. Her relationship with her daughter is strained as she focuses all her attention on accommodating her lodger Humbert Humbert, who finds her intolerable and simply wants access to Lolita (Dolores Haze). During the beginning of the novel and the beginning of their relationship, Humbert refers to Charlotte simply as the Haze woman. His disgust and aggravation is apparent even at the mention of her presence. When first describing Charlotte to the reader, Humbert states: I think I had better describe her right away, to get it over with. She was, obviously, one of those woman whose polished words may reflect a book clubbut never her soul; women who are completely devoid of humour (Nabokov 37). His dislike for Charlotte is made clear from the m oment she is introduced to the reader; however Humbert continues to point out her vulgarity and lack of sophistication. One night, while secretly fondling Lolita on the front porch, Humbert writes: [Lo] fidgeted a good deal so that finally her mother told her sharply to quit it and sent [her] doll flying into the dark (Nabokov 46). Charlottes behaviour seems over-the-top and disdainful. However, it is interesting that whenever Humbert has any inappropriate contact with Lolita, he follows quickly by writing of Charlottes contempt towards her daughter. After his contact with Lolita on the front porch, he quite sarcastically writes the following excerpt: [Lolita] had been spiteful, if you please, at the age of one, when she used to throw her toys out of her crib, so that her poor mother should keep picking them up, the villainous infant. Now, at twelve, she was a regular pest, said Haze. Her grades were poor. Of course, moodiness is a common concomitant of growing up, but Lolita exagerrate[d]. Sullen and evasive. Rude and defiant (Nabokov 46). Although expressing Charlottes frustration with her daughter, the speech is not a direct quote from Charlotte indicating that Humbert is paraphrasing what she has told him. This harsh-toned speech seems to be a convenient ploy on the part of the narrator to distract from the fact that he took advantage of a young girls trust for his own physical gratification. In fact, throughout the novel, Humberts abuse of Lolita is followed by negative dialogues from the other characters. Nabokov seems to suggest that Humberts confession is well thought-out and biased in his favour. It seems the narrator wants to justify his actions. After Lolita tags along to a shopping trip with him and Charlotte, Humbert quotes her mother as saying: It is intolerable that a child should be so ill-manneredwhen she knows she is unwanted (Nabokov 51). While they are driving, Humbert takes advantage of Lolitas proximity to hold, stroke, and squeeze [her] little paw all the way to the store (Nabokov 51). Humbert use s Charlottes contempt towards Lolita to justify his affection towards her. Although this physical contact is outwardly innocent, Humberts intentions are clearly pedophilic. It is by characterizing Charlotte as unmotherly and unkind that Humbert tries to gain the readers sympathy. He portrays himself as a father figure providing a mistreated girl with love. Before her death in the novel, Charlotte is portrayed as a brutal, unloving mother. However, after she is accidently killed, Humbert is free to parent Lolita. After he collects Lolita from the summer camp she was forced to attend, one notices the change in the tone he uses to address Charlotte. Lolita, since returning from camp, has remained troublesome and moody. After Humbert has consummated his relationship with the young girl, they engage on a long road trip including many pit stops and shopping trips. The teenage girl is not particularly enjoying their voyage and is understandably vulgar and upset. Humbert is quoted many times as saying: Charlotte, I begin to understand you! (Nabokov 149). Humbert narrates and characterizes other individuals in a way that will arouse sympathy for himself. Previously, when Humbert would engage in inappropriate contact with Lolita, he would deliberately point out her mothers unaffectionate nature to justify his touching her child. Now that Charlot te, the obstacle, has been overcome and Humbert regularly molests and abuses her daughter, he points out Lolitas insufferable qualities. He now understands Charlotte and points out that she was not as negative a person as she seemed. Humbert does this in order to paint himself as a tired father putting up with his difficult daughters every whim. Humberts descriptions of Lolita also change, removing the characters likeability as the story progresses. At the beginning of the novel, Lolita is described as closely resembling Annabel, Humberts childhood love. Humbert explains that he is instantly captivated by her beauty: When I passed her in my adult disguise, the vacuum of my soul managed to suck in every detail of her bright beauty (Nabokov 39). Although Lolita is a mediocre American child, vulgar and even less polished than her mother, Humbert seems to view the girl through rose-coloured glasses. To him, she is not vulgar, but charming, not aggressive, but misunderstood by her wretched mother. Although Humbert does not appreciate Lolitas idolization of American pop culture, nothing much else is said with regards to her intellect. Interesting to note is Lolitas minimal dialogue in this part of the novel. She does not say much, except for her frequent arguments with Charlotte. In these arguments, Lolita is not portrayed as a de licate child, but rather a strong-willed, aggressive girl. I think you stink and this is a free country are some of the arguments made to her mother during their verbal fights (Nabokov 46). During one particular fight, Humbert writes: Later, I heard a great banging of doors and other sounds coming from quaking caverns where the two rivals were having a ripping row (Nabokov 48). Writing this, Humbert indicates that Lolita is able to hold her own against her mother. She is not the type to be trampled over or forced to do anything. By including dialogues and descriptions such as these, Humbert suggests that Lolita is a strong child who gets what she wants. In addition to describing her bad-temper, the physical contact between Humbert and Lolita is always said to be instigated by the girl. Humbert narrates: Presently an old gray tennis ball bounced over [Charlotte], and Los voice came from the house haughtily: Pardonnez, Mother. I was not aiming at you. Of course not, my hot downy darling (Nabokov 55). What to an average person would seem like a playful act derived from boredom, Humbert tries to illustrate as an act of seduction. Humbert portrays Lolita as a willing participant in his games, as shown in the following excerpt: Humbert Humbert intercepted [her] apple. In a sham effort to retrieve it, [Lo] was all over me. Every movement she made, every shuffle and ripple, helped me to conceal and to improve the secret system of tactile correspondence between beast and beauty-between my gagged, bursting beast and the beauty of her dimpled body in its innocent cotton frock (Nabokov 58-59). Although Humbert sits there almost inert during thi s encounter, and although Lolita comes to him, he instigates the situation by innocently taking her fruit from her. After her stay at a summer camp, Lolitas sexuality has changed drastically as the reader learns she has had her first sexual encounter. In this part of the novel, through direct quotes, Lolita is characterized differently. She is very teasing of Humbert: I did not [miss you]. Fact Ive been revoltingly unfaithful to you, but it does not matter one bit, because youve stopped caring for me anywayyou havent kissed me yet, have you? (Nabokov 112). Humbert then narrates: Lolita positively flowed into my arms (Nabokov 113). This is the first serious encounter the two characters have: a kiss Humbert narrates as having been Lolitas idea. Although Humbert describes the confidence with which Lolita engages in this behaviour, he also reveals that it was but an innocent game on her part, an imitation of fake romance. Having already lost her virginity to a young man at camp, Lolita initiates sexual intercourse with Humbert during their stay at a hotel. However, more than a romantic partner, Nabokov illustrates Lolita as a young girl in search of affection of any kind. Charlotte, not fitting the maternal archetype whatsoever, was jealous of the relationship between Humbert and Lolita. Having not yet learned that her mother is dead, and believing Humbert and Charlotte are still married, Lolitas contact and conversation with Humbert resembles a bitter act of rebellion against her mother who forced her to attend camp (an experience she describes as dirty and naughty despite her cool demeanor). Having sex with Humbert seems like more of a game to Lolita as she does not understand the severity of her actions. However, it is a way of betraying her mother, just as Charlotte betrayed her by sending her to camp. When Humbert reveals in a most insensitive way that Charlotte is dead, Lolita is truly heartbrok en. Humbert writes: At the hotel, we had separate rooms, but in the middle of the night she came sobbing into mine, and we made it up very gently (Nabokov 142). The quotation suggests that the two engaged in sexual relations once again, and although Humbert does not specify why Lolita was crying, it was most certainly due to the death of her mother and not the mild argument she had with him. The statement illustrates a young girl with no one to turn to except for the adult who victimizes her. Having lost her mother, her only remaining parent, Lolita turns to Humbert-her technical father. He uses her need for affection to gain control of the situation for his own physical gratification. Despite frequent dialogues and descriptions in which Lolita is shown to be unhappy and vulnerable, Humbert adds his own biased interpretations of Lolitas behaviour. She is characterized as a manipulative, able girl. If she is not bought certain things, if she is not allowed to go to certain places, Lolita withholds sex from Humbert. This is an unfavourable depiction of the young girl as her body is the only power she possesses. She has no money, and without Humbert, she cannot survive. In order to put herself in a position of power and achieve some sort of reward for her suffering, Lolita uses her sexuality-something Humbert describes as cruel, manipulative promiscuity. Killing Clare Quilty, the man with whom Lolita runs away, Humbert describes as an act of love for having forced Lolita into poverty. His possessiveness in this part of the novel indicates that he is defending his honour rather than hers. Humbert writes his confession in order to convince the reader that though he is g uilty, he was controlled by a force greater than himself. Through his dynamic characterization of the other characters, Humbert inadvertently reveals he is only interested in telling the story from a viewpoint that will allow the reader to sympathize with him. Diction: In addition to character development in Lolita, diction is also suggestive of Humberts unreliable narration. Throughout the novel, the reader is entranced by Humberts fancy prose style. It is the language used that makes the grotesque themes in the novel bearable. However, many recurring words and linguistic patterns used by Humbert betray the persona he wants to create. Although Humbert wants his confession to seem unbiased and unplanned, the first paragraphs of the novel indicate that his confession is directed to a particular audience-[the] ladies and gentlemen of the jury (Nabokov 9). He, himself, titles his work Lolita, as it is essentially the story of the young girl. However, the foreword written by the fictional Dr. John Ray titles it The Confession of a White Widowed Male. It is interesting that it is always during the most grotesque scenes in the novel that Humbert directly acknowledges the presence of the reader. When pondering whether or not to kill Charlotte, Humbert directly engages the reader(s): And, folks, I just couldnt! In silence I turned shorewardand still I could not make myself drown the poor, slippery, big-bodied creature (Nabokov 87). At times during the confession, Humberts writing becomes almost self-reflective-it seems he gets lost in his past experiences. Nonetheless, in the moments where his morals come into question and where his behaviour becomes criminal, he speaks directly to the reader. Humbert almost acts as his own lawyer, and in an eloquent persuasive tone, tries to sway the reader in his favour. Humbert also uses wordplay to foreshadow Clare Quiltys involvement and significance to the story. In the beginning of the novel, Humbert reads a review. Clare Quiltys name appears, alongside others, and plays are listed including The Little Nymph and Fatherly Love. Humbert says that Lolita could have appeared in a play called The Murdered Playwright, alluding to playwright Clare Quiltys murder. Quiltys presence is always felt in Lolita even before his character is introduced. This leads the reader to believe that Humberts narrative is not free-flowing, but rather serves a direct purpose: to gain sympathy from the reader for the murder he committed. In addition to the change in audience, the connotation and tone of the words used change depending on the situation. Besides Humberts descriptions of nymphets, every other character and experience in his confession is described with cynicism and irritation. Nymphets are introduced as fantastical beings: Nine and fourteen [are] the boundaries-the mirrory beaches and rosy rocks-of an enchanted island haunted by those nymphetsand surrounded by a vast, misty sea (Nabokov 16). This description seems out-of-character for Humbert, who otherwise presents himself to be (within reason) rational. Humbert also states that not all girls in this age range are nymphets. It is the slightly feline outline of a cheekbone, the slenderness of a downy limb [which identify] the little deadly demon offantastic power (Nabokov 17). Humbert chooses to coin the term nymphet instead of using the accepted term of underage girl. By stating that he is not attracted to all young girls, Humbert tries to separate him self from regular pedophiles. The magical tone that surrounds these descriptions makes it seem as though Humbert is not in self-control and submits to the powers of these mystical demons who drive him to abnormality. It is interesting to note that Humbert is very scientific and technical in other parts of the book using jargon such as pederosis and pseudolibidoes. The two different methods of speaking represent Humberts ability to change according to circumstance. While trying to explain his helplessness in the presence of Lolita (and other nymphets), Humbert betrays himself through his word choice. Although eloquent, his possessiveness jumps off the page. Whenever speaking of Lolita, seemingly arbitrary descriptions include possessive pronouns. This is demonstrated numerous times in the novel: How smugly would I marvel that she was mine, mine, mine (Nabokov 161). Constantly referring to the girl as my child, my Lo, my pet, Nabokov italicizes the pronouns to place emphasis on Humberts possessiveness. Furthermore, it is interesting to look at the sentence structure. Whenever events take place involving other people, Humbert makes sure to unite Lolita and himself: Last night, we sat on the piazza, the Haze woman, Lolita and I. Even when writing, Humbert must remain close to Lolita, using punctuation to separate Charlotte from the two of them. Humbert tries to label Lolita as the seducer and instigator of their physical relationship: She played with and kept sticking to my lap (Nabokov 45). Descriptions of such scenes are never explicit, but when movements are described, they are always those of Lolita. Humbert leads the reader to believe he is just a pawn in Lolitas game. In another section of the story, he writes that [Lolita] struck Humbert, quite painfully (Nabokov 65). This is yet another example of Humbert purposefully showcasing Lolitas strength and willpower. Surprisingly, he refers to himself in the third person-something he does often when he bribes/seduces Lolita. It is unavoidable for Humbert to implicate himself in the novel, but when he narrates the more disturbing things he does, he never personalizes it, using Humbert instead of I or me. By doing so, Humbert defeats the purpose of a confession, not really acknowledging it was him who did anything wrong. Although Lolita is shown to sometimes be an hasty child, the words used to describe her when shes around Humbert always paint her as bold and aggressive. She is said to make Humbert nervous. When Lolita reproaches him for his lack of kissing skill, Humbert tells her to show [him] wight ray (Nabokov 120). It seems out-of-character for the eloquent Humbert to be so inarticulate. However, through the use of diction and punctuation, Nabokov suggests that Humbert does not directly quote characters in the novel. In one part of the novel, Humbert writes: Look, we need to go, said Lolitaor something along that line (Nabokov 76). Even though Lolita is clearly quoted, Humbert cannot be sure. This allows the reader to create distrust in Humbert, as he clearly changes dialogue. Many of the letters and conversations Humbert includes in the confession, he admits are paraphrased. Therefore, it is quite difficult to completely trust Humberts story as some of his bias has inevitably seeped through. Also interesting are the nicknames given by Humbert to other characters. Charlotte is also known as the Haze woman, cold big Haze and Lady Hum. Humbert reveals his own mercurial nature by changing the connotation of the nicknames depending on his mood. The fact that his opinions of other characters change so rapidly and so often indicate that Humbert is using them to better his image in the eyes of the reader. There are instances where Humbert seems disgusted with himself, describing his attraction to nymphets as a monstrous love(Nabokov 83). Immediately after he reproaches himself, Humbert goes on to support pedophilia: We are not sex fiends! We are unhappy, mild, dog-eyed gentlemen sufficiently well-integrated to control our urge in the presence of adults, but ready to give yearsof life for one chance to touch a nymphet. Emphatically, no killers are we (Nabokov 88). Humbert never apologizes for his behaviour, admitting it is only society that makes him feel deviant. Contrast Comparison: Nabokov uses contrast and comparison in Lolita to indicate Humbert Humberts biased narration. Humbert often defends his pedophilia-reprimanding societys hypocrisy. He compares his relationship with Lolita to many historical couples: American president Abraham Lincoln and his younger wife, Italian scholar Petrarch and 12 year-old Laureen, and poet Dante Alighieri and his 9 year-old companion. Humbert mentions these relationships as if to validate his relationship with Lolita. These men, whose women were often their muse, served great purpose to society. Humbert questions the confines the law puts on his people (pedophiles), as these men of great status improved the world while sharing his love of nymphets. It is important to note Humbert does not dwell on the age of these men or the time period they lived in (hundreds of years ago). In addition to this, Humbert makes a direct comparison between Annabel, his childhood love, and Lolita. Dolores Haze takes on multiple names: Lo, Lola, Dolly, Hot Little Haze, and Lolita. Humbert states that: in [his] arms, she was always Lolita (Nabokov 9). Later on in the novel, one discovers that Lolita is derived from combining Annabels name with the name Dolores. Annabel Lee and Dolores produce Lo-lee-ta. Although Humbert ridicules psychiatrists, he drops many clues (including this wordplay) that suggest that Annabels early death is the reason for his attraction to underage girls. A love taken from him during a fragile age leading to sickness-this image, he hopes, will arouse the readers sympathy. In the novel, Humberts love scenes with Annabel are somewhat explicit; they use many metaphors and symbols: I was ready to offer her everything, my heart, my throat, my entrails, I gave her to hold in her awkward fist the scepter of my passion (Nabokov 15). As he and Annabel are of the same age, Humbert can be more direct with the reader in these scenes. Conversely, Lolitas sexual scenes with Humbert are quick and do not describe any physical interaction. One assumes that Humbert does this to avoid arousing disgust in the reader. This indicates that Humbert formulates his story in a way that keeps the reader on his side. Throughout Lolita, comparisons are made between older women and girls Humbert deems to be nymphets. Older women, no matter their role in Humberts life, are always unattractive, cruel and unintelligent. Valeria, Humberts first wife, is described as fat, dumb and completely inept. Charlotte Haze is also fat, disgusting and irritating. Young girls are always painted as desirable. The most beautiful language is used to convince the reader of the power of these nymphets. They are seductive, physically-tone, and delicate (Nabokov 17). Humbert tries to illustrate older women as revolting, so the reader will be able to empathize with his lifestyle. Younger boys, however, are never described in the same light as young girls. They are dirty, repulsive, and dangerous. Any boy Lolita speaks to, any waiter who comes into contact with her is described negatively. Humbert portrays himself as Lolitas protector, unwilling to let her be tarnished by these lowly creatures. This is how he sees Clare Quilty. He is the man who kidnaps his daughter and then abandons her. Before Humbert discovers that Quilty is the man Lolita runs away with, Humbert sets out on a mission to trace the fugitiveà ¢Ã¢â€š ¬Ã‚ ¦to destroy [his] brother (Nabokov 247). In the final scenes where Humbert and Quilty are fighting, Humbert narrates: I rolled over him. We rolled over me. They rolled over him. We rolled over us (Nabokov 299). This is the only time in the novel when Humbert (indirectly) acknowledges his mistakes. Referring to Quilty as his brother, Humbert illustrates that they are one in the same. They both helped in destroying a young girl. This is the only moment of remorse shown in the novel, as Humbert quickly reverts back to condemning Quilty. Conclusion: Although readers often expect the narrator of a novel to be completely truthful, it is important to question the reliability of the narrator. In Lolita, Nabokov indicates that narrator Humbert Humbert has his own personal agenda and tells the story in a very biased way through the use of characterization, diction, and comparison and contrast. Why then is this novel so compelling to read? Why does the reader insist on being lectured by the corrupt Humbert and feeding into his lies? Although the narrator is biased in his assertions, Nabokov makes sure to include several clues to help the reader discover Humberts deception. Lolita is not simply escape literature, as it requires the reader to actively think about the story being told. By placing trust in the reader and stimulating their intelligence, Nabokov has created one of the literary masterpieces of all time.

Escape to the Impossible - Original Writing :: Papers

Escape to the Impossible - Original Writing They’d been crawling for what seemed like days, or hours. How could they know? They could no longer contemplate the time, it seemed a long time ago when something as alien as time came into their lives. Even if they cared how would they know anyway? It was always dark down here, darker than anything the pair had ever known. Always on your sore hands and knees trudging through sewage pipes holding the faeces of an entire city’s population, each of them blissfully unaware of what was going on in their own spotless backyard. Simon accidentally sniffed before a sneeze, he instantly regretted it, the smell hit him like a shock wave, and he gagged, then explosively threw up into the suffocating darkness. But nothing came out, just a dribble of what was left of his acidic stomach juices, they had not eaten in days and were both famished and weak. â€Å"Simon, are you all right?† said Jasmine, his younger sister, who used to be very pretty until the day they had taken her and Simon away to the Camp. Now her eyes spoke of wordless horrors and her sleep was tormented by the private tortures she had endured. Now her cheeks were thin, her beautiful blonde hair straggly and dirty, and she had bags under her eyes from the lack of sleep her nightmares produced. â€Å"Yeah, in a minute.† Simon croaked, his throat burning still from his vomiting. They carried on crawling in silence. Oh and the silence, they dreaded it, imagine silence in the pitch black and then hearing the distant echo of footsteps, squelching through the unpleasant remains of dead rats and drunken takeaways. Not knowing whether they were real or unreal and that these might be the footsteps of someone tracking them – they too may be lost in the underground maze of pipes and sewers. Sometimes one of the two would try to hum a tune, but the silence like an animal instantly smothered them, until their humming

Overlooked Renassaince Painters :: Baccio della Porta Fra Bartolommeo Art Essays

Overlooked Renassaince Painters Even the average person with little or no background in art may have heard the names Leonardo da Vinci, Michaelangelo, or Raphael. Not only because they are the most famous and noteworthy painters, sculptors, draughtsmen, designers, and inventors of the high renaissance, but also because of the countless stories and movies, fact and fiction which included these men and at least mentioned their importance, relevance, and influences on today'7s world. Many children have grown up already knowing these names, and perhaps that they were artists however simplistic that may be, after the explosion of the Teenage Mutant Ninja Turtles in the late eighties. Perhaps there is one high renaissance artist who does not always recieve due credit, but who was influencial just the same. One such artist was Baccio della Porta, a Florentine renaissance painter. Baccio della Porta was born in Florence, Italy in 1472. As historians know, most artists went into apprenticeship at about the age of eleven or twelve at this time in Florence. Taking this into account, it is assumed that Baccio did become an apprentice of Cosimo Rosselli at that age since he was well known in his workshop by 1485. Baccio della Porta's master or teacher, Cosimo Rosselli, had probably just returned from his work in Rome in the Sistine Chapel. It is also known that the average length of time for an artist's apprenticeship was about six to eight years, putting Baccio on his own around 1490. According to many modern art historians, Vasari is the most reliable source of information on the life and works of Fra Bartolommeo after he entered the Dominican Order and became a brother.3 Baccio della Porta and a pier of his, as well as a fellow student of the arts, Mariotto Albertinelli became intimate friends during their apprenticeships. Following their apprenticeship the two decided to work proffesionally together at the home of Baccio della Porta. They made this decision to work together in 1491, but their "partnership" and friendship apparently ended when they went their own ways in styles and choices of schools to follow and associate with. Baccio della Porta joined the followers of Savonarolas, Mariotto associated with the Medici followers, specifically working for the patron Alfonsina Orsini who was the wife of Piero de ' Medici.

The Causes of School Violence :: Expository Cause Effect Essays Columbine

Violence in schools is an ever-growing problem in America. It seems every time we turn on the television we hear news of a new and even more disastrous event. The question we need to ask ourselves now is how can we prevent these tragedies. Many agree that looking at the behavior of students and trying to catch the problem before it escalates could be the solution. Schools increasingly believe that their responsibility is not only to teach academics, but also to curb violent, disruptive, and antisocial behavior. They recognize that underlying problems, such as bullying, teasing and learning disabilities, need to be addressed. Many of these problems were present in Eric Harris and Dylan Klebold, the adolescent murderers from Littleton, Colorado, but were not adequately addressed before the tragedy. Dylan and Eric had been quiet, intelligent boys and respectful to their teachers throughout middle school, but as they entered high school, things began to change. Dylan and Eric began to alienate themselves and became "loners". They would play violent games and were easily agitated. For a class project, Dylan and Eric made a video featuring gunmen in long coats shooting athletes in the school hallways. They were often made fun of by the "popular" crowd. Why were these signs left unaddressed? Research has shown that the students most likely to own guns and bring them to school have histories of antisocial behavior involving violations of school codes of conduct and criminal laws. Violence, typically, is used to express feelings, to manipulate others, or to retaliate against others. Warning signs include: * Inability to self-regulate emotions * Exposure to violence/abuse * Alienation/rebelliousness * Peer rejection * Substance abuse * Academic failure/ low goals, aspirations * Lack of effort in school Violent youth usually feel alienated. The key to curbing this behavior is learning to recognize these signs and getting professional help for those displaying them. The earlier the intervention, the more effective it will be. Some medical conditions have been connected with violent behavior in young people.

Design of a Hall Probe Pressure Transmitter Using Bellows

Design of a Hall Probe Pressure Transmitter using Bellows as Sensor R. Sarkar, Animesh Ghosh, Lipika Ghosh and N. Mandal Asansol Engineering College Vivekananda Sarani, Kanyapur, Asansol-713305 E-mail: [email  protected] com, ghoshanimesh. [email  protected] com, [email  protected] com Abstract: Bellows, an elastic type pressure sensor is generally used as a local indicator. To transmit the signal of bellows to a remote distance some technique is needed.In the present paper a Hall probe sensor has been used to convert the bellows movement into voltage signal which can be converted into 4 – 20 mA current signal and transmitted to a remote indicator. It has been observed that the transducer and transmitter outputs against pressure have a very good linearity and repeatability. The necessary theoretical equations along with experimental results are reported in the paper. Keywords: pressure measurement, bellows, Pressure transmitter, Magnet, Hall Probe. I. INTRODUCTION Pressu re is an important measuring and controlling technical parameter during industrial production process.In order to operate industrial production well, pressure should be accurately measured and controlled. Pressure can be measured in terms of absolute or gauge. The absolute pressure can be measured in terms of height of a liquid column in a manometer whereas the gauge pressure is measured by different types of sensors [1-4]. As for example bourdon tube, diaphragm, capsule, bellow element etc. operate as primary sensing elements for measuring positive or negative gauge pressure. The sensors like strain gauge, piezoresistance, LVDT, capacitive element, inductive element etc. ct as secondary sensors to measure positive or negative gauge pressure. The negative gauge pressure or vacuum pressure can also be measured by many other sensors like pirani gauge, ionization gauge, McLeod gauge etc. In industrial application it is required to transmit the measured pressure to a remote distance. He nce in a pressure transmitter, the change of sensor parameter due to the change of fluid pressure is converted into an electric or pneumatic signal by using a suitable transducer and that signal after amplification is transmitted to a remote receiver.Thus the pressure transducer is a vital part of any pressure transmitter and its performance determines the reliability of operation of the transmitter. Many works on development of reliable pressure transducer are still being reported by different groups of workers. B. Raveendran et al. [5] have designed and developed a MEMS based wireless modular pressure transmitter. A Bourdon tube based pressure transmitter unit using an improved inductance bridge network has been studied by S. C. Bera et al. [6]. Y. Ruan et al. 7] have developed a multipoint wireless pressure transmitting system composed of pressure sensor PTB203, A/D converter ADC0804, MCU STC89C52, wireless communication module CC1101, receiver module STC89C52, CC1101 and display module LCD1602. Zeng Mingru et al. [8] have developed a HART Protocol based intelligent pressure transmitter which is compatible with both analog and digital signals. K. Subramanian et al. [9] have developed MEMS type capacitive pressure sensor with sensitivity of the order of few fF/ kPa. Universal frequency to digital converter (UDFC) technique has been used by S.Y. Yurish [10] to develop an intelligent digital pressure transducer. A multiplexed frequency transmitter technique has been used by R. Vrba et al. [11] to design a reliable pressure transducer using ceramic diaphragm. In the present paper, a hall probe based pressure measurement technique has been developed. In this technique a permanent magnet is placed on the tip of the bellows with the Hall probe sensor on the top of the outside fitting of bellows chamber as shown in Fig. 1. The movement of the bellows tip is measured by a hall probe sensor.With the change of pressure the distance between magnet and the hall sensor d ecreases and so the magnetic intensity at the sensor increases. The Hall sensor senses this increase of magnetic field intensity and accordingly its output voltage increases with the increase of pressure. This signal is nonlinearly related with the movement of float. But for very small movement of the bellows this voltage will be almost linear. The experimental results are reported in the paper. The block diagram of the proposed transducer is shown in Fig. 1. Necessary athematical equations have been derived to explain the theory of operation of the transducer as well as transmitter. A prototype unit along with the signal conditioner has been designed and fabricated. The experiments have been performed to find out the static characteristics of the sensor, transducer and transmitter. The experimental results are reported in the paper. A very good linearity and repeatability of results with adjustable sensitivity of the transducer has been observed. [pic] Fig. 1: Diagram of the propos ed transducer along with float and hall probe sensorII. METHOD OF APPROACH In the present paper the pressure is sensed by a bellows. A magnet is placed on the top of the bellows. And the hall probe on the bellows chamber. The float movement of the bellows is converted into voltage by a hall probe sensor. Output voltage is amplified by an instrumentation amplifier INA101 and then converted into 4-20 mA current signal using signal conditioning circuit. This signal is then transmitted to remote station with negligible loss. Let the pressure is [pic] and the corresponding height of the bellows tip from reference is [pic].In bellows the height of the tip is proportional to pressure and is written as [pic](1) where [pic] is the constant Now the distance of the hall probe from the magnet is [pic](2) where [pic] is the total length of the hall probe from reference. In the present work the magnet is selected to be a circular permanent magnet. Let the radius and width of the magnet be ‘ [pic]’ and‘[pic]’ respectively. Hence magnetic field at the hall probe due to magnet is [pic](3) where [pic] is the constant depending on the pole strength of the magnet, its radius and permeability of air which are all constants.Since [pic] equation (3) is reduced to [pic] (4) [pic](5) The above equation is equally true for very low pressure also. Since at low pressure [pic], so equation (5) is reduced to [pic] (6) Now the output hall voltage [pic] of the hall sensor is proportional to [pic] if the current passing through the sensor be kept constant and hence it is given by [pic](7) where [pic] is the constant of proportionality. Hence from equations (5) & (7) [pic] (8) or, [pic](9) where [pic] is another constant. Therefore from equations (1), (8) and (9), the output from hall probe is given by [pic](10) pic] (11) [pic](12) Therefore output is linearly related with pressure. III. DESIGN In the present design a cylindrical permanent magnet is selected of inner r adius [pic], depth [pic], width [pic]. In our present design, [pic]. The output of hall sensor is amplified by INA101 based instrumentation amplifier. The gain of the instrumentation amplifier is set by external resistor R1. This output signal is first converted into amplified voltage signal [pic]in the range 1-5 volt D. C. and then into current signal[pic] in the range 4-20mA D. C. y a signal conditioner circuit as shown in Fig. 2. After calibration the output of the transmitter becomes 4mA when [pic]is 1 volt and pressure[pic]is zero psig and 20mA when [pic]is 5 volt and pressure[pic]is at maximum range [pic]of the bellows. Hence the transmitter voltage output[pic] in volt and current output[pic]in mA may be written as, [pic] (13) and [pic] (14) From (13) and (14), [pic] (15) where [pic]and [pic](16) [pic] Fig. 2. Block diagram of the proposed pressure transmitter using bellows element as sensing device pic] Fig. 3: Circuit diagram of hall probe based pressure indicator IV. EXPERI MENT The experiment is performed in two steps. In the first step, the proposed transducer was designed, fabricated and mounted on the outside cover of bellows chamber as shown in Fig. 1. The bellows with the above sensor was first fitted with a dead weight tester and the dead weight of the dead weight tester was increased in steps and in each step the Hall voltage output is measured and the characteristics of the hall sensor based transducer unit is determined.The characteristic graph obtained by plotting Hall voltage against Pressure is shown in Fig. 4. Experiment was repeated both in increasing and decreasing modes for several times and the standard deviation curve for six observations is shown in Fig. 6. In the second step the output of the pressure transmitter is taken in terms of current signal and he characteristic is shown in Fig. 7. [pic] Fig. 4: Characteristic graph obtained by plotting Hall voltage against Pressure [pic] Fig. 5: Percentage deviation Curve of the Hall Probe based Pressure Transducer [pic]Fig. 6: Standard Deviation Curve of the Hall Probe based Pressure Transducer [pic] Fig. 7: Characteristic graph of hall probe based pressure transmitter V. DISCUSSION The characteristic of hall probe sensor is nonlinear in nature. But change of hall probe voltage is quite linear as shown in Fig. 4. The linear nature of the curve is due to the fact that the movement of the tip of the bellows for the entire pressure range is generally very small and hall probe voltage due to small change of distance between hall probe and magnet lies almost in the linear zone.The percentage deviation curves from linearity as shown in Fig 5 also indicate that the percentage deviation from linearity also lies within the tolerable limit. A very good repeatability of the experimental data was also observed as shown by the standard deviation curves in Figs. 6. The characteristic of the whole transmitter is almost linear as shown in Fig 7. The design of the system is very sim ple and the hall probe & the permanent magnet are now available at a very low cost. Hence the cost of the pressure transmitter will be low. References: 1] J. P. Bentley, Principles of Measurement Systems, 3rd ed. Longman Singapore Publishers (pvt) Ltd. , Singapore, 1995. 2] E. O. Doeblin, Measurement System Application and Design, 4th ed. , McGraw-Hill, New York, 1990. 3] B. G. Liptak, Process Measurement and Analysis, 3rd ed. , U. K. Butterworth Heinman, Oxford, 1999. 4] D. M. Considine, Process Instruments and Control Hand Book, 2nd ed. , McGraw-Hill, New York, 1974. 5] Raveendran, B. ; Subhash, K. M. â€Å"Design of modular pressure transmitter with wireless capability† IEEE Conference on Electrical, Electronics and Computer Science (SCEECS), 2012, pp 1 – 3 6] Bera, S. C. ; Mandal, N. ; Sarkar, R. â€Å"Study of a Pressure Transmitter Using an Improved Inductance Bridge Network and Bourdon Tube as Transducer† IEEE Transactions on Instrumentation and Measureme nt, Vol 60 , Issue 4 , Year: 2011 , pp 1453 – 1460 7] Yaocan Ruan; Minghao He; Shuran Song; Tiansheng Hong â€Å"Multipoint wireless pressure detecting system† 2nd International Conference on Artificial Intelligence, Management Science and Electronic Commerce (AIMSEC), 2011 IEEE Conference, 2011 , PP 4091 – 4094 8] Zeng Mingru; You Wentang; Qian Xin , â€Å"The development of intelligent pressure transmitter based on HART Protocol† IEEE Conference on E-Health Networking, Digital Eco systems and Technologies (EDT), Vol. , 2010 , pp 121 – 124 9] Kanakasabapathi Subramanian, Jeffrey B. Fortin, and Kuna Kishore, â€Å"Scalable vertical diaphragm pressure sensors: device and process design, design for packaging† IEEE Sensors Journal. , vol. 6, no. 3, June 2006, pp. 618-622 10] S. Y. Yurish, â€Å"Intelligent digital pressure sensors and transducers based on universal frequency-to-digital converters† (UFDC-1), Sensors & Transducers Journal. , vol. 60, no. 10, October 2005, pp. 432-438. 11] Radimir Vrba, Miroslav Sveda and Karel Marecek, â€Å"Pressure transducer with multiplexed frequency transmitter†, Slconi04 – Seoron for industry Conference, New Orleans, Louisiaiib, USA, 27th -29th January, 2004, pp. 07-10.

Implementing SFA at Quantium Technology Essay

Quantium Technology (founded in 1989) was an innovative technology company that provided computer hardware and software for large enterprises. It had grown to become a leading provider of enterprise servers and specialized workstations which were known for their reliability and security. Quantium was an enormous beneficiary of the dot-com boom, but struggled after the bust and the recession. In 2004, Anne Rothman was the new Executive Vice President of Global Sales and she felt that sales force automation was one of Quantium’s biggest challenges. There were numerous problems with the existing SFA software solution Siebel Sales. Sales representatives were abandoning the system, sales managers were complaining that the sales pipeline data was not accurate. The system did not appear to be increasing win rates or shortening the sales cycle as expected. After the internet bust, competition had commoditized the server market by offering cheaper servers that were closing the performance gap. Quantium moved from being a product company to a solutions company. The sales reps had to adjust by focusing on business issues and business problems instead of technical features. Also the team selling approach was not quite successful. Sales managers and company executives complained that they did not have reliable information on the company sales pipeline. To rectify these problems, Rothman started interviewing the people associated with implementation of the SFA program. SFA was also the core of many CRM applications. The key SFA elements were opportunity management and sales forecasting. Siebel was selected as the SFA software to be implemented. This was implemented with the help of IT specialists and assistance from IT consultants and system integrators. The IT team was pressured to deliver the best possible solution as there were differences as to whether to implement the standard product or its customized version. A training program was rolled out to get the entire sales reps and managers up to speed on the new SFA tool. As the system was being rolled out and put into operation, performance problems emerged from the field and it was associated with Quantium’s existing outdated technology infrastructure. The sales reps especially faced a lot of problems and were hesitant to use the system with a steep learning curve. Rothman went over the history of SFA implementation as well as the current status. She has identified the implementation mistakes and has to find a solution to make SFA work at Quantium.