Gloster Meteor - Gloster Meteor Jet

Gloster Meteor - Gloster Meteor Jet Gloster Meteor (Meteor F Mk 8): General Length: 44 ft., 7 in.Wingspan: 37 ft., 2 in.Height: 13 ft.Wing Area: 350 sq. ft.Empty Weight: 10,684 lbs.Loaded Weight: 15,700 lbs.Crew: 1Number Built: 3,947 Performance Power Plant:2 Ãâ€" Rolls-Royce Derwent 8 turbojets, 3,500 lbf eachRange: 600 milesMax Speed: 600 mphCeiling: 43,000 ft. Armament Guns: 4 Ãâ€" 20 mm Hispano-Suiza HS.404 cannonsRockets: up to sixteen 60 lb. 3 in. rockets under wings Gloster Meteor - Design Development: Design of the Gloster Meteor began in 1940 when Glosters chief designer, George Carter, began developing concepts for a twin-engine jet fighter. On February 7, 1941, the company received an order for twelve jet fighter prototypes under the Royal Air Forces Specification F9/40 (jet-powered interceptor). Moving forward, Gloster test flew its single-engine E.28/39 on May 15. This was the first flight by a British jet. Assessing the results from the E.38/39, Gloster decided to move forward with a twin-engine design. This was largely due to the low power of early jet engines. Building around this concept, Carters team created an all-metal, single-seat aircraft with a high tailplane to keep the horizontal tailplanes above the jet exhaust. Resting on a tricycle undercarriage, the design possessed conventional straight wings with the engines mounted in streamlined nacelles mid-wing. The cockpit was located forward with a framed glass canopy. For armament, the type possessed four 20 mm cannon mounted in the nose as well as the ability to carry sixteen 3-in. rockets. Initially named Thunderbolt, the name was changed to Meteor to prevent confusion with the Republic P-47 Thunderbolt. The first prototype to fly took off on March 5, 1943 and was powered by two De Havilland Halford H-1 (Goblin) engines. Prototype testing continued through the year as various engines were tried in the aircraft. Moving to production in early 1944, the Meteor F.1 was powered by twin Whittle W.2B/23C (Rolls-Royce Welland) engines. In the course of the development process, prototypes were also used by the Royal Navy to test carrier suitability as well as sent to the United States for assessment by the US Army Air Forces. In return, the USAAF sent an YP-49 Airacomet to the RAF for testing. Becoming Operational: The first batch of 20 Meteors were delivered to the RAF on June 1, 1944. Assigned to No. 616 Squadron, the aircraft replaced the squadrons M.VII Supermarine Spitfires. Moving through conversion training, No. 616 Squadron moved to RAF Manston and began flying sorties to counter the V-1 threat. Commencing operations on July 27, they downed 14 flying bombs while assigned to this task. That December, the squadron transitioned to the improved Meteor F.3 which had improved speed and better pilot visibility. Moved to the Continent in January 1945, the Meteor largely flew ground attack and reconnaissance missions. Though it never encountered its German counterpart, the Messerschmitt Me 262, Meteors were often mistaken for the enemy jet by Allied forces. As a result, Meteors were painted in an all-white configuration for ease of identification. Before the end of the war, the type destroyed 46 German aircraft, all on the ground. With the end of World War II, development of the Meteor continued. Becoming the RAFs primary fighter, the Meteor F.4 was introduced in 1946 and was powered by two Rolls-Royce Derwent 5 engines. Refining the Meteor: In addition to the chance in powerplant, the F.4 saw the airframe strengthened and the cockit pressurized. Produced in large numbers, the F.4 was widely exported. To support Meteor operations, a trainer variant, the T-7, entered service in 1949. In an effort to keep the Meteor on par with new fighters, Gloster continued to improve the design and introduced the definitive F.8 model in August 1949. Featuring Derwent 8 engines, the F.8s fuselage was lengthened and the tail structure redesigned. The variant, which also included a Martin Baker ejection seat, became the backbone of Fighter Command in the early 1950s. Korea: In the course of the Meteors evolution, Gloster also introduced night fighter and reconnaissance versions of the aircraft. The Meteor F.8 saw extensive combat service with Australian forces during the Korean War. Though inferior to the newer swept-wing MiG-15 and North American F-86 Sabre, the Meteor performed well in a ground support role. In the course of the conflict, the Meteor downed six MiGs and destroyed over 1,500 vehicles and 3,500 buildings for a loss of 30 aircraft. By the mid-1950s, the Meteor was phased out of British service with the arrival of the Supermarine Swift and Hawker Hunter. Other Users: Meteors continued to remain in the RAF inventory until the 1980s, but in secondary roles such as target tugs. During the course of its production run, 3,947 Meteors were built with many being exported. Other users of the aircraft included Denmark, the Netherlands, Belgium, Israel, Egypt, Brazil, Argentina, and Ecuador. During the 1956 Suez Crisis, Israeli Meteors downed two Egyptian De Havilland Vampires. Meteors of various types remained in frontline service with some air forces as late as the 1970s and 1980s. Selected Sources Military Factory: Gloster MeteorHistory of War: Gloster MeteorRAF Museum: Gloster Meteor

Sophists Definition and Observations

Sophists Definition and Observations Professional teachers of rhetoric (as well as other subjects) in  ancient Greece are known as Sophists. Major figures included Gorgias, Hippias, Protagoras, and Antiphon. This term comes from the Greek, to become wise. Examples Recent scholarship (for example, Edward Schiappas The Beginnings of Rhetorical Theory in Classical Greece, 1999) has challenged conventional views that rhetoric was born with the democratization of Syracuse, developed by the Sophists in a somewhat shallow way, criticized by Plato in a somewhat impractical way, and rescued by Aristotle, whose Rhetoric found the mean between Sophistic relativism and Platonic idealism. The Sophists were, in fact, a rather disparate group of teachers, some of whom may have been opportunistic hucksters while others (such as Isocrates) were closer in spirit and method to Aristotle and other philosophers.The development of rhetoric in 5th-century B.C. certainly corresponded to the rise of the new legal system that accompanied the democratic government (that is, the several hundred men who were defined as Athenian citizens) in parts of ancient Greece. (Keep in mind that before the invention of lawyers, citizens represented themselves in the Assemblyusually i n front of sizable juries.) It is believed that the Sophists generally taught by example rather than precept; that is, they prepared and delivered specimen speeches for their students to imitate.In any case, as Thomas Cole has noted, its difficult to identify anything like a common set of Sophistic rhetorical principles (The Origins of Rhetoric in Ancient Greece, 1991). We do know a couple of things for certain: (1) that in the 4th century B.C. Aristotle assembled the rhetorical handbooks that were then available into a collection called the Synagoge Techne (now, unfortunately, lost); and (2) that his Rhetoric (which is actually a set of lecture notes) is the earliest extant example of a complete theory, or art, of rhetoric. Platos Criticism of the Sophists The Sophists formed part of the intellectual culture of classical Greece during the second half of the fifth century BCE. Best known as professional educators in the Hellenic world, they were regarded in their time as polymaths, men of varied and great learning. . . . Their doctrines and practices were instrumental in shifting attention from the cosmological speculations of the pre-Socratics to anthropological investigations with a decidedly practical nature. . . . [In the Gorgias and elsewhere] Plato critiques the Sophists for privileging appearances over reality, making the weaker argument appear the stronger, preferring the pleasant over the good, favoring opinions over the truth and probability over certainty, and choosing rhetoric over philosophy. In recent times, this unflattering portrayal has been countered with a more sympathetic appraisal of the Sophists status in antiquity as well as their ideas for modernity.(John Poulakos, Sophists. Encyclopedia of Rhetoric. Oxford University Press, 2001) The Sophists as Educators [R]hetorical education offered its students mastery of the skills of language necessary to participating in political life and succeeding in financial ventures. The Sophists education in rhetoric, then, opened a new doorway to success for many Greek citizens.(James Herrick, History and Theory of Rhetoric. Allyn Bacon, 2001) [T]he sophists were most concerned with the civic world, most specifically the functioning of the democracy, for which the participants in sophistic education were preparing themselves.(Susan Jarratt, Rereading the Sophists. Southern Illinois University Press, 1991) Isocrates, Against the Sophists When the layman . . . observes that the teachers of wisdom and dispensers of happiness are themselves in great want but exact only a small fee from their students, that they are on the watch for contradictions in words but are blind to inconsistencies in deeds, and that, furthermore, they pretend to have knowledge of the future but are incapable either of saying anything pertinent or of giving any counsel regarding the present, . . . then he has, I think, good reason to condemn such studies and regard them as stuff and nonsense, and not as a true discipline of the soul. . . . [L]et no one suppose that I claim that just living can be taught; for, in a word, I hold that there does not exist an art of the kind which can implant sobriety and justice in depraved natures. Nevertheless, I do think that the study of political discourse can help more than any other thing to stimulate and form such qualities of character.(Isocrates, Against the Sophists, c. 382 BC. Translated by George Norlin)

Operations strategy 2 Essay Example | Topics and Well Written Essays - 1000 words

Operations strategy 2 - Essay Example It is noteworthy that the company has remained competitive in both domestic and international markets owing to continuous improvement on customer services and processes. The British airways has done a lot over the resent past to enhance its competitiveness however much is still needed to improve its processes and key among them include but not limited to consulting customers, training its personnel on customer care, increasing comfort by redesigning its cabin, and improving its meal services. British airways offer its customers a wide range in-services based on its travel classes. It travel classes include Economy, Premium economy, Business also known as Club World and the First class (â€Å"Travel classes†). Offering a wide range of travel classes was a strategic move by BA to cater for the needs of different classes of travellers based on their financial capabilities. For instance, the Business class offers exclusive comfort and style as the customers have access to lounge j ust like First class passengers, delicious meals and drinks as well as fully flat beds on al long haul flights (â€Å"Travel classes†). ... This claim can be justified by the fact that EasyJet offers its customers only a single travel class while Virgin Atlantic offers only three travel classes namely Economy, Premium Economy and Upper Class. The first and major order winner for British airways is its luxuries quality services at no extra cost. BA is a market leader in offering classy in-flight services to passengers in various travel routes. British Airways unlike its competitors such as Easyjet and Ryanair has been categories under luxury travel based on the wide range of exotic in-flight services that the company offers its passengers (Mawer, 2011). BA is also recognised for offering a number of its flight services at no extra cost unlike its competitors such as Easyjet and Ryanair. For instance both the no frills airlines- Easyjet and Ryanair put extra charges on administration/Booking fee paid with debit cards, Airport check-in, breakfast, snacks, wines/beer/spirit and other meals (Mawer, 2011). These two competitor s of BA do not offer their passengers the luxury of baggage allowance considering that BA offers an allowance up to 23Kg checked bag. It is noteworthy that BA has significant higher rating compared to its competitors Easyjet according to Smart rating and Skytrax’s. This is a clear indication that BA is still a market leader in different areas of the airline’s products and services. In other words British Airways competitive edge lies in providing world class airline products and services at no extra cost. Other lucrative in flight services offered by BA are evident in airline’s leg room taking into consideration that the company offers its passengers luxury of comfort through an extra seat

Passing by Nella Larsen Essay Example | Topics and Well Written Essays - 1500 words

Passing by Nella Larsen - Essay Example The selection and the portrayal of the thematic issues in the novel just as is the case with many other types of literature relies on the selection of the literary elements as the below analysis of Passing portrays. Key among the literary elements is the use of first person narration in the novel. A voice is always essential in a novel since the author adopts a particular voice in conveying his or her message through the plot. In the Passing, the author adopts the first person narration technique. The author narrates the story through the experiences of the lead character, Irene Redfield. Living in the Harlem area of New York, Irene Redfield is a mixed race woman who strives to integrate in the racial discriminate American society at the time. The story in the novel thus recounts he life and experiences of Irene Redfield and her numerous white and African American friends as they face numerous challenges. The action in the novel opens up with Irene receiving a letter from her long lost friend, Clare Kendry. The letter reminds her of their times together and the experiences they had in the city. The author of the novel therefore stylistically transfers her audience back into the history of the characters through a literary device known as flash back. Irene remembers her relationship with Clare the two women are both of mixed ancestry. They therefore underwent similar treatments by the society. Their passionate friendship broke soon after Clare’s father died since she went to live with her aunt in a different state. The separation implied that the two would grow up differently (Wall 101). As such, they became two different women a feature in the novel that validates the tension that Irene experiences once she receives the letter. The flashback is a strategic literary device that the author employs deliberately with the view of providing an adequate platform for comparison. Just as the name suggests and the plot of the novel portrays,

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Free Allegory of the Cave Essays and Papers Essay The transition from ignorance into knowledge in the pursuit of truth is neither a simple nor easy process. Both Sophocles’ tragedy, Oedipus Rex, and Plato’s philosophical dialogue, â€Å"The Allegory of the Cave,† use dark and light imagery to explore man’s struggle to leave an illusory life of comfort in search of absolute truth. Although Oedipus and the prisoner parallel in their challenges to seek reality, they differ in their reactions to it. Where Oedipus is unable to handle the harshness of the truth, the prisoner accepts it. By associating dark with benightedness and falsehood, and light with sight and truth, both narratives depict that man must not only discern illusion and reality in his quest for knowledge but recognize his own ignorance before he can acquire insight of the world around him. Both Oedipus and the prisoner begin in a state of ignorance, one that is falsely believed to be the reality. Thinking he has avoided fate, Oedipus firmly believes that he is in control of his life, though the reader knows that he is indeed, not. The darkness in his life is represented by his inability to see and understand the truth, as Oedipus’ hubris makes him unaware of the true circumstances of his life. He is a man so self-assured that he is not able to accept the truth when told by Teiresias. Oedipus, blind to the illusion that he is living, \ can not see the evil\(Sophocles, 354) of the crimes he has committed, and cannot view the truth for what it actually is. Teiresias, though blind in both eyes, has true knowledge and understanding of the truth, yet he is mocked by the ignorant king for his lack of sight. In Plato’s Allegory, the prisoner too, lacks knowledge and understanding of the world around him, albeit in a different matter. Where Oedipus is prevented fr om seeing the truth by his own hamartia, the prisoner is restricted by chains that hold him captive within the cave. Plato theorizes that since the cave setting is all the prisoner knows, he would believe and accept that there are no â€Å"realities† other than the â€Å"shadows of handmade things† (2). The absence of light in the cave represents the boundaries of the prisoner’s ability to see; he is unable to achieve true knowledge, as doing so would require him to â€Å"perceive the forms themselves†(1) instead of illusions cast by an artificial light. Dark symbolism clearly demonstrates the parallels between falsehood and illusion in both works, but to achieve true insight, one must pursue a state of knowledge through a strenuous application of insight and reason. The journey to leave the shadows to follow the light is not as favorable as one may be, as true knowledge is harsher and more difficult to accept that the comfort of darkness. Oedipus is relentless in his pursuit of truth in order to catch Laios’ murderer and save his city of Thebes from the plague. Still stuck in his life of illusion, he is determined to â€Å"bring what is light to dark† (135), unaware that his persistence will only cause more problems. He curses the murderer of Laios in his ignorance, wishing the culprit’s life to be consumed in â€Å"evil and wretchedness† (Sophocles, 235). Unbeknownst to him, the sufferings he wishes for do come true, though not in the way he believes. In contrast, The prisoner, having spent his whole life in imprisonment, does not wish to look at what is bright. Too â€Å"dazzled† by the light of the fire to see clearly, he has to be dragged out â€Å"by forceinto the light of the sun† (Plato, 2). He sl owly adjusts to his new environment, and once turned to what is more â€Å"real,† the prisoner realizes that the shadows in the cave were only images of â€Å"foolery,† cast by real objects (2). It is here that the prisoner is seen transitioning from illusion to reality Absolute truth is harsh, and both Oedipus and the prisoner struggle to accept it. Though he strived to do good by himself and his city, Oedipus, unfortunately, brings about his own tragic end by relentlessly pursuing the truth and ignoring warnings of how â€Å"dreadful† (Sophocles, 305) knowledge can be. His quest to find answers does eventually lead him to the absolute truth, but at a heavy cost. Finally realizing the consequences of his actions, and unable to face the evil and horror of his â€Å"blind wrongs† (404), Oedipus looks upon the â€Å"Light†(1037) one final time before gouging out his eyes. Here, light imagery represents truth and knowledge, and although the truth is what Oedipus has so relentlessly pursued, in the end, it is too harsh and he instead chooses to return to the dark. To him, The prisoner, though initially reluctant to explore reality, ultimately achieves enlightenment, represented by his ability to â€Å" look on the sun itself† (Plato, 2). There is a great divide between reality and falsehood. Through the use of contrasting imagery, both Sophocles and Plato illustrate the plights of humanity in the journey to achieve enlightenment and explore the trials man must go through to achieve a similar goal. Through the journeys of Oedipus and the prisoner, the reader understands that however easy one may believe the quest for truth to be, it is often not so, as to achieve absolute truth, man must realize his own unenlightenment before he can perceive things in their true forms.

Graduation Speech :: Graduation Speech, Commencement Address

Will you be who you were meant to be, or will you be who everyone wants you to be. It is up to you to decide your destination, but it is the events along the way that shape the final outcome. As we sit here at graduation, having suffered and prospered through four years at County High School, it is hard to forget the memories we've shared. At the same time, it is easy to see how the past four years have shaped who we are today and impacted our future forever. Who can forget being a freshman: finally out of middle school, we took on the world in a school of 1,400 that was only suited for 900. We've sat in not only moldy portables but also condemned bleachers, seen rusty water, squished together in the gym to display our spirit and learned what it means to truly work hard. We took the challenge presented to us and chose to succeed in one way or another. Whether on the playing field, in the classroom, with an instrument or in the community, the launching of our high school career began our journey and began the adventure to become our destiny. And who can forget the friendships we've made along the way? Some will last a lifetime, and some will last no longer than tomorrow, but either way, it's okay because we will forever be impacted by it. As a class, we've laughed together, cried together, skipped class, failed tests, aced tests we forgot we were taking and now, we're graduating together. Whatever the event, we did it as a whole. Through all of this, there were the teachers of Arlington High School. Of the finest quality, I doubt anyone would argue they are masters of making us mad and then being our biggest ally. Remember the sodium bomb in chemistry? How about the career search, the I search and the scholarly paper in English? We are now masters at finding the slope of a line courtesy of the math department, and who hasn't had the quadratic formula engrained in their mind? All because of the teachers who have supported us through these past years. Without them, our outcome in life would be dismally different. They taught us to be who we are and proud of it at that. And now - guess what - it's up to us. We are the beholders of tomorrow, and we determine the future.

The Symbols Used by William Golding in “Lord of the Flies”

LITERATURE ASSIGNMENTS EXPLAIN THE USE OF IMAGERY IN WILLIAM GOLDING’S â€Å"LORD OF THE FLIES† â€Å"Lord of the flies† by William Golding, is a book filled with terrifying truths and unhidden disclosed secrets that have gone too far not to be acknowledged.The writer perspicuously reveals the role of the society in suppressing the minds of its followers to the extent that even the most savage of all creatures if allowed, â€Å"man† is beguiled into reflectively presuming himself at the very peak of morality and the vision of civilization; as said, the hidden truths cannot remain so eternally; and thus Golding advances to fill â€Å"the lord of the flies† as a depiction of what lies beneath the barricade of lies and pretension.He sets his book based on the most thought ‘civilized’ society, the British, using English school boys to buttress his points. Even amongst the symbolisms and the significances of the prose, there is a nature to w hich the book lies, a feature that makes it so further distinguishable from other books; a realized attribute that is passionately attained in this book, that is the ‘IMAGERY’. Golding’s ‘Lord of the flies’ is emphatic in nature and is an imagery of the reality of the scenes of its own.The descriptive and metaphorical diction of the prose was advancement even in the times of Golding himself. In the book, Golding ensures the usage of imagery, one way or another at ever nook and cranny of his book. At a peak where Golding lays close realization between actual reality and his diction; it lies so close that one can almost see the scene. His words are so emphatic, they portray pure descriptive genius and they buttress the true beauty of nature.Golding’s use of imagery sets us to realize the actual exquisiteness of the panorama, where the senses of the reader are so heightened that an awareness to the paradisiac essence of the book is established th at even the task of discernment of reality from the book becomes arduous; where one can in actuality, practically feel, taste, touch and see the very essence of the island itself; even right from the beginning of the novel. This therefore leaves the diction used in the prose’s imagery to the reader to be bordering between sheer reality and fiction segregated by a mere thin diaphanous sliver or thread.With imagery, Golding amplifies the sheer potency (effects) of several scenarios in the novel. Just like Michelangelo, the artist, Golding paints his artwork that is the novel; with scintillatingly vivid yet arrestingly dramatic colorful and picturesque scenes that one can only define as intense, passionately ardent and vibrant; but using his mere diction as the instrument culpable of the brilliance he smears his book with remorseless reality and intense vivacity.It is blatant that if the imagery of ‘lord of the flies’ is removed then the book will become just ordina rily plain and boring, like a vacuum. It is now conspicuous the fact that the emphasis of this alluring book falls thoroughly on the paradisiac landscape of the cryptic island. Theological overtones are constantly elaborated in references to the island as a tropical haven: â€Å"the candle-buds open their wide white flowers glimmering under the light that pricked down from the first stars.Their scent spilled out into the air and took possession of the island† (page 74) a potent quotation, just a hay in the haystack barn of such assorted quotes from the book of ‘ lord of the flies’; vividly gives the reader an exclusive insight on the addictive allure of the flower. Golding uses a sundry of approaches to detail the very nature within the nature of the flowers; but all of these quotes and sentences prove the beauty of the fiction in relation to actual reality, because of Golding’s creative disposition that beguiles and lures the reader deeper into the appear ance of the panorama.Golding’s imaginative and innovative touches adds flare here and there throughout the novel. The sun and the thunder, for instance, in consideration to the attention are set across as physical realities not only for their symbolic in as much as they prove important, it is for the genius in Golding’s diction that they seem to take such a role. Golding advances further to analyze every scrap of the book theologically, with a realistic sense in a subtle perspective.Golding develops a fervor for stacking the imagery in addition to the ather extraordinary momentum and power which drives the whole narrative forward, so that one incident comes prior and immediately another, sustaining that suspense he coalesces the both of them to give the most prolific effects. Therefore, it is no longer vague to the fact that Golding’s power to perceive a careful preparation for an incident.But this imagery is not only restricted on the beauty of the island, Gold ing goes far to depict the characters of the novel, giving each of them a specific trait and feature that either boosts their role in the novel as a hero or regales them to the position of antagonist. The animals- pigs, â€Å"squeakings- and the hard strike if hoofs on a path†¦caught in creepers, throwing itself at the elastic traces in all the madness of extreme terror† (chapter 1. Page 42) the birds, â€Å"a vision of red and yellow, flashed upwards with a witchlike cry† (chapter 1,page 13), are set with vibrant abilities, colors and sounds, the mountains, the lake etc. verywhere, there is a certain perception to close reality in description to each one of them. Golding utilizes imagery to the maximum where he uses his diction to play with the reader’s empathy; when the reader feels present, a true reflection of what could actually be seen if allowed, a replica fabricates with the play of the mind, Golding involves the reader in every detail of the charac ters’ surroundings and events; therefore , it is the mind of the reader’s being that is stimulated to beguile the reader into seeing the novel in the mind’s eyes without a single visual effect.ASSIGNMENT2 In all literal sense, there is no doubt to the fact that â€Å" the lord of the flies† written by William Golding is without a doubt a perceptively innovative novel comprising of several symbols in natural sense to which Golding makes use of in several scenarios to depict the sheer nature of man’s facade, being and civilization. The irony where even the most civilized can also submit and be subjected to there true nature- the cataclysmic nature hidden beneath the mask of civilization.The book set in the time of the world war two portrays savagery of his experiences through the novel, â€Å"the lord of the flies†. He opens the minds of the readers to the facade of our actual daily lives. He accentuates on his points by using a set of symbols that sets apart the novel from the others, with symbols Golding represents and demarcates several roles played in the novel, thus giving it an inciting taste. They are the vivid representations of several things in the novel.Golding utilizes these precise symbols in as much of its analytical sense expressed using this certain representations to signify specific things that are used to promote the themes and to give perfect significances to the established literature. As perceived and notable right from the first chapter, ‘the conch’ being one of the most important major symbols used by Golding to a layman may only appear in natural common sense to be only seen as a beautiful shell, thus this segregates the borders etween literally analyzed details and sheer layman sense, deliberately the hidden representations Golding uses the conch to embody the very first realization of the boy’s actual civilization at first; this shell is an conspicuous symbol, in chapter one this very same shell is used in the hands of Golding to illustrate and show the utter honesty and civil behaviours of the boys marooned in the island. The conch is the very embodiment of the boys’ unity where Ralph and Piggy to amalgamate the boys spanned all about the cryptic island to conspire and establish a meeting amongst them uses the conch.Golding’s perceptive nature in his creative literature prodigy allows the further symbolization of the conch to denote Ralph’s place of authority as the chief, the conch is a potent symbol that sets the pace for others to come in the book; in as much as its overt representation of Ralph’s authority, the children’s reunion, the show of civility of the boys at their first appearance the conch symbolizes the authority of whoever amongst the boys holding the conch, not for only Ralph but they are given the boost to authorize, not in the sense that they are over Ralph, but such that whoever bearing the conch i s freely given permission to utter verbal speeches pertaining to the subjects at hand without the interception of any of the other in exception to Ralph, who being ‘chief’, then surmounts them all in prerogatives. This symbol’s role in the uniting of the boys is made more conspicuous when the conch first conch begins to lose its influence and the boys dissipate into severe savagery, and is later crushed by a boulder, signifying the demise of the civilized instinct among almost all the boys and therefore breaking the boys utterly and evidently pointing out the extremity of Ralph’s authority and leadership.In exemption to the potent ‘conch’, another symbol is persistently utilized and one of the most ingenious symbolic aspects of the book, ‘Piggy and his spectacles’ in Golding’s creation to embody the very peak of scientific inquisition; Piggy, an intellectual boy poses knowledge about the different facts nobody remembers or even inquire about and the voice of evident logic. ‘Piggy’s glasses’ represent intelligence and sight or the ability to see when it is used to focus the sunrays of the sun on woods to start a fire and as a result of it being stolen by Jack the potent power of sight and intelligence is transmitted to Jack. It is blatant that Piggy is the conscience of absolute knowledge when he consistently advices Ralph on their priorities or survival in the island; it was he who brought the ideas of definite need for shelter, and solely thought out the need to know everyone’s name at the first meeting enough to go about asking for everyone’s name. piggy and his glasses are recognized farther as symbols of knowledge and sight, when the break of the glasses and piggy’s blindness leads to the indisputable blindness of Ralph ‘sight’. In as much as piggy symbolizes, he is also the one who tried to see the scientific perspective over the death of Simo n, when he points out what is culpable for Simon’s death, which he analyzed to be because of Simon’s creeping into the circle. The death of piggy completes the blindness and forces them all into absolute darkness, which in turn without the ‘voice of logic’ drowns the boys in barbaric savagery and thus leads them on a hunt for Ralph.During the events occurring in the novel, Golding continually introduces more symbols in referring to the characters behavior and reactions in relation to actual reality of man. Amongst these is the intimidating anticipated appearance which the boys bore apprehension towards, that is surely the very presence of the beast of the air, which is later ascertained by Simon to be the dead body of a parachutist represents man’s apprehension and dread for what is unknown, which in actuality brings into the realization of man’s hasty resolve that only settles for a waiting jeopardy to occur; at several levels of mindset, in every aspect this fear widely diffuses through man emotionally, physically, spiritually, psychologically, culturally and politically pushing him through the very height of destruction. The lord of the flies’, another major symbol which is a dead sow’s head skewered in the jungle by Jack and his gang signifies man’s untamed barbaric savagery; the destructive capabilities of man’s hands, his consistent torture of nature and her descendants in the struggle for ‘civility’. His inner inconspicuous self hidden in a semblance of civilization and authoritarian rules and commands once unraveled bursts through the seams of the very fabric of ‘innocuous minds’ and reveals a horrifying grotesque and frightening being. Also, the painted faces which was smeared over jack and his gang symbolizes the mask that man hides behind; the facade and illusion inconspicuous as the painted faces of the boys, revealing the lies and cloaks the truths creat es a formal game of charades where the deceived is man himself. It also signifies man’s moral degradation and his intense levels of cruelty.

A youth subculture Essay

A youth subculture is a youth-based subculture with distinct styles, behaviors, and interests. Youth subcultures offer participants an identity outside of that ascribed by social institutions such as family, work, home and school. Youth subcultures that show a systematic hostility to the dominant culture are sometimes described as countercultures The punk subculture, which centres on punk rock music, includes a diverse array of ideologies, fashions and forms of expression, including visual art, dance, literature and film. The subculture is largely characterized by anti-establishment views and the promotion of individual freedom. The punk subculture emerged in the United Kingdom, Australia, and the United States in the mid-1970s A rave (from the verb: to rave) is a large party or festival featuring performances by disc jockeys (colloquially called DJs) and occasionally live performers playing electronic music, particularly electronic dance music (EDM). Music played at raves include house, trance, techno, drum and bass, hardcore and other forms of electronic dance music with the accompaniment of laser light shows, projected images, visual effects and smoke machines. The rave scene is know mostly worldwide for its use of club drugs, such as MDMA, LSD, and psychedelic mushrooms. Rave culture originated mostly from acid house music parties in the mid-to-late 1980s in the Chicago area in the United States.[1] After Chicago house artists began experiencing overseas success, it quickly spread to the United Kingdom, Central Europe, Australia and the rest of the United States.[2][3] The goth subculture is a contemporary subculture found in many countries. It began in England during the early 1980s in the gothic rock scene, an offshoot of the post-punk genre. The goth subculture has survived much longer than others of the same era, and has continued to diversify. Its imagery and cultural proclivities indicate influences from the 19th century Gothic literature along with horror films.[1][2][ In sociology, anthropology and cultural studies, a subculture is a set of  people with a distinct sets of behavior and beliefs that differentiate them from a larger culture of which they are a part. The subculture may be distinctive because of the age of its members, or by their race, ethnicity, class and/or gender, and the qualities that determine a subculture as distinct may be aesthetic, religious, occupational, political, sexual or a combination of these factors. It may be difficult to identify subcultures because their style (particularly clothing and music) may often be adopted by mass culture for commercial purposes, as businesses will often seek to capitalise on the subversive allure of the subculture in search of cool, which remains valuable in selling any product. This process of cultural appropriation may often result in the death or evolution of the subculture, as its members adopt new styles which are alien to the mainstream. A common example is the punk subculture of the United Kingdom, whose distinctive (and initially shocking) style of clothing was swiftly adopted by mass-market fashion companies once the subculture became a media interest. In this sense, many subcultures can be seen to be constantly evolving, as their members attempt to remain one step ahead of the dominant culture. In turn, this process provides a constant stream of styles which may be commercially adopted. Many people would consider that the most visible examples of subcultures are youth groups which identify themselves through distinctive styles of dress, activity and music. However, there is a certain difficulty in supplying examples, in that the process by which subcultural style is incorporated by the dominant culture provokes a state of constant evolution in many subcultures. Musical subcultures are particularly vulnerable to this process, and so what may be considered a subculture at one stage in its history (jazz, punk, hip-hop, rave culture) may represent mainstream taste within a short period of time. However, many subcultures also reject or modify the importance of style, stressing membership through the adoption of an ideology which may be much more resistant to commercial exploitation. Indeed, the resistance to commercial exploitation may often represent a key part of this ideology. Perhaps the best example would be the punk subculture, which has progressed through several cycles of revival and commercial appropriation in its history. Members of the punk subculture can often be identified by their distinctive clothing, hair, jewellery and tattoos. In contrast to its commercialised variant, many punks consider that the subculture also possesses a distinctive punk ideology which rejects commercialism and conformity. A similar philosophy may be found in underground hip hop culture, which has also faced mass-market commercialisation and dilution of its ideals.

The Rise of Ancient Greece essays

The Rise of Ancient Greece essays The Rosetta stone was an important in our understanding of the ancient Egyptians because the Egyptians used hieroglyphics that we no longer use nor do we understand. Located on this stone were three forms of written language, Greek and two styles of Egyptian. Since we already knew the Greek language, the Rosetta Stone made it possible to decipher the early Egyptian writing. After translating the Egyptian writings, we could make sense of their expressions on pamphlets, walls, statues, etc. This stone was the key to Egyptian life because we could not only understand but also teach their culture. The Sumerians developed a system of writing primarily to maintain records business transactions, make contracts, and keep track of bank accounts. The low-lying, rugged mountains in the geographic area where the Aegean civilization was located affected them by decreasing development and business dealings. In the Aegean era, traveling by land was difficult, especially through these low-lying, rugged mountains. The most common way to trade was by transporting throughout local waters. Aegeans never did unite under one government; it was just too hard to travel. The story of the Iliad started when a Trojan prince, Paris, falls in love with Helen, the wife of a Mycenaean king. Paris takes her back to Troy with him. To avenge the kidnapping of Helen the Mycenaeans lay siege on Troy for ten years. The Mycenaeans never gained control of the Trojan city. Tired of stalemate, the Mycenaeans built a giant, wooden, yet hollow sculpture of a horse. They let the Trojans think this statue was a gift showing apology. The Mycenaean King would never give up so easily; this was merely a warfare tactic. The statue was filled with many highly trained soldiers, waiting for Troys celebration to end. Once this party was over, the soldiers got out, opened the gates to the Trojan city for the other Mycenaean soldiers. They killed all of the Trojan m...

Cover Letter Guide Writing Your Best Cover Letter for 2017

Cover Letter Guide Writing Your Best Cover Letter for 2017 The cover letter is often the underappreciated sibling of the resume. It’s a little lefts)Do You Have Tips for My Particular Field?Here at TheJobNetwork, we’re constantly working on spotlighting different fields, but if you’re in one of these fields and writing a cover letter, then you are already in luck:How to Write a Perfect Teacher Cover LetterHow to Write a Perfect Admin Assistant Cover LetterHow to Write a Perfect Human Resources Cover LetterEven if you’re not in one of these specific fields, you’ll find helpful tips and tricks that you can apply to your own letter as well.And there you have it†¦you should be good to start your own cover letter! Congrats on not neglecting this oft-overshadowed piece of your applicant package, and boosting your chances of getting to the next steps.

Biblical Theme of Justice, Love, Fidelity, Mercy Term Paper

Biblical Theme of Justice, Love, Fidelity, Mercy - Term Paper Example The Old Testament narrates events that occurred during the time of Abraham, Moses, and the lives of Israelites. The common bible has 66 books written by various authors, at a different period influenced by the Holy Spirit. It is reputable that the bible is the most sold manuscript in the historical world compared to other literary books. Justice, fidelity, love and mercy are core themes found in the bible and are discussed aptly. Old Testament God is just and desires man to practice integrity according to his guidance and instructions. He wants justice to be practiced in interpersonal relations among the populace. Justice refers to policies and set of laws that bind the society mutually in the Old Testament. The laws in testament are aimed at bringing harmony and love among people. Justice is viewed as liberation when the Israelites were liberated from the repression of slavery in Egypt (Groody, 33) Justice is depicted when God made a covenant with the Israelites after rescuing them from oppression and taking them to Promised Land. "’(The Egyptians) made the people of Israel serve with rigour and made their lives bitter with hard service, in mortar and brick, and in all kinds of work in the field; in all their work they made them serve with rigour’ (Exodus 1: 13-14).† (The Irish Commission for Justice, & Peace, 4)... The term ‘Yahweh the liberator’ is common in Old Testament since he is responsible in assisting the demoralized, and defenseless in society. They were overworked for a period in anticipating that God would come to their rescue and deliver them from subjugation. According to the Old Testament, a person cannot be just when relating to the covenant made amid man and God (Groody, 33). The covenant required Israelites to be just by assisting the oppressed and deprived. Justice significantly emphasizes on quality of human relation rather than the social power and person’s rights. The relationship existing amid individuals should be guided by covenant’s qualities such as steadfast, love, mercy and faithfulness. Amusingly, Israelites perceived a ‘just’ person as an individual who is well off and lives a comfortable life. The continuity in the development of the theme is seen in the story of Job, whose life experience teaches people that justice is appr eciating good things in life and the ability to be aware that everything in existence is a gift from God. Prophet Zephaniah and Jeremiah esteemed the poor in the society since they were perceived as the chosen instrument in God’s implementation of justice. The act of justice by the Israelites is the basis of Israel’s faith. God is referred to as the ‘God of Covenant’ since he rejects worship that prohibits the significance and practice of justice. Consequently, for a Christian to be perceived as redeemer of the subjugated, he/she has to observe the duties critically (Groody, 32). New Testament Justice should prevail in society, and individuals should learn to be understanding and caring to be perceived justly. A ‘just’ person lives in accordance to the covenant way of life