Literary Devices Essay

A form of extended metaphor, in which objects, persons, and actions in a narrative, are equated with the meanings that lie outside the narrative itself. The underlying meaning has moral, social, religious, or political significance and characters are often personifications of abstract ideas as charity, greed, or envy. Thus an allegory is a story with two meanings, a literal meaning and a symbolic meaning. Alliteration The repetition of the same sound at the beginning of a word, such as the repetition of b sounds in Keats’s â€Å"beaded bubbles winking at the brim† (â€Å"Ode to a Nightingale†) or Coleridge’s â€Å"Five miles meandering in a mazy motion (â€Å"Kubla Khan†). A common use for alliteration is emphasis. It occurs in everyday speech in such phrases as â€Å"tittle-tattle,† â€Å"bag and baggage,† â€Å"bed and board,† â€Å"primrose path,† and â€Å"through thick and thin† and in sayings like â€Å"look before you leap.† Some literary critics call the repetition of any sounds alliteration. However, there are specialized terms for other sound-repetitions. Consonance repeats consonants, but not the vowels, as in horror-hearer. Assonance is the repetition of vowel sounds, please-niece-ski-tree. Allusion A brief reference to a person, event, place, or phrase. The writer assumes readers will recognize the reference. For instance, most of us would know the difference between one being as reliable as George Washington or as reliable as Benedict Arnold. Allusions that are commonplace for readers in one era may require footnotes for readers in a later time. Ambiguity (1) A statement that has two or more possible meanings; (2) a statement whose meaning is unclear. Depending on the circumstances, ambiguity can be negative, leading to confusion or even disaster (the ambiguous wording of a general’s note led to the deadly charge of the Light Brigade in the Crimean War). On the other hand, writers often use it to achieve special effects, for instance, to reflect the complexity of an issue or to indicate the difficulty, perhaps the impossibility, of determining truth. Many of Hamlet’s statements to the King, to Rosenkrantz and Guildenstern, and to other characters are deliberately ambiguous, to hide his real purpose from them. Analogy The comparison of two pairs which have the same relationship. The key is to ascertain the relationship between the first so you can choose the correct second pair. Part to whole, opposites and results of are types of relationships you should find. Anecdote Short tale narrating an interesting or amusing biographical incident. Anthropomorphism Used with God or gods. The act of attributing human forms or qualities to entities that are not human. Specifically, anthropomorphism is the describing of gods or goddesses in human forms and possessing human characteristics such as jealousy, hatred, or love. Mythologies of ancient peoples were almost entirely concerned with anthropomorphic gods. The Greek gods such as Zeus and Apollo often were depicted in anthropomorphic forms. The avatars of the Hindu god Vishnu possessed human forms and qualities. Antihero A protagonist who has the opposite of most of the traditional attributes of a hero. He or she may be bewildered, ineffectual, deluded, or merely pathetic. Often what antiheroes learn, if they learn anything at all, is that the world isolates them in an existence devoid of God and absolute values. Yossarian from Joseph Heller’s Catch-22 is an example of an antihero. Aphorism A brief saying embodying a moral, a concise statement of a principle or precept given in pointed words. Example: * Hippocrates: Life is short, art is long, opportunity fleeting, experimenting dangerous, reasoning difficult. * Alexander Pope: Some praise at morning what they blame at night. * Ralph Waldo Emerson: Imitation is suicide * Benjamin Franklin: Lost time is never found again. Apostrophe A direct address to a person, thing, or abstraction, such as â€Å"O Western Wind,† or â€Å"Ah, Sorrow, you consume us.† Apostrophes are generally capitalized. Archetype A term used to describe universal symbols that evoke deep and sometimes unconscious responses in a reader. In literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Common literary archetypes include stories of quests, initiations, scapegoats, descents to the underworld, and ascents to heaven. See also mythological criticism. Assonance The repetition of vowel sounds, please-niece-ski-tree. Cadence The melodic pattern just before the end of a sentence or phrase – for instance an interrogation or an exhortation. More generally, the natural rhythm of language depending on the position of stressed and unstressed syllables. Cadence is a major component of individual writers’ styles. A cadence group is a coherent group of words spoken as a single rhythmic unit, such as a prepositional phrase, â€Å"of parting day† or a noun phrase, â€Å"our inalienable rights.† Catharsis Meaning â€Å"purgation,† catharsis describes the release of the emotions of pity and fear by the audience at the end of a tragedy. In his Poetics, Aristotle discusses the importance of catharsis. The audience faces the misfortunes of the protagonist, which elicit pity and compassion. Simultaneously, the audience also confronts the failure of the protagonist, thus receiving a frightening reminder of human limitations and frailties. Ultimately, however, both of these emotions are purged because the tragic protagonist’s suffering is an affirmation of human values rather than a despairing denial of them. See also tragedy. Clichà © An idea or expression that has become tired and trite from overuse, its freshness and clarity having worn off. Clichà ©s often anesthetize readers, and are usually a sign of weak writing. Colloquial Refers to a type of informal diction that reflects casual, conversational language and often includes slang. Connotation The emotions, values, or images associated with a word. The intensity of emotions or the power of the values and images associated with a word varies. Words connected with religion, politics and sex tend to have the strongest feelings and images associated with them.†¨ For most people, the word mother calls up very strong positive feelings and associations – loving, self-sacrificing, always there for you, understanding, etc.; the denotative meaning, on the other hand, is simply â€Å"a female animal who has borne one or more children.† Of course connotative meanings do not necessarily reflect reality; for instance, if someone said, â€Å"His mother is not very motherly,† you would immediately understand the difference between motherly (connotation) and mother (denotation). Consonance Repeats consonants, but not the vowels, as in horror-hearer Deism An intellectual religious movement en vogue through the late seventeenth century up to the late eighteenth century concerned with rational rather than faith-based approaches to religion and understanding God. The movement is often associated with the Enlightenment movement, Neoclassicism, and Free Masonry. In general, Deists prided themselves on free-thinking and logic and tended to reject any specific dogma, so it is difficult to define the beliefs of an individual Deist without referring to generalities. Deists were heavily influenced by John Locke’s mechanistic philosophy and Newtonian physics, seeing the universe as a place ruled rationally by cause and effect. They tended to see God as an impersonal but intelligent force, a first cause that created the universe and set it in motion, who then allowed life and matter to proceed on its own without further need for divine intervention. The logic is that, if God is infallible, omniscient and omnipotent, logically he would pre- establish his design in the world in such a way that he would not need to tinker constantly with it or adjust it through supernatural intervention. Deistic writings often refer to the Deity using metaphors of the architect, the watchmaker, the mason, or some other skilled worker who measures out the universe with geometric and mechanical precision. Thus, a common Deist metaphor compares the universe to a perfectly designed watch or clock – a construct created with complex gears and moving parts, then wound up, and finally released to operate on its own without any more effort on the creator’s part. Denotation The literal meaning of a word; there are no emotions, values, or images associated with denotative meaning. Scientific and mathematical language carries few, if any emotional or connotative meanings. Dialect The language of a particular district, class, or group of persons. The term dialect encompasses the sounds, spelling, grammar, and diction employed by a specific people as distinguished from other persons either geographically or socially. Dialect is a major technique of characterization that reveals the social or geographic status of a character. Diction A writer’s choice of words, phrases, sentence structures, and figurative language, which combine to help create meaning. Formal diction consists of a dignified, impersonal, and elevated use of language; it follows the rules of syntax exactly and is often characterized by complex words and lofty tone. Middle diction maintains correct language usage, but is less elevated than formal diction; it reflects the way most educated people speak. Informal diction represents the plain language of everyday use, and often includes idiomatic expressions, slang, contractions, and many simple, common words. Poetic diction refers to the way poets sometimes employ an elevated diction that deviates significantly from the common speech and writing of their time, choosing words for their supposedly inherent poetic qualities. Since the eighteenth century, however, poets have been incorporating all kinds of diction in their work and so there is no longer an automatic distinction between the language of a poet and the language of everyday speech Enjambment A line having no pause or end punctuation but having uninterrupted grammatical meaning continuing into the next line – usually applied to poetic formats. Euphemism Using a mild or gentle phrase instead of a blunt, embarrassing, or painful one. For instance, saying â€Å"Grandfather has gone to a better place† is a euphemism for â€Å"Grandfather has died.† The idea is to put something bad, disturbing, or embarrassing in an inoffensive or neutral light. Frequently, words referring directly to death, unpopular politics, blasphemy, crime, and sexual or excremental activities are replaced by euphemisms. Farce A farce is a form of low comedy designed to provoke laughter through highly exaggerated caricatures of people in improbable or silly situations. Traits of farce include (1) physical bustle such as slapstick, (2) sexual misunderstandings and mix-ups, and (3) broad verbal humor such as puns. Many literary critics (especially in the Victorian period) have tended to view farce as inferior to â€Å"high comedy† that involves brilliant dialogue. Many of Shakespeare’s early works, such as The Taming of the Shrew, are considered farces. Flashback Action that interrupts to show an event that happened at an earlier time which is necessary to better understanding. Foil A secondary character who contrasts with a major character; in Hamlet, Laertes and Fortinbras, whose fathers have been killed, are foils for Hamlet. Foreshadowing Where the author drops subtle hints about the plot development to come later in the story. Hyperbole Exaggeration, often extravagant; it may be used for serious or for comic effect. Idiom In its loosest sense, the word idiom is often used as a synonym for dialect or idiolect. In its more scholarly and narrow sense, an idiom or idiomatic expression refers to a construction or expression in one language that cannot be matched or directly translated word-for-word in another language. For instance, the English expression, â€Å"She has a bee in her bonnet,† meaning â€Å"she is obsessed,† cannot be literally translated into another language word for word. It is a non-literal idiomatic expression, akin to â€Å"She is green with envy.† In the same way, the Spanish phrase, â€Å"Me gustan los arboles,† is usually translated as, â€Å"I like the trees,† but if we were to pull the phrase apart and read it word for word, it would make no sense in analytical English (i.e., â€Å"To me pleases the trees†). Imagery Language that evokes one or all of the five senses: seeing, hearing, tasting, smelling, touching. Each of these types of imagery has a specific name: * Olfactory imagery stimulates the sense of smell. * Tactile imagery stimulates the sense of touch. * Visual imagery stimulates the sense of sight. * Auditory imagery stimulates the sense of hearing. * Gustatory imagery stimulates the sense of taste. * Kinesthesia is imagery that recreates a feeling of physical action or natural bodily function (like a pulse, a heartbeat, or breathing). * Synaesthesia is imagery that involves the use of one sense to evoke another (Ex: loud color; warm gesture). Irony The discrepancy (incongruity) between what is said and what is meant, what is said and what is done, what is expected or intended and what happens, what is meant or said and what others understand. Sometimes irony is classified into types: in situational irony, expectations aroused by a situation are reversed; in cosmic irony or the irony of fate, misfortune is the result of fate, chance or God; in dramatic irony, the audience knows more than the characters in the play, so that words and action have additional meaning for the audience; Socractic irony is named after Socrates’ teaching method, whereby he assumes ignorance and openness to opposing points of view which turn out to be (he shows them to be) foolish. Metaphor A comparison of two dissimilar things, which does not use â€Å"like† or â€Å"as,† Metonymy Substituting a word for another word closely associated with it. Queen Elizabeth controlled the crown for years. The crown = the monarchy He has always loved the stage. The stage = the theater He will follow the cross. The cross = Christianity Motif (1) A recurrent thematic element in an artistic or literary work. (2) A dominant theme or central idea. Mood The emotional attitude the author takes towards the subject. Narrator The voice of the person telling the story, not to be confused with the author’s voice. With a first-person narrator, the I in the story presents the point of view of only one character. The reader is restricted to the perceptions, thoughts and feelings of that single character. First-person narrators can play either a major or a minor role in the story they are telling. An unreliable narrator reveals an interpretation of events that is somehow different from the author’s own interpretation of those events. Often, the unreliable narrator’s perception of plot, characters, and setting becomes the actual subject of the story. Narrators can be unreliable for a number of reasons: they might lack self-knowledge, they might be inexperienced, or they might even be insane. Naive narrators are usually characterized by youthful innocence, such as Mark Twain’s Huck Finn or J. D. Salinger’s Holden Caulfield. An omniscient narrator is an all-knowing narrator who i s not a character in the story and who can move from place to place and pass back and forth through time, slipping into and out of characters as no human being possibly could in real life. Omniscient narrators can report the thoughts and feelings of the characters, as well as their words and actions. The narrator of The Scarlet Letter is an omniscient narrator. Editorial omniscience refers to an intrusion by the narrator in order to evaluate a character for a reader, as when the narrator of The Scarlet Letter describes Hester’s relationship to the Puritan community. Narration that allows the characters’ actions and thoughts to speak for themselves is called neutral omniscience. Most modern writers use neutral omniscience so that readers can reach their own conclusions. Limited omniscience occurs when an author restricts a narrator to the single perspective of either a major or minor character. The way people, places, and events appear to that character is the way they appear to the reader. Sometimes a limited omniscient narrator can see into more than one character, particularly in a work that focuses on two characters alternately from one chapter to the next. Short stories, however, are frequently limited to a single character’s point of view. Onomatopoeia A word whose sounds seem to duplicate the sounds they describe–hiss, buzz, bang, murmur, meow, growl. Oxymoron A statement with two parts that seem contradictory; examples: sad joy, a wise fool, the sound of silence, or Hamlet’s saying, â€Å"I must be cruel only to be kind.† Parable A story or short narrative designed to allegorically reveal some religious principle, moral lesson, psychological reality, or general truth. Rather than using abstract discussion, a parable always teaches by comparison with real or literal occurrences, especially everyday occurrences a wide number of people can relate to. Well known examples of parables include those found in the Gospels, such as â€Å"The Prodigal Son† and â€Å"The Good Samaritan.† Paradox A statement whose two parts seem contradictory yet make sense with more thought. Christ used paradox in his teaching: â€Å"They have ears but hear not.† Or in ordinary conversation, we might use a paradox, â€Å"Deep down he’s really very shallow.† Paradox attracts the reader’s or the listener’s attention and gives emphasis. Parody A parody imitates the serious manner and characteristic features of a particular literary work in order to make fun of those same features. The humorist achieves parody by exaggerating certain traits common to the work, much as a caricaturist creates a humorous depiction of a person by magnifying and calling attention to the person’s most noticeable features. The term parody is often used synonymously with the more general term spoof, which makes fun of the general traits of a genre rather than one particular work or author. Often the subject matter of a parody is comically inappropriate, such as using the elaborate, formal diction of an epic to describe something trivial like washing socks or cleaning a dusty attic. Persona A mask for the author to speak through. In literature, a persona is a speaker created by a writer to tell a story or to speak in a poem. A persona is not a character in a story or narrative, nor does a persona necessarily directly reflect the author’s personal voice. A persona is a separate self, created by and distinct from the author, through which he or she speaks. Personification Treating abstractions or inanimate objects as human, that is, giving them human attributes, powers, or feelings, e.g., â€Å"nature wept† or â€Å"the wind whispered many truths to me.† Point of view Refers to who tells us a story and how it is told. What we know and how we feel about the events in a work are shaped by the author’s choice of point of view. The teller of the story, the narrator, inevitably affects our understanding of the characters’ actions by filtering what is told through his or her own perspective. The various points of view that writers draw upon can be grouped into two broad categories: (1) the third-person narrator uses he, she, or they to tell the story and does not participate in the action; and (2) the first-person narrator uses I and is a major or minor participant in the action. In addition, a second-person narrator, you, is also possible, but is rarely used because of the awkwardness of thrusting the reader into the story, as in â€Å"You are minding your own business on a park bench when a drunk steps out and demands your lunch bag.† An objective point of view employs a third-person narrator who does not see into the mind of any character. From this detached and impersonal perspective, the narrator reports action and dialogue without telling us directly what the characters think and feel. Since no analysis or interpretation is provided by the narrator, this point of view places a premium on dialogue, actions and details to reveal character to the reader. Pun The usually humorous use of a word in such a way as to suggest two or more of its meanings or the meaning of another word similar in sound. It consists of a deliberate confusion of similar words or phrases for rhetorical effect, whether humorous or serious. It can rely on the assumed equivalency of multiple similar words (homonymy), of different shades of meaning of one word (polysemy), or of a literal meaning with a metaphor. Bad puns are often considered to be cheesy. * A hangover is the wrath of grapes. * Without geometry, life is pointless. * Reading while sunbathing makes you well-red. Repetition The return of a word, phrase, stanza form, or effect in any form of literature. Repetition is an effective literary device that may bring comfort, suggest order, or add special meaning to a piece of literature. Satire A literary tone used to ridicule or make fun of human vice or weakness, often with the intent of correcting, or changing, the subject of the satiric attack. Simile A comparison of two dissimilar things using â€Å"like† or â€Å"as† Stereotype A simplified and/or standardized conception or image with specific meaning, often held in common by members of a group. A stereotype can be a conventional and oversimplified conception, opinion or image. Stereotypes can range from those that are wildly inaccurate and negative to those that are more than a little bit true and may even shed positive light upon the group of individuals. They are typically generalizations based on minimal or limited knowledge about a group to which the person doing the stereotyping does not belong. Style Manner of expression; how a speaker or writer says what he says. Suspense The feeling of uncertainty and interest about the outcome of certain actions, most often referring to an audience’s perceptions in a dramatic work. Symbolism When an author uses an object or idea to suggest more than its literal meaning. A person, place, or event stands for something other than it is, usually something broader or deeper than it is. Symbols In general terms, anything that stands for something else. Obvious examples are flags, which symbolize a nation; the cross is a symbol for Christianity; Uncle Sam a symbol for the United States. In literature, a symbol is expected to have significance. Keats starts his ode with a real nightingale, but quickly it becomes a symbol, standing for a life of pure, unmixed joy; then before the end of the poem it becomes only a bird again. Synecdoche When one uses a part to represent the whole. â€Å"Lend me your ears.† (give me your attention) Syntax The way in which linguistic elements (as words) are put together Theme (1) The abstract concept explored in a literary work; (2) frequently recurring ideas, such as enjoy life while you can; (3) repetition of a meaningful element in a work, such as references to sight, vision and blindness in Oedipus Rex. Sometimes the theme is also called the motif. Themes in Hamlet include the nature of filial duty and the dilemma of the idealist in a non-ideal situation. A theme in Keats’s â€Å"Ode to a Nightingale† is the difficulty of correlating the ideal and the real. Tone The writer’s attitude toward the material and/or readers. Tone may be playful, formal, intimate, angry, serious, ironic, outraged, baffled, tender, serene, depressed, etc. Tragedy A story that presents courageous individuals who confront powerful forces within or outside themselves with a dignity that reveals the breadth and depth of the human spirit in the face of failure, defeat, and even death. Tragedies recount an individual’s downfall; they usually begin high and end low. Shakespeare is known for his tragedies, including Macbeth, King Lear, Othello, and Hamlet. The revenge tragedy is a well-established type of drama that can be traced back to Greek and Roman plays, particularly through the Roman playwright Seneca (c. 3 b.c.–a.d. 63). Revenge tragedies basically consist of a murder that has to be avenged by a relative of the victim. Typically, the victim’s ghost appears to demand revenge and, invariably, madness of some sort is worked into subsequent events, which ultimately end in the deaths of the murderer, the avenger and a number of other characters. Shakespeare’s Hamlet subscribes to the basic ingredients of revenge tragedy . It also transcends these conventions because Hamlet contemplates revenge, suicide and the meaning of life itself. The tragic irony is found in tragedies such as Oedipus Rex, in which Oedipus ironically ends up hunting himself. A story that presents courageous individuals who confront powerful forces within or outside themselves with a dignity that reveals the breadth and depth of the human spirit in the face of failure, defeat, and even death. Tragic irony is a form of dramatic irony found in tragedies such as Oedipus Rex, in which Oedipus ironically ends up hunting himself.. Tragic flaw An error or defect in the tragic hero that leads to his downfall, such as greed, pride, or ambition. This flaw may be a result of bad character, bad judgment, an inherited weakness, or any other defect of character. Tragicomedy A type of drama that combines certain elements of tragedy and comedy. The play’s plot tends to be serious, leading to a terrible catastrophe, until an unexpected turn of events leads to a reversal of circumstance, and the story ends happily. Tragicomedy often employs a romantic, fast-moving plot dealing with love, jealousy, disguises, treachery, intrigue, and surprises, all moving toward a melodramatic resolution. Shakespeare’s Merchant of Venice is a tragicomedy. Understatement (also known as litotes and meiosis) Casual or light treatment of the subject, it has two effects: (1) shows that the author does not take a subject seriously, (2) calls upon the moral indignation of the reader because the subject does not seem to be taken seriously. * Example: â€Å"I’m really glad that you have come to visit,† said the spider to the fly. Verisimilitude Something that has the appearance of being true or real. Vernacular The everyday or common language of a geographic area or the native language of commoners in a country as opposed to a prestigious dead language maintained artificially in schools or in literary texts. Latin, for instance, has not been a vernacular language for about 1250 years. Sanskrit has not been a vernacular language in India for more than 2000 years. However, Latin in medieval Europe and Sanskrit in ancient India were considered much more suitable for art, scholarship, poetry, and religious texts than the common tongue of everyday people even though (or perhaps because) only a small percentage of the learned could read the older languages.

Test on French Prepositions En and Dans

The Philosophers Philosophy On The Truth About The...

Philosophy is the investigation of truths and principle of being, knowledge or conduct. Many philosophers from the past have much knowledge that is superior to our own. Philosophers use their knowledge to figure out the truth about the reality of the world without using religion. Logic was used in the philosophers work many times. Logic means arriving of truth by eliminating the errors. The three philosophers I choose that used knowledge many times would be Plato, Berkeley, and Descartes. The first philosopher who uses knowledge is Plato. The knowledge Plato uses is Rationalist Epistemology which means the study of nature, source, limits, and validity of knowledge. â€Å"It is especially interested in developing criteria for evaluating claims people make that they know something. In particular, it considers questions such as: What is knowledge? What is the difference between knowledge and opinion or belief? If you know something, does that mean that you are certain about it? Is knowledge really possible?† What this means is that People use these questions to understand the meaning of knowledge and to figure out the truth about it. â€Å"A rationalist epistemology claims that knowledge (as opposed to opinion) is possible only if it is based on self-evident and absolutely certain principles. Such principles are not learned through experience; instead, they are implicit in the very notion of reasoning (in Latin: ratio) itself. Sense experience cannot provide the certainty neededShow MoreRelatedBaroque Art Depicted the Religious Tensions During that Period801 Words   |  3 Pagestime. Coincidentally, the philosophy of the time also played a key role in addressing the tensions that existed during the period. As a result of the focus on similar aspects of the society, there emerged numerous similarities between the artwork of the time and the ideas expressed by philosophers such as Descartes and Leibniz. 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The Age Of Enlightenment By Leonardo De Vinci s David

Religion a deadly tool to control the masses. It was the core of many ideas and values of the past. This tool, however, was not perfect; during the enlightenment one of the main goals was to fix all the corruption of the church. Fixing some of the holes of the church lead the Age of Enlightenment to chisel and reshape the way of thinking into a work of art as triumphant as Leonardo De Vinci s David. The modernism movement was the final product of the age of enlightenment, the beginning of the abolished the core ideas of religion swaying away from Gods Light. Religious tolerance of the Roman Catholic Church was swaying as a boat would in a storm as wild as the controversies of the Church. With Government being choked by the roots of the Church many Theologians, people who study the concepts of God wanted to reform their fate to where it was maintaining a true faith in God. With Religion being the center of Government, people tried to come up with ideas to keep God in charge. Martin Luther religious a German friar already chipped at the corruptions of the Church. Reject several teachings and practices such as calming that redemption from sin shouldn’t be paid with coin, created the start of new ways of thinking. With the new philosophy of rationalism being born in the 17th-18th century, the religion of reason became a center of thinking for philosophers, expose all myths, superstitions and traditions During the age of Enlightenment, John Locke an EnglishShow MoreRelatedA Grand Chain Of Rebellion First Beginning Of The Renaissance Era2674 Words   |  11 Pagesin the Renaissance era. Renaissance era covers the 300 years from 1400 to 1699 and is characterized by a revival of Classical scholarship, wisdom and values. European culture was reborn in the 15th century after a long dormant period in the Middle Ages that extended from the fall of the Roman Empire until the beginning of the 14th century. In addition to the revival of Classical scholarship, the Renaissance period also experienced cultural, scientific and technological advancements such as the discoveryRead MoreThe Renaissance and Italys Decline1592 Words   |  7 PagesThe Renaissance and Italys Decline Definition: The period in European civilization immediately following the Middle Ages, conventionally held to have been characterized by a surge of interest in classical learning and values. Set in the city-states of Italy in the fourteenth, fifteenth and sixteenth centuries, the constant uncertainty, both economic and political, and extreme volatility of the historical situation provided the material for new intellectual, cultural, and social experimentsRead MoreRelationship Between Religion and Art in Medieval, Renaissance and Contemporary Times2657 Words   |  11 Pageselephant feces, the Virgin herself made with the same substance, while surrounded by cutouts from pornographic magazines. The work has stirred much controversy but today still sits in the museum for the public (Saltz n.p.). As early as the Middle Ages, Mother Mary has been considered one of the most revered and loved figures of Christianity. Paintings worshipping her are as numerous as that of Jesus Christ (Sturgis and Clayson, eds. 38). Why then is it tolerable for a museum to display a paintingRead MoreHow Does One Re Work History?2351 Words   |  10 Pagesportray in his works . He photographs his subjects, and have them pose in the poses of the artists he draws inspiration from; Baroque Flemish painter Peter Paul Rubens, British artist Thomas Gainsborough, and Napoleon’s court painter Jacques-Louis David. There’s a reason he draws inspiration from these artists, â€Å"there is a reason for that† Says Wiley â€Å" and that has to do with power† These poses are meant to evoke a conversation around art history. The subjects in the original paintings are white malesRead MoreArt History Study Guide3003 Words   |  13 Pages–[and Polydoros, Athanadoros] Laocoon and Hi s Sons * S Chapter 10 China * 6 Dynasties (220-579) * Gu Kaizhi – Imperial Instructress to Court Ladies * Wang Xizhi –Letter Feng Ju album * Song (960-1279) * Fan Kuan –Travelers Among Mtns and Streams * Xia -12 Views from a Thatched Hut * Xu Daoning –Fishing in a Mtn Stream * Zhang Zeduan –Spring Festival on the River * S Chapter 11 Japan * Asuka (552-646) *Read MoreLogical Reasoning189930 Words   |  760 PagesWadsworth Publishing Company, which is owned by Cengage Learning: There is a great deal of coherence. The chapters build on one another. The organization is sound and the author does a superior job of presenting the structure of arguments. David M. Adams, California State Polytechnic University These examples work quite well. Their diversity, literacy, ethnic sensitivity, and relevancy should attract readers. Stanley Baronett. Jr., University of Nevada Las Vegas Far too many authors

Organic Chemistry Essay Example For Students

Organic Chemistry Essay Chemistry has been called the science of what things are. Its intent is the exploration of the nature of the materials that fabricate our physical environment, why they hold the different properties that depict them, how their atomic structure may be fathomed, and how they may be manipulated and changed. Although organic reactions have been conducted by man since the discovery of fire, the science of Organic chemistry did not develop until the turn of the eighteenth century, mainly in France at first, then in Germany, later on in England. By far the largest variety of materials that bombard us are made up of organic elements. The beginning of the Ninetieth century was also the dawn of chemistry, all organic substances were understood as all being materials produced by living organisms: wood, bone, cloth, food, medicines, and the complex substances that configure the human body. Inorganic material was believed to come from the Earth: salt, metals, and rock, just to name a few. Because of the humans wonder of natural life, organic materials were believed to possess an enigmatic Vital Force. Thus organic chemistry was separated from inorganic chemistry, and it became its own field of science. By the turn of the Nineteenth the Vital Force theory was immensely discredited, but this branch of science still stayed separated from inorganic chemistry. Back when Organic chemistry was the chemistry of living matter, Professor Wohler succeeded in synthesizing in the laboratory an organic compound previously observed in living tissue as Urea. Professor Wohler made this organic compound from non-living chemical substance, Ammonium Cyanate. He evaporated a solution of Ammonium Cyanate to produce Urea. Thus rendering the Vital Force theory to be with flaws. Other famous experiments proved the vitalism theory was wrong. In 1845 Kolbe synthesized acetic acid, the chief component in vinegar, in a flow of reactions starting with Carbon, the experiment is demonstrated better defined since acetic acid (C6H4O2) is a carbon-carbon bond. The theory of vitalism, like many other scientific theories, disappeared slowly under the weight of accumulated evidence rather than as a consequence of any one brilliant and enlightening experiment. Structural theory, which developed in the 1860s, sta rted the second major period of growth in the organic chemistry field. The development of a detailed picture, by using pure reasoning of both atomic organization and the shapes of molecules stands as a great milestone of the development of human intellect. At almost the same point in time, Kekule in Germany, and Couper of Scotland suggested that atoms in molecules are fused together by bonds. Their theory was that every atom is distinguished by having the same number of bond availability or valence number, where ever that particular atom appears in any compound. The main notability of organic compounds is having strong carbon to carbon bonds. This was recognized in the theory, and was used to help understand large molecules, possessing many bonded carbon atoms. Carbon is the cement that holds their molecules together. So far, this theory has gone through rigorous testing, and has not been proven inadequate to this day, as of now it is a law. Kekule and Coupers theory was not all wit hout fault; it is suprising that they did not recognize atoms as three-dimensional objects if they were to be understood as true particles of matter in space. It was not until 1875 when vant Hoff and LeBel proposed their hypothesis of compounds and atoms taking up space. Their hypothesis went as follows: Four bonds of carbon were located at equal angles to each other in space, this would be a rectangular tetrahedron. Immense amounts of proof have been supplied to support this theory, but is not universally accepted. It is believed today that this hypothesis is pure nonsense, proving that vant Hoff and LeBel were misdirected. It goes to show science is not always a constant law, theories, and even laws can be proved wrong. This Hypothesis was no exception; science can adapt to the world around it.After all, the mission statement of science is the attempt to understand the world around you, and without change there is no growth. The structural theory is not only a focal point of organ ic chemistry, but an amazingly simple idea. It states that by grasping that each carbon atom to form four bonds, tetrahedrally arranged in space, we are able to map the architecture of even the most complex molecules. Hence, even though the molecules are too minuscule to be seen in most powerful, cutting edge, electron microscopes. Scientists are still able to possess a clear understanding of how a molecule is constructed. Although the atoms may have minor different physical characteristics than scientists expected such as, carbon atom being an elliptical shape, or the bonds may not line up in a compound as neatly as we envisioned them. Nevertheless, the truth of their basic physical architectural hypothesis has been substantiated literally millions of times by successful outcome of prediction. The power of the theory is demonstrated by the statement that there has been no chemical observation that cannot be basically understood by structural theory. Finally, although structural log ic is extremely rigorous, it involves no mathematics. Unlike most sciences of equal complexity, much of organic chemistry is conducted without the use of formal math beyond elementary levels. The third and presently used theory in the history of organic chemistry ends with the description of chemical bonds as electron pairs, Lewis came up with this in 1917. Although a great amount of chemical reactions were already known and in active use to synthesize organic compounds into other compounds, only with this understanding of the nature of a chemical bond did a clear reason of the nature an mechanism of chemical reactions begin to appear. This will be clear when one realizes that the transformation of one molecule to another, a chemical reaction, requires the breaking of some bonds and the making of others. This process could not be understood until one knew what a bond is. Thus if the nineteenth century was devoted to unraveling the fixed structures of molecules, the twentieth century will be devoted to the study of their transformations. .u92d9799ffac04c0e34eef99361dcad1f , .u92d9799ffac04c0e34eef99361dcad1f .postImageUrl , .u92d9799ffac04c0e34eef99361dcad1f .centered-text-area { min-height: 80px; position: relative; } .u92d9799ffac04c0e34eef99361dcad1f , .u92d9799ffac04c0e34eef99361dcad1f:hover , .u92d9799ffac04c0e34eef99361dcad1f:visited , .u92d9799ffac04c0e34eef99361dcad1f:active { border:0!important; } .u92d9799ffac04c0e34eef99361dcad1f .clearfix:after { content: ""; display: table; clear: both; } .u92d9799ffac04c0e34eef99361dcad1f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u92d9799ffac04c0e34eef99361dcad1f:active , .u92d9799ffac04c0e34eef99361dcad1f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u92d9799ffac04c0e34eef99361dcad1f .centered-text-area { width: 100%; position: relative ; } .u92d9799ffac04c0e34eef99361dcad1f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u92d9799ffac04c0e34eef99361dcad1f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u92d9799ffac04c0e34eef99361dcad1f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u92d9799ffac04c0e34eef99361dcad1f:hover .ctaButton { background-color: #34495E!important; } .u92d9799ffac04c0e34eef99361dcad1f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u92d9799ffac04c0e34eef99361dcad1f .u92d9799ffac04c0e34eef99361dcad1f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u92d9799ffac04c0e34eef99361dcad1f:after { content: ""; display: block; clear: both; } READ: Fear and loathing in las vegas Essay The study of science and more specifically the study of organic chemistry is an on going affair. In the scientific community one never rests, there is a continual stream of experimentation and the desire to explore new realms. The cutting edge in science is grounded in the medical field. How can we manipulate genetic codes the building blocks of life? The things we have learned over the years are allowing us to build those bridges to the future, a future that might see an improvement in the human condition by way of organic chemistry. Search Bibliography1. Academy of Sciences of the Czech Republic. 14 December 1999. 2. Adams, Johnson, and Wilcox C. Laboratory Experiments in Organic Chemistry.London: The Macmillen Company Ltd., 1970. 3. Sharma, Amit. Re: Chemistry. E-mail to Jeffrey Schaufeld-emailprotected13 December 1999.4. Bordwell, F.G. Organic Chemistry. New York: The Macmillen Company, 1963. 5. Burgoyne, Edward E. A Short Coarse in Organic Chemistry. New York: The McGraw-Hill Book Company, 1979. 6. Carey, F. A. Organic Chemistry. New York: The McGraw-Hill Book Company, 1986. 7. Cram, and Hammond G. Organic Chemistry: 2nd Edition.New York: The McGraw-Hill Book Company, 1964. 8. Department of Organic Chemistry. University of Nigmegen, Germany. 12 December 1999 http://www-sci.sci.kun.nl/orgchem/. 9. Division of Organic Chemistry. American Chemical Society. 13 December 1999. 10. Ferguson, Lloyd N. The Modern Structural Theory of Organic Chemistry. London: Prentice-Hall International Inc., 1963. 11. Grant, Karen. Re: Organic Chemistry. E-mail to Jeffrey Schaufeld-emailprotected 12 December 1999. 13. Griffin, Rodger W. Modern Organic Chemistry. New York: The McGraw-Hill Book Company, 1969. 14. Hammett, Louis P. Physical Organic Chemistry. New York: The McGraw-Hill Book Company, 1970. 15. Hendrikson, Cram, and Hammond G. Organic Chemistry: 3rd Edition. New York: The McGraw-Hill Book Company, 1970. 16. History of Organic Chemistry. 11 December 1999. 17. Ingold, C.K. Structure and Mechanism in Organic Chemistry. Ithaca: Cornell University Press, 1969. 18. Institute of Organic Chemistry. University of Gottingen, Germany. 11 December 1999 http://www.gwdg.de/~ucoc/. 19. Institute of Organic Chemistry. University of Erlangen-Nuremburg. 13 December 1999. 20. Institute of Organic Chemistry. University of Zurich. 14 December 1999 http://www.unizh.ch/oci/persons/kunz.html. 21. Internet Chemistry Resources. Rensselaer Polytechnic Institute. 10 December 1999. 22. IOSB-Prague. Institute of Organic Chemistry and Biochemistry. 9 December 1999. 23. Laboratory of Organic Chemistry. Institute of Molecular Chemistry. 11 December 1999 http://orgwww.chem.uva.nl/. 24. Mong, Gary. Re: Chemistry Information. E-mail to Jeffrey Schaufeld-emailprotected 11 December 1999. 25. Morrisson, Robert, Boyd, and Robert N. Organic Chemistry: 4th Edition. London: Allyn, 1983. 26. N.D. Zelinsky Institute of Organic Chemistry. 9 December 1999 http://www.ioc.ac.ru/. 27. Nebergall, W.H., Schmidt, Frederic, Holtzclaw, and Henry. Chemistry: 6th Edition London: Pantheon, 1980. 28. Novosibirsk Institute of Organic Chemistry. Siberian division of the Russian Academy of Sciences. 13 December 1999. 29. Organic Chemistry Division. 10 December 1999. 30. Organic Chemistry Resources Worldwide. Georgia State University. 12 December 1999. 31. Rusay, Ray J. Re: Organic Chemistry Information. E-mail to Jeffrey Schaufeld-emailprotected 13 December 1999. 32. Science Encyclopedia. London: Dorling Kindersley Limited, 1993. 33. The Canadian Society for Chemistry: Organic Division. 12 December 1999. 34. The Web World of Fundamental Organic Chemistry. 10 December 1999 http://www.dq.fct.unl.pt/qof/intro.html. 35. Turro, Nick J. Re: Organic Project Information. E-mail to Jeffrey Schaufeld-emailprotected 14 December 1999.36. Web-Sters Organic Chemistry. 9 December 1999.

Try and Try Again Essays - Presentation Experience, Poor Grades

The motto, if at first you dont succeed, try, try again, is a saying that I agree with. In my life, I have made an effort to persevere using several different approaches to a problem or goal in order to be successful. One example that I comes to mind is my university presentation. Even as a freshmen, I preferred to get advice from the professor about how to make presentation. Truthfully, I was completely confused in the first conversation. Nevertheless, I have learned how to research, about body language and have launched several campaigns to make a good presentation. My first real presentation experience was at the university. For six weeks, I researched more than 200 pages a day, taking note of important information carefully. I learned to organize material into sections like. At the end of six weeks, I made a presentation in the class. But I did not remember anything and I felt very sick. So I began to read my notes. My teacher put an end to my speech because I spoke too long and everybody lost their attention. As a result, I got poor grades at the midterm and I had to work hard for the final exam. Although I had failed in my first experience, I still had a chance to pass the course. This time I followed a rigorous working plan. I concentrated on body language as well as structure. I took a mirror to my room so that It it would be easier to make practice. I joined a social club and observed people as they were giving presentations. Although I made a good presentation as I want, and I began to receive complements from friends on my presentation. Nevertheless, I found myself going to a disco with friends from my club, missing lesson because I was too busy. Preparing for the final was not possible because I was arriving late. I failed the final again. If I wanted to , I could have skipped the course, but I tried again. I met one person who is was successful at giving the presentation. She gave me private lessons. I learned a new method for a successful presentation, such as speaking clearly. My presentation became more understandable and was timer shorter. Moreover, by studying the lesson by myself and actively listening to other students, I have slowly reached my goal. When I was making the presentation, I felt confidence and overcame the challenge. So, as you see, I tried and tried again, but at last I succeeded in finding a way that worked for me. And I learned researching, body language and speaking clearly. What is important is not to give up and to learn from each failure.

Free Essays on Symphony With A Splash

Contrary to the atmosphere of most symphony concerts, the Pittsburgh Symphony Orchestra’s â€Å"Symphony with a Splash† created a fun and easygoing setting. Both the conductor, Daniel Meyer, and host, Greg Sandow, encouraged clapping throughout the entire show including during the music. This crowd participation made for easy listening and enjoyment. The concert opened with a familiar song by Ennio Morricone, â€Å"Childhood/Manhood,† from the film â€Å"Cinema Paradiso.† This song can be recognized from a television ad for UPMC. Some people may agree with conductor Daniel Meyer when he said that â€Å"Childhood/Manhood† put them on the charts. Also preformed in the first half of the show was Gioachino Rossini’s â€Å"La Gazza Ladra [The Thieving Magpie].† This song, like most form this show, was not written for a formal concert setting. The percussion parts in this song were amazing. They were loud and captivating, forcing the audience to listen and hang on every note. With a similar feeling to the rest of this night’s performances was the Scherzo from the Tenth Symphony by Dmitri Shostakovich. This song is similar because it was also not written for what people today believe is a formal concert. The Scherzo was written as a portrait of Joseph Stalin. The entire audience was able to feel the hatred toward Stalin through the tone of the music as well as the red lights that shined on the performers. Other music performed at this concert includes music from Handel’s â€Å"Music for the Royal Fireworks,† Mozart’s â€Å"Paris Symphony,† Mahler’s â€Å"Symphony Number 5", and Ravel’s â€Å"Bolà ©ro.† Of all the music performed, my favorite was the Scherzo from Shostakovich’s Symphony Number 10. I liked this piece the most because you could feel the song’s force and power. Walking into this concert I was expecting to hear a lot of soft music. However, this was not the case. The concert was filled with lively and e... Free Essays on Symphony With A Splash Free Essays on Symphony With A Splash Contrary to the atmosphere of most symphony concerts, the Pittsburgh Symphony Orchestra’s â€Å"Symphony with a Splash† created a fun and easygoing setting. Both the conductor, Daniel Meyer, and host, Greg Sandow, encouraged clapping throughout the entire show including during the music. This crowd participation made for easy listening and enjoyment. The concert opened with a familiar song by Ennio Morricone, â€Å"Childhood/Manhood,† from the film â€Å"Cinema Paradiso.† This song can be recognized from a television ad for UPMC. Some people may agree with conductor Daniel Meyer when he said that â€Å"Childhood/Manhood† put them on the charts. Also preformed in the first half of the show was Gioachino Rossini’s â€Å"La Gazza Ladra [The Thieving Magpie].† This song, like most form this show, was not written for a formal concert setting. The percussion parts in this song were amazing. They were loud and captivating, forcing the audience to listen and hang on every note. With a similar feeling to the rest of this night’s performances was the Scherzo from the Tenth Symphony by Dmitri Shostakovich. This song is similar because it was also not written for what people today believe is a formal concert. The Scherzo was written as a portrait of Joseph Stalin. The entire audience was able to feel the hatred toward Stalin through the tone of the music as well as the red lights that shined on the performers. Other music performed at this concert includes music from Handel’s â€Å"Music for the Royal Fireworks,† Mozart’s â€Å"Paris Symphony,† Mahler’s â€Å"Symphony Number 5", and Ravel’s â€Å"Bolà ©ro.† Of all the music performed, my favorite was the Scherzo from Shostakovich’s Symphony Number 10. I liked this piece the most because you could feel the song’s force and power. Walking into this concert I was expecting to hear a lot of soft music. However, this was not the case. The concert was filled with lively and e...