Sympathy for the betrayers and the betrayed Essay Example for Free

Sympathy for the betrayers and the betrayed Essay More than would be imagined, it is sometimes more difficult to sympathise with the victims of infidelity; easier than we might have imagined to sympathise with the betrayers themselves. To what extent do you agree with this estimation in relation to the three texts chosen? In none of the three texts can it be said that the adulterers elicit or deserve greater sympathy than the victims of adultery. Despite this imbalance, it would unconsidered and possibly rather supercilious to simply judge the betrayers on their actions without meditating on the reasoning behind the actions and the circumstances in which the adulterers have found themselves. All the adulterers within the text (apart from Jerry in Betrayal (1978), and Rodolphe in Madame Bovary (1857)) merit a degree of sympathy, yet despite this, their actions cannot be wholly justified, and the characters cannot, therefore, be fully exonerated. The savage destruction of Emma Bovary by Flaubert, and Cresseids gruesome infliction of leprosy are certainly a cause for sympathy in both cases. Emma Bovarys death is a painfully drawn out event in which she turned whiter than the sheet at which her fingers kept clawing and soon began to vomit blood. Her limbs were contorted, her body covered with brown blotches. It is interesting to note the contrast between the description at the beginning of the novel in which Flaubert erotically describes the tip of her tongue poking between her beautiful teeth, delicately licking the bottom of the glass and the description post-arsenic in which her entire tongue protruded from her mouth; her rolling eyes dimmed like lamp globes as they fade into darkness. Notably, Flaubert focuses on the body and its indignities, which is in contrast to Madame Bovarys romanticism Similarly, in The Testament of Cresseid, Henryson depicts a disease so realistic and visceral that, as early as 1841, Sir J. A. Y. Si mpson was able to diagnose the exact type of disease Cresseid has. (1) Henrysons detailed description gave rise to at least one suggestion that he himself was a physician. The Gods marred her, declaring, Your eyes so bright and crystal I make bloodshot / Your voice so clear, unpleasing, grating, hoarse / Your healthy skin I blacken, blotch and spot / With livid lumps I cover your fair face. Cupids declaration of, Your mirth I hereby change to melancholy is one of a series of semantically opposite, yet alliterative words, which in this instance, are used to display the unfavourable contrast of Cresseids existence before her punishment and afterwards, whilst also augmenting the malicious and sadistic nature of the Gods. In Heaneys translation he writes, your high estate is in decline and fall. The is a reference to Edward Gibbons work The History of the Decline and Fall of the Roman Empire, (1776) the literary allusion conveying the suddenness and inexplicability of Cresseids physical decline. The bleakness of her situation is summarised in the descri ption of her having to make do with a cup and clapper. They remain Her whole life has been reduced to this alliterative phrase, whilst the caesura indicates the sudden nature of her loss. Not only does Cresseid receive a gruesome affliction, the reader is also left with the feeling that her punishment is undeserved. The reason for her sentence is blasphemy, since whoever blasphemes all Gods offer insults. Betrayal is heavily frequented with profanities such as Good God, yet nothing results. In Madame Bovary, Charles addressed curses to the heavens, but not so much as a leaf quivered. The triviality of Cresseids offence in contrast to the magnitude of her chastisement displays an injustice in the name of justice, and this is borne true in the lack of consequence fastened to blasphemy in the other two texts. When Cupid retorts indignantly of Cresseids claim that I was the cause of her misfortune, one notes an irony given that all the Gods share an overwhelming involvement in all her actions and hence her misfortune. Cresseid is a puppet of the pagan Gods whims, and her lack of volition means that she should not be blamed. Fate is recurrently referred to, in for example, the lines, Cresseids most miserable and fated death (fatall destenie), Of Troy and Greece, how it could be your fate, and Fate is fickle when she plies the shears. This predestination is not a problem with which the adulterers in the other two texts must face. Further, the scornfully humorous description of the Gods, particularly Saturn who behaved in a churlish, rough, thick-witted manner, and had a rucked and wrinkled face, a lyre like lead and a steady nose run creates a further sympathy for Emma, since those that condemn her are rendered in an absurd, grotesque and humorous light. Henryson goes further when he describes Cupid as a boar that whets its tusks, he grinds and fumes, since it goes beyond anthromorphism to zoomorphism; and the description of Gods that raged, grimaced, rampaged and bawled and scoffed is a display of Gods that have unlimited power and limited judgement. Whilst Madame Bovary does not have to contend with predestination, her actions are still restricted by societys ambits and the limitations placed on women in the mid-nineteenth century. In societal terms, she has to live in the mediocrity of her provincial surroundings. It is important to note that the novels sub-title is Provincial Manners they frustrated Flaubert, and he used Emma Bovarys disgust with her class as a way of conveying his own hatred for the banality of the middle-classes. Madame Bovary shows how ridiculous the attitudes of the bourgeoisie can be. Homaiss haughtily flamboyant speeches are used by Flaubert to display the pretensions of the bourgeois. The less grandiose act by a woman who received a 25 franc award for 54 years of service giving it to our curà ¯Ã‚ ¿Ã‚ ½ so he can say some masses for me leads the reader not to see this as remarkable, rather to see it as a sign of fanaticism, thus challenging fidelity as a certain good. Madame Bovary longs to be more ref ined and sophisticated than her environment allows her. Flauberts depiction of a black chalk drawing of the head of Minerva in the middle of a wall whose green paint was flaking from the damp is a visual metaphor for Emma Bovary, a Roman goddess amongst the banalities of life. A recurring leitmotif in the novel is that of Emma Bovary looking with her head against the window pane, gazing into the garden; it is a poignant allusion to her aspirations for a more interesting existence and also her locomotive desires, in which the garden has both a metaphorical and physically restrictive quality. Her affairs represent her both breaking out of an existence as humdrum and circumscribed as that of their hens and their dogs (2) and that she had no qualms about mistaking cul for coeur.'(2) The Emma of Betrayal has a greater degree of freedom than the other two protagonists, she, after all is running a gallery. Nevertheless, it could be argued that she is a player in amongst Jerry and Roberts game of one-upmanship; their self-absorbed competitiveness being encapsulated in their games of squash (note the punning effect with the verb squash and Rodolphes remark that he will squash him (Charles) like a fly in Madame Bovary). This remark of Rodolphes shows that he also gets enjoyment from stamping on other mens power, which is backed up in the imagery of Rodolphes Mounted stags heads in his study he gets a thrill from male conquest as well as female conquest. Harold Pinter himself commented that Betrayal is a play about two close friends perhaps Emma is simply within Jerry and Roberts story, a victim of psychological determinism, rather than Madame Bovarys societal determinism and Cresseids cosmic determinism. Both Emma Bovary and Cresseid share an existence in a patriarchal world, which Emma from Betrayal is not a part of. Madame Bovary, for example, is blessed with artistic gifts that cause Charles to proudly display her work to whoever chooses to visit his abode. However, given the restrictions placed on women during the period, the Bovary households wall would be the only dwelling for any art she may happen to create; this can be contrasted to Betrayals Emma who actually owns her own art gallery and who also has the benefit of the possibility of travelling anywhere she wants (the film notes her possession of a car: making her an agent of mobility), and is not confined to the ennui of a rustic Rouen. Madame Bovarys gender-founded restrictions are expressed in the structure of the novel. The novel initiates with a depiction of Charles schooldays, and indeed, starts with the nous form, thus centralising Charless character. At the end of the novel, Homais becomes the centre of attention, as his mounting successes are described by Flaubert, finally climaxing in Il vient de recevoir la croix dhonneur (he has been given the Legion of Honour). Emmas story is therefore trapped between Charles and Homais; the structure of the novel is mimetic of her entrapment in a male-dominated world, and these restrictions should evoke sympathy in the reader. Similarly, Cresseid is subject to male authority, which is made clear in the line Yet whatever men may think or say contemptuously, and the traditionally accepted belief of her as being merely a lustfully encumbered individual is challenged by the way in which her punishment is portrayed as having resulted from blasphemy. The popular portrayal of Cresseid in both Chaucers Troilus and Cresseid (C. 1380) and Shakespeares Troilus and Cressida is challenged by the Testament of Cresseid (1475) and evoke sympathy in the reader. Madame Bovary and Emma are mutually unique from Cresseid in that their adulterous other halves are base to a level which subtracts from the potential criticism of the primary adulterers themselves. Jerry is emotionally detached from Emma, yet still has a vulgar, sexual interest in her, as indicated in the final (yet chronologically foremost) scene in which he declares, I should have had you, in your white, before the wedding, I should have blackened you, in your white wedding dress. He later articulates, youre banishing me to, a state of catatonia, and frequently proclaims youre beautiful, youre incredible etc. However, earlier in the play, he makes short remarks and responses to Emmas questions an indication that he has no real emotional interest in her. Jerry also fails to recall with accuracy certain events relating to their relationship. For example when Jerry recalls throwing Emmas daughter in the air he believed it to be in Emmas kitchen, to which she replied, it was your kitchen. When Jerry calls her darling she responds, dont say that, because she knows that this term of endearment is not meant by Jerry. Emma puts in a lot of effort into the affair, as indicated by her yearning for a continuation of their romantic escapades: you see, in the past, we were inventive, we were determined, Jerrys disinterested response is, It would not matter how much we wanted it if youre not free in the afternoons and Im in America. This is extremely similar to Rodolphes remark Youre mad, you really are! How could we do that?, when Emma puts forward the idea of a sojourn in Paris, and is indicative of the contrasting levels of commitment between the adulterer and the adulteress. When they finally decide on their trip to Paris, Madame Bovary asks, I am counting the days. Arent you? There is also a link between that and Emmas question will we ever go to Venice? She answers her own question in Betrayal in Madame Bovary, nothing is said at all. Emmas desire for something more in their relationship is indicated in her wish for a shared home with Jerry. She is saddened by the fact that the crockery and the curtains and the bedspread have been left for so long. She later says to Jerry you didnt ever see it as a home in any sense did you?, to which Jerry replied, no, I saw it as a flat you know. Emma correctly acknowledges Jerrys desires when she finishes off his sentence with the words for fucking, despite Jerrys protestation of for loving. Emmas inability to let go of the relationship is indicated in the scene where she struggles to take her ring from her keyring and ends up throwing it to Jerry to take it off Jerry would be happy to end the relationship. Rodolphe is an even more heinous character, as indicated in his objectification of Emma: This one had seemed pretty to him, the word one rather than she makes her merely one of his many inamoratas. Even more striking is when he says, how to get rid of it afterwards (admittedly, the French elle can mean both she and it, but Margaret Mauldons Oxford translation, unlike that of the Penguin edition uses the wholly unkind it, which is much more effective in making Rodolphe appear objectionable). In both cases, the deplorable adulterers create sympathy when scrutinising the adulteresses and this is not a factor that exists in The Testament of Cresseid. If one were to be overtly cynical, it could be argued that Jerry and Rodolphe are partly correct in their views on the affair. Is an affair really all that romantic, after all? Vargas Llosa would be quick to point out the dangers of equating lust with love. Perhaps the two Emmas are looking for too much in the relationship, and are making it out to be more than it really is. Emmas amorous adventures activate an abundance of lies, yet Stephen Heath empathizes with her fabrications. He states that Emma lies, but everything lies'(3), he talks of how the narrating voice enters to state a distance from her, but Flaubert also cuts such statements, reduces their number(3). At times, the narration drifts into sympathy with Emma, at other times it condemns her. The use of a style indirect libre causes the narration to be ambiguous, and the truth of description becomes indistinguishable from the subjectivity of opinion. A characteristic example of this is when Flaubert talks about Rodolphe in the 3rd person Rodolphe had heard these things so many times that they had nothing original for him. He then reverts into Rodolphes mind: one has to make allowances, he thought, exaggerated declarations masking mediocre affection. One gets the impression that Flaubert reverts back to the narrative in the ending lines human language is like a cracked cauldron on which we beat out tunes to make a bear dance when we would move the stars to pity, however, this is just an assumption the non-use of quotation marks means the reader can never know when a characters thoughts have ended, and one gets the impression that the narrator imparts some of his own reflections into the characters thoughts. This free and indirect style not only creates a sympathy with regards to her fallaciousness, it is also creates a benignancy by virtue of the way the narration supports her own views. An example of this is when the narration wafts from she wondered if by some other workings of chance it might not have been possible for her to meet another man to a sort of agreement from the narrator in the line he might have been handsome, witty, distinguished, attractive. Heath describes this free and indirect style as a way in which the the writer and the reader become Emma, are taken up in her reverie, her imaginings. The novel, therefore, often cultivates its own sympathy by virtue of its style, which causes the writer and reader to become one with the protagonist and to experience Madame Bovarys own feelings. This can be paralleled to Henrysons voice of sympathy The Testament of Cresseid. Henryson is so derisory of the unreasonable nature of the Gods ruling that he impulsively breaks into the se cond person when he declares: Your doom is hard and too malicious, thus interrupting the sentencing and displaying contempt of court Cresseid and Madame Bovary are dissimilar to Emma in so far as they experience a development as a result of their infidelity, the former explicitly and the latter implicitly. Cresseid talks about herself in the second person when she says, Where is your chambers cushioned chair and screen / And handsome bed and hand-embroidered linen? The wine and spice, the supper that you supped on. The use of the second person is suggestive of self-derision rather than self-lamentation. She understands her situation and she profoundly remarks, All wealth on earth is wind that flits and veers. She also criticised herself: I myself will be my own accuser. This development from Cresseid makes her worthy of not so much sympathy but respect. Madame Bovarys development happens in a moment, which makes it more like an epiphany, thus lacking the cognitively prolonged nature of Cresseids development. It is also a very implicit moment in which she began to laugh, a ghastly, frenzied, despairing laugh after hearing the voice of the blind beggar. At this point, she realises the meaning of the beggars words love is unseeing (thus rendering the beggar as an representation of Cupid. Whilst Cresseid and Madame Bovary cannot be justified in their actions, their realisations do rouse respect from the reader. The Emma of Betrayal experiences no such development. An aspect of the equation still wants, namely the victims. It is certainly true that the adulterers garner a notable degree of sympathy, yet it would be very mean-spirited to identify more with them than the victims. In the Testament of Cresseid, the affected person is Troilus. Although there are only 2 paragraphs focusing on Cresseids betrayal of Troilus, they themselves being sped along by the use of enjambment, this is done more out a desire not to repeat a story successfully written by Chaucer, but also to alleviate the readers judgment of Cresseid. Later in the poem, Henryson writes of Troilus in glowing terms, describing him as having beaten down, by war and jeopardy, / The Grecian knights, and in a moment of great largesse past where Cresseid with lepers made abode and A girdle he took out, / A purse of gold and many shining gemstones / and threw them down into Cresseids dress. Troilus certainly elicits a huge amount of sympathy from the reader, especially after he for grief a lmost fell down when recalling Cresseids physical deformations. In both Madame Bovary and Betrayal, the victims of adultery are children. Jerrys lack of concern over his children is encapsulated in his gnomic description of his son Sam: Hes tall. Quite tall. Does a lot of running. Hes a long distance runner. Wants to be a zoologist. The waiter in the restaurant scene is similarly an innocent bystander who is subjected to Roberts frustrations: wheres our lunch. This place is going to pot. Same glass. Wheres our lunch? Richard Martin, in his letter to The Times Literary Supplement argued that he sees not just displaced emotion in Roberts aggression towards the waiter but the waiter himself as a displaced version of Judith: for she is the hapless, indeed dumb, waiter (4). Judith, the children, and the waiter, are all correlated because they are all affected onlookers, but they know not what by. It is interesting to note that the children do not feature physically in the play, but in the 1983 film (by David Jones), the children feature in negative-co nsequences of the characters adultery-borne vented frustrations; for example, when Jerry hollers at his son for playing music too loudly. This is paralleled in Madame Bovary, where her daughter is a victim of her infidelity. This is evidenced in the scene where Madame Bovary says to Berthe Oh, for heavens sake, leave me alone, shoving her away with her elbow. As a result, Berthe fell against the foot of the chest of draws, cutting her cheek on the brass fitting. At the end of the novel, Berthe makes her keep at a cotton mill. The chief victim of infidelity in the three texts is Charles Bovary. Despite being unsophisticated, dim-witted and a frighteningly bad doctor (his operation on Hippolytes club foot, resulting in amputation, as an example), he is still one of the novels most moral and sincere characters and he genuinely loved Emma whilst she was having licentious liaisons. Emma is often very unkind to Charles, for example, when she says; he carries a knife in his pocket like a peasant. I cannot help but parallel this to the narrator in Robert Frosts poem Mending Wall who describes his neighbour as Bringing a stone grasped firmly by the top / In each hand, like an old-stone savage armed. It is a particularly significant line, since Rodolphe wields a knife at one point, and this fails to elicit the same response from Emma. One strikingly poignant scene is when Charles finally sees all the letters from Emmas lovers: his deep despondency caused general amazement. He no longer went out, he saw no one, he even refused to visit his patients. People began saying that he shut himself off to drink. The final description of him is as a long-bearded, wild-looking man in filthy clothes who paced up and down noisily. For all Charles faults, it seems unthinkable to sympathise more with Emma than Charles. In all three cases, the victims garner more sympathy than the b etrayers. One should not nonchalantly accept the three primary adulterers actions as morally reprehensible; but we should acknowledge that their actions are borne out of something more complex than it would at first appear. The greatest sympathy should be given to Cresseid because her life was subject to fate; she lacked all volition owing to Henrysons depiction of the all-encompassing control of the Gods. I say Henrysons depiction because Chaucers original has been manipulated by Henryson such that it rapidly avoids the issue of her affair whilst also removing all her volition. Madame Bovary represents the repressed sensuality within us, and the reader can certainly feel for her more than the prudish and monotonous environment she inhabits (ironically, it was a puritanical society that condemned Flauberts novel for being too sympathetic to an adulteress). It is difficult to sympathise with Betrayals Emma. It is true that she longed for a more meaningful relationship with Jerry, but her dedication to Jerry is severely questioned given the initiation of her additional affair with Casey. One would have to question the disposition of any individual who sympathises with the adulterers more than the victims of adultery, as any reader of Madame Bovary would attest to. 1. http://www.lib.rochester.edu/camelot/teams/testaint.htm 2. The Perpetual Orgy (Vargas Llosa) 3. Madame Bovary (Stephen Heath) 4. Letter from the Times Literary Supplement Word count with quotes: 3720 Word Count without quotes: 2895

Professional Delimma Essay -- Management

Professional dilemma and value conflicts are challenges that can be apart of just about every professional job. There are sometimes many complicated and tough decisions that need to be made throughout the day that can be very exhausting and stressful. Each new challenge can be seen in one of two ways. They can be seen a barrier which blocks or deters them from a chosen end result or as learning tool that enables them to grow and move forward. I had a professional dilemma which took place about a year ago when I felt that it was pretty apparent that I was holding much of the workload between myself and a co-worker. We were assigned to support the police department's network infrastructure. I was his senior only in knowledge. Our typical day involved fixing computer problems, backups, new installs, server maintenance, and all other administration tasks. Our workload was manageable and our end-users had an acceptable expectation of support and problem resolution. Often, I found myself in a position of authority. However, I did not have the power to get anything done as I would like them to be. Many times, I would just do it myself because it was easier that way and I knew that it would be done correctly. The problem with this concept is that more work and projects were given to me. Also, everyone wanted my opinion before proceeding on any technical task. My opinion had to be given even if my co-worker had already given his. The need for my opinion angered my co-worker and made him even less productive. One day, I decided to think about each of our personality traits and compare them. The most obvious differences were that I was very aggressive in taking on new challenges and he was less aggressive. The more ... ...mous beings and should be treated as an end and not just a mere means. Kant might say that we were both in the wrong because my coworker was not following the ought principle and because I was treating my coworker as a mere means. My coworker was not doing what he ought to do because he felt that voice was not being heard and that he was being disrespected. I was treating my coworker as a mere means in that I didn't take the time needed early on to identify his needs. I was only concerned with getting our work done. I initially felt that I was not his manager and because of that, it was not my responsibility to fix the problem. However, after further investigation into Kant's principles, he also believed in universal laws that apply to everyone in all circumstances. By following this law, I would have sought a resolution to our problem sooner (Dante, 2002).

Detailed procedures and results of the experiment on the determination of the density of kerosene (dpk), petrol (pms), crude oil and soap solution

Density determination by pycnometer is a very precise method. It uses a working liquid with well-known density, such as water. For the purpose of this experiment, distilled water was used. The pycnometer is a glass flask with a close-fitting ground glass stopper with a capillary hole through it. This fine hole releases a spare liquid after closing a top-filled pycnometer and allows for obtaining a given volume of measured and/or working liquid with a high accuracy. The mass density or density of a material is defined as its mass per unit volume. The symbol most often used for density is Ï  (the lower case Greek letter rho). In some cases (for instance, in the United States oil and gas industry), density is also defined as its weight per unit volume;[1] although, this quantity is more properly called specific weight. Different materials usually have different densities, so density is an important concept regarding buoyancy, purity and packaging. Osmium and iridium are the densest known metal elements at standard conditions for temperature and pressure but not the densest materials. Less dense fluids float on more dense fluids if they do not mix. This concept can be extended, with some care, to less dense solids floating on more dense fluids. If the average density (including any air below the waterline) of an object is less than water (1000 kg/m3) it will float in water and if it is more than water's it will sink in water. In some cases density is expressed as the dimensionless quantities specific gravity (SG) or relative density (RD), in which case it is expressed in multiples of the density of some other standard material, usually water or air/gas. (For example, a specific gravity less than one means that the substance floats in water.) The mass density of a material varies with temperature and pressure. (The variance is typically small for solids and liquids and much greater for gasses.) Increasing the pressure on an object decreases the volume of the object and therefore increase its density. Increasing the temperature of a substance (with some exceptions) decreases its density by increasing the volume of that substance. In most materials, heating the bottom of a fluid results in convection of the heat from bottom to top of the fluid due to the decrease of the density of the heated fluid. This causes it to rise relative to more dense unheated material. The reciprocal of the density of a substance is called its specific volume, a representation commonly used in thermodynamics. Density is an intensive property in that increasing the amount of a substance does not increase its density; rather it increases its mass. Changes of density In general, density can be changed by changing either the pressure or the temperature. Increasing the pressure always increases the density of a material. Increasing the temperature generally decreases the density, but there are notable exceptions to this generalization. For example, the density of water increases between its melting point at 0  °C and 4  °C; similar behavior is observed in silicon at low temperatures. The effect of pressure and temperature on the densities of liquids and solids is small. The compressibility for a typical liquid or solid is 10−6 bar−1 (1 bar=0.1 MPa) and a typical thermal expansivity is 10−5 K−1. This roughly translates into needing around ten thousand times atmospheric pressure to reduce the volume of a substance by one percent. (Although the pressures needed may be around a thousand times smaller for sandy soil and some clays.) A one percent expansion of volume typically requires a temperature increase on the order of thousands of degrees Celsius. CHAPTER TWO Theory: Archimedes’ Principle states that any object completely or partially submerged in a fluid is buoyed up by a force with magnitude equal to the weight of the weight of the fluid displaced by the object: B = Ï fluid Vfluid g , where Ï fluid is the density of the fluid and Vfluid is the volume of the displaced fluid. In this lab, all the forces and weights are measured in the unit of grams using the triple beam balance, then the above equation becomes: B = Ï fluid Vfluid . When measuring the weight of an object completely submerged in a fluid,the volume of the displaced fluid is equal to the volume of the object, and the reading on the balance ( Win-fluid), the buoyant force, and its weight in air (Win-air) should satisfy the following equation: B = Win-air – Win-fluid = Ï fluid Vobject . Thus, the volume of the object can be determined as: Vobject = (Win-air – Win-fluid)/ Ï fluid , and the density and the specific gravity of the object are, respectively: Ï object = Win-air / Vobject = Ï fluid Win-air / (Win-air – Win-fluid), s.g. = Ï object / Ï water . Mathematically, density is defined as mass divided by volume: where Ï  is the density, m is the mass, and V is the volume. From this equation, mass density must have units of a unit of mass per unit of volume. As there are many units of mass and volume covering many different magnitudes there are a large number of units for mass density in use. The SI unit of kilogram per cubic metre (kg/m ³) and the cgs unit of gram per cubic centimetre (g/cm ³) are probably the most common used units for density. (The cubic centimeter can be alternately called a millilitre or a cc.) 1000kg/m ³ equals one g/cm ³. In industry, other larger or smaller units of mass and or volume are often more practical and US customary units may be used. See below for a list of some of the most common units of density. Further, density may be expressed in terms of weight density (the weight of the material per unit volume) or as a ratio of the density with the density of a common material such as air or water. Measurement of density The density at any point of a homogeneous object equals its total mass divided by its total volume. The mass is normally measured with an appropriate scale or balance; the volume may be measured directly (from the geometry of the object) or by the displacement of a fluid. For determining the density of a liquid or a gas, a hydrometer or dasymeter may be used, respectively. Similarly, hydrostatic weighing uses the displacement of water due to a submerged object to determine the density of the object. If the body is not homogeneous, then the density is a function of the position. In that case the density around any given location is determined by calculating the density of a small volume around that location. In the limit of an infinitesimal volume the density of an inhomogeneous object at a point becomes: Ï (r)= dm/dV, where dV is an elementary volume at position r. The mass of the body then can be expressed as Density of solutions The density of a solution is the sum of mass (massic) concentrations of the components of that solution. Mass (massic) concentration of a given component Ï i in a solution can be called partial density of that component. Expressed as a function of the densities of pure components of the mixture and their volume participation, it reads: Density of composite material In the United States, ASTM specification D792-00[11] describes the steps to calculate the density of a composite material. where: Ï  is the density of the composite material, in g/cm3 and Wa is the weight of the specimen when hung in the air Ww is the weight of the partly immersed wire holding the specimen WbÏ  is the weight of the specimen when immersed fully in distilled water, along with the partly immersed wire holding the specimen is the density in g/cm3 of the distilled water at testing temperature (for example 0.9975 g/cm3 at 23  °C) common units The SI unit for density is: kilograms per cubic metre (kg/m ³) Litres and metric tons are not part of the SI, but are acceptable for use with it, leading to the following units: kilograms per litre (kg/L) grams per millilitre (g/mL) metric tons per cubic metre (t/m ³) Densities using the following metric units all have exactly the same numerical value, one thousandth of the value in (kg/m ³). Liquid water has a density of about 1 kg/dm ³, making any of these SI units numerically convenient to use as most solids and liquids have densities between 0.1 and 20 kg/dm ³. kilograms per cubic decimetre (kg/dm ³) grams per cubic centimetre (g/cc, gm/cc or g/cm ³) megagrams per cubic metre (Mg/m ³) Specific gravity is the ratio of the density (mass of a unit volume) of a substance to the density (mass of the same unit volume) of a reference substance. Apparent specific gravity is the ratio of the weight of a volume of the substance to the weight of an equal volume of the reference substance. The reference substance is nearly always water for liquids or air for gases. Temperature and pressure must be specified for both the sample and the reference. Pressure is nearly always 1 atm equal to 101.325 kPa. Temperatures for both sample and reference vary from industry to industry. In British brewing practice the specific gravity as specified above is multiplied by 1000.[1] Specific gravity is commonly used in industry as a simple means of obtaining information about the concentration of solutions of various materials such as brines, hydrocarbons, sugar solutions (syrups, juices, honeys, brewers wort, must etc.) and acids. Specific gravity, as it is the ratio of densities, is a dimensionless quantity. Specific gravity varies with temperature; reference and sample must be compared at the same temperature, or corrected to a standard reference temperature. Substances with a specific gravity of 1 are neutrally buoyant in water, those with SG greater than one are denser than water, and so (ignoring surface tension effects) will sink in it, and those with an SG of less than one are less dense than water, and so will float. In scientific work the relationship of mass to volume is usually expressed directly in terms of the density (mass per unit volume) of the substance under study. It is in industry where specific gravity finds wide application, often for historical reasons. True specific gravity, can be expressed mathematically as: where is the density of the sample and is the density of water. The apparent specific gravity is simply the ratio of the weights of equal volumes of sample and water in air: where represents the weight of sample and the weight of water, both measured in air. It can be shown that true specific gravity can be computed from different properties: where is the local acceleration due to gravity, is the volume of the sample and of water (the same for both), is the density of the sample, is the density of water and represents a weight obtained in vacuum. API Gravity 1. API gravity represents a dimensionless property similar to specific gravity. The measure itself derives from specific gravity (see Reference 3): API = (141.5 / SG) – 131.5. Note that because specific gravity appears in the denominator of the equation, API gravity and specific gravity exhibit an inverse relationship: A liquid with high specific gravity will exhibit low API gravity and vice-versa CHAPTER THREE EXPERIMENTATION The experiment carried under room temperature at 34oC, was aimed at determining the density/specific gravity of five varying samples (PMS, DPK, Crude Oil, PKO, and Soap Solution) using two different measuring apparatus; a weighing balance and a measuring cylinder applying the Archimedes principle of floatation to obtain values in ml and then subsequently in grams. PROCEDURE 1. The weights (sliders) on the beam of the weighing balance apparatus was set to zero before measurements. A dry empty pycometer was then placed on the scale pan to obtain its weight for which results were recorded after careful observations of the beam’s calibrations in grams. 2. The weight was determined by locking three different sets of weights (sliders) on their respective number-calibrations (in grams), for which the beam was balanced. The values which these weights rested on at beam-balance were then added up to give the mass of the empty pycometer. 3. The weights on the beam were set back to zero and the pycometer lifted off the pan to restart the process but this time to measure the mass of the pycometer filled with a sample; DPK in this case. 4. 50 milliliters of DPK was measured with a cylinder and poured into the pycometer, then corked with a small glass-like capillary tube. A small volume of the liquid sample (DPK), which was spilled as a result of the pressure from corking the pycometer, was noted as negligible. The DPK-filled pycometer; a combined weight of both the pycometer and the DPK fluid, was then placed on the pan scale for the second time to acquire readings in grams. 5. The same method for measurement, as explained in the earlier paragraphs, was used to accurately determine the mass of the DPK-filled pycometer and then subsequently recorded. The above elaborated procedures for the determination of were further carried out for three more samples; PMS, Crude Oil, and PKO to determine their masses. First, the masses of the empty pycometers were measured, followed by the combined masses of the pycometers and samples and then subsequently, the individual masses of the fluid samples were calculated. In the supplementary method involving the application of the Archimedes principle of floatation – 1. The measuring cylinder was filled with water and the initial volume was observed and recorded. A piece of string was then tied around a dry empty pycometer and attached to the retort stand so that it dropped directly into the measuring cylinder enough to submerge itself in the containing water so that the volume increased. The new volume of water was then noted and recorded in milliliters. The difference between the initial volumes of the water before the introduction of the empty pycometer and after the submergence of the pycometer was also calculated and recorded in grams as the mass of the empty pycometer.

Freedom Writers Film Review - 1085 Words

Freedom Writers Film Review But even an ordinary secretary Or a housewife or a teenager Can, within their own small ways, Turn on a small light in a dark room. - Miep Gies Just like how Erin Gruwell (Hilary Swank) turned the lights on, in the dark room of 203. Freedom Writers is a film inspired by students of Woodrow Wilson High School as they experience the aftermath of LA riots. Los Angeles resembles a war zone back in the 1992. During this time in America, it all comes down to what a person look like. Latino, Asian, and Black got blasted by those who think they are superior from the rest. Different cultures fight each other for territory and kill each other over race, pride and respect. One of the greatest challenges of a multi-cultural country is dealing with other people from different race. And that is why the teenagers from the movies struggled trusting each other. You have to protect your own and this leads to violence against each other. 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