Pips visit to Satis House Essay

Discuss how the theme of class is developed through Pip’s visit to Satis House ‘Great Expectations’ is a novel was written in the early 1860’s. The novel was written in the early 1860’s. The genre of ‘Great Expectation’ is a bildungsroman. This essay will be discussing how the theme of social class is developed through Pip’s visit to Satis House. Dickens’ aim was to show the corruption in English society at the time and he displays it through Pip’s, the main character, visits to Satis house, a house owned by a mysterious, middle classed woman with a beautiful daughter that is bemused by Pip’s appearance and lower class and therefore abuses him for it. Dickens portraits the upper class as evil, selfish villains in the novel and is on the lower class peoples side, always revealing the disgraceful riches the upper class owned while the poor got poorer. â€Å"Great Expectations† portrays the great escalation in the social hierarchy of a young lad named Pip as he progresses in his life, Starting as an orphan and apprentice blacksmith, his horizons are widened through contact with the upper classes. He strives to better himself and make that most difficult of journeys across the boundaries of class. Great Expectations is a social commentary that gives a strong opinion on society. It will also discuss Charles Dickens’ message of how he views the upper, middle and working classes. Dickens was brought up in a working class background. There was a noticeable division between classes in the early 19th century. Upper class people were able to stay at home without having to go to work. The middle class were able to stand over the working class (who did all the work) and live off the money they earned for them working in their mines, factories or farms. Working class citizens lived in small houses with only one or two rooms within the whole house, In ‘Great Expectations’, Charles Dickens portrays the upper classes through the characters of Miss. Havisham and Estella. Estella, like Pip is an orphan, however, unlike him, she has had a background of privilege typical for a Victorian upper class child. Pip is a classic example of the lowest level of a working class child; he’s an orphan, lives a miserable life with his obnoxious and beastly sister, and gets abused by everyone that sees him. ‘Universal struggle,’ this is how Pip describes life as a desolate young boy. Pip strives to become his dream fantasy; a gleaming, bright gentleman and to do that he must overcome many things. Firstly, Pip can barely read or write, â€Å"I struggled through the alphabet as if it had been a bramble bush,† this just adds emphasis on the true lowness of Pip’s class as only the rich got educated while the poor got overlooked. The children of the aristocracy had a privileged life; they had rich clothes and many toys. Typically, their father had to be obeyed and feared. Manners were considered very important: the children had to be well spoken and only speak when spoken to. They had to be looked after by a nanny not their mother. The children were taught by a private tutor until they were old enough to go to school, however only boys were allowed to go. Many working class children like Pip, lived in the country, in cottages with their families. They had no school at the beginning of the Victorian era as children had to work to help their parents. A number of families then considered moving to towns to get jobs. Town children lived in overcrowded streets which quickly became slums; children had to share one bed or sleep on the floor; they had a bad diet and dressed badly. They were prone to diseases such as, smallpox, measles, diphtheria and tuberculosis. These children worked in local mines, factories or as chimney sweepers. This shows us the different lifestyles of the rich and the poor and how unfairly the poor were treated. In the opening scene of the novel, Pip is discovered sitting by his parents’ grave from which we learn that he is an orphan. From this perspective the reader can see just how far Pip will have to climb to achieve the status of a ‘gentleman’. In typical Bildungsroman style, our sympathies for the main character are aroused by the pathos of the scene. However, it is not all tears. There is also humour, for example, where Pip recalls his belief that his five brothers, â€Å"†¦ had all been born on their backs with their hands in their trousers-pockets, and had never taken them out in this state of existence. † The reader is lulled into a state of contemplative pity at the plight of the â€Å"†¦ bundle of shivers growing afraid of it all. † This atmosphere is brutally shattered by the appearance of the escaped convict, a figure nevertheless more comic than truly terrifying, and one who will later help Pip achieve his dreams of social improvement. Thus, Dickens exploits the comedic as well as the tragic potential of the characters and settings in his writing to develop the theme of class. This is also evident in the visits to Satis House. At the beginning of the novel we find out that Pip is illiterate, for example he says: â€Å"I fell among those thieves, the nine figures, who seems every evening to do something now to disguise themselves and baffle recognition. † This shows that Pip can barely read or write. He does not have a formal education or go to a normal school, but an evening school in the village ran by Mr. Wopsle’s great-aunt; â€Å"much of my unassisted, and more by the help of Biddy. † This shows the readers that Pip has learnt more from Biddy then the school. Pip’s desire for self-improvement is the main reason as to why the novel’s title is ‘Great Expectations’; because he believes that he has the ‘possibility of advancement’ in life, that he has ‘Great Expectations’ about his future. We find out later on in the novel that Pip longs to become a gentleman; in order to do this, he needs an education. From Pip’s first visit to Satis House, we realize the staggering difference between Pip and Miss Havisham’s child, Estella, and how their class and background affect their attitudes towards each other and their views on society and life overall. The setting of Satis House flabbergasts Pip so much, he can barely explain everything around him, â€Å"satins, and lace, and silks all of white†¦ † The description brings to mind a very rich, selfish and stagnant person which is how Dickens represents all the rich and upper-class people. Pip is confused of how to prepare himself for his first visit to Satis House, â€Å"I was not at ease regarding the manner in which I should acquaint myself under that lady’s roof. † This shows that the poor scarcely get in contact with the rich and are bewildered with how to present them. On the other hand, Estella proudly calls Pip by the name â€Å"boy† and mocks his clothes which in turn makes Pip realise his â€Å"lower class† so he therefore begins to clean and pamper himself after the suffering. Dickens builds up tension by describing Satis House as decayed which is a reflection of Miss Havisham’s odd personality and it’s a bit bias to be honest, because all Dickens’ fantasies about the rich being evil, rude and a bit crazy are fitted into one character especially and her house. One time, Miss Havisham questions Pip in such a way at one point, that he gets scared out of his wits and his answers to her spiteful questions are all monosyllabic, â€Å"who is it? † â€Å"Pip†¦ † In essence, Dickens’ disrespect to the upper-class is such, that he represents them all in one lady that is so low, she bully’s innocent little boys and makes them feel ashamed for who they are and even makes Pip accept he’s lower then her which one may argue is a good thing as it inspires Pip to greatness later on but is atrocious, giving that status is not all there is to life. Pip only fully realises his lower classed lifestyle when he encounters the prominent Estella. Estella is the elegant, youthful, proud girl raised by Ms Havisham. Dickens juxtaposes the characters of Pip and Estella, by showing the two different worlds they coexist in and the different classes that occupy their worlds, Dickens also tries to symbolise their characters as the higher and lower class of society. Estella symbolises the superior class; this is shown through her beauty, wealth and the confidence that resolves inside her. Pip meets Estella who has contempt for him and his working class background. Estella makes fun out of Pip’s hands and boots by saying: â€Å"what coarse hands he has! And what thick boots! † This proves that there is a big difference between classes. Estella enjoys making Pip fell bad about himself and his social background. The tone Estella uses to speak to Pip is very rude: † ‘Ah! ‘ said the girl, ‘ but you see, she don’t. ‘ † This shows the readers that Estella feels superior to Mr. Pumblechook. Furthermore, it has connotations that state Estella is not afraid to speak to her elders, she thinks she knows what Miss. Havisham is thinking; this depicts how Miss. Havisham has brought her up – to be confident, mean and rude to men. By saying, â€Å"Ah†, she is shown to believe that is better than Pumblechook. However, saying, â€Å"but you see, she don’t†, shows that she is not really upper class because she uses slang unlike an upper class person usually would not do. Estella tries to be upper class but she is betrayed by her lower class language. Readers are invited to believe that she wants to be upper class because she likes looking down on others. Pip reacts in an odd manner. Estella continually uses â€Å"boy† to address Pip but he addresses her by â€Å"miss†. This juxtaposition shows us that Estella thinks it is appropriate to be disrespectful to Pip as he is unimportant because of his class, whereas Pip is shown to have respect for her. This could be because he thinks that Estella is more important because of her upper class background or whether it is because of his upbringing – Mrs Joe and Joe taught him to respect everyone no matter what class they are. Pip is shown to have desire towards Estella; â€Å"returned the young lady, who was pretty and seemed very proud. † This shows that Pip already has affection towards her. Furthermore, he already shows that he s interested in her. Later on in the novel, Pip is asked by Miss. Havisham, what he thinks of Estella; to which Pip replies, â€Å"I think she is very pretty. † This again shows that Pip has feelings of desire for Estella, though they have only just met. After Pips visit to Satis House Pip notices the difference between upper class and working class, between him and Estella. He hates the difference and he wants to be a gentleman not a blacksmith. Pip thinks that if he has any chance with Estella he has to become a stereotypical upper class man. Pip’s mind has no become poisoned with Estella’s words and even though he is not yet an upper class person he is beginning to think like one. His attitudes towards Joe have changed. This is where Pip’s transformation begins to take place and from here the title of the novel comes into the picture. The expectations he wishes to achieve are great. From this chapter we can see the separation between the rich and poor. I think the message Dickens was trying to pass on to the readers of this novel was that, much poverty existed in the world, and even though the rich and the poor lived so close together in the world, they lives were worlds apart. I think Dickens own life experiences informed this viewpoint. Just as Pip, Dickens lived both lower and higher class lifestyle. As a child he was poor and had to work for a living so he was able to experience how it was to live the life of struggle and poverty, however when he grew up he became a writer and had a higher class lifestyle being able to observe how close rich and poor lived, but with such different lives. I think that Dickens had sympathy for the both the higher and lower class people. He had sympathy for the poor because they had to struggle to survive and had to work very hard for such things as money and food to feed the mouths of their families. Conversely I think he felt sympathy for the higher class also, he showed this through Ms Havisham and Satis House. We can see that he has sympathy for the rich as Dickens makes Satis House like a prison and Ms Havisham like a sad old hag that exists inside the walls of the prison, he is also showing the reader that even though she is rich and has money she is sad and imprisoned within her home and her sorrows, I think this is how many higher class people and families lives feel, so this is why he feels sympathy towards them. The bildungsroman genre is a story in where a character grows up and has higher understanding of the world. Pip’s visit to Satis House fits perfectly into the bildungsroman genre, this is due to the fact that after Pips visit to Satis House he grows up, not necessarily in age but he grows up inside; he becomes more mature and also gets a higher understanding of his class and place in society. The Visit to Satis House also reveals that in this world, materialism is a very common trait that presides in the hearts of all individuals, hearts which can forget their closest friends and even family for a chance at an elevated class in life. Finally Dickens is also leaving his final message that you don’t need all the riches to become an ethical person leading a prosperous life. This is the thought that Dickens wishes is engraved in the minds of all who read the novel.

Cultural Enlightenment

They have access to large listening libraries, state-of-the-art recording studios, Instrumental combos, and regular master classes given by a variety of highly successful, working Jazz musicians. Graduates find work In a variety of settings as arrangers, ensemble directors, vocal coaches, recording engineers and producers, jingle singers, jazz artists, educators, theme-park and cruise-line entertainers, contemporary Christian singers, pop/rock singers, cabaret and club performers, back- p singers, and even arts administrators and managers.I thought about attending my first concert as an audience member, as I watched choir members Join their ranks. I was not sure what my reaction would be. Would I feel moved by the music? Would it put me in that fantastic trance of both energy and peace? As I watched the choir file on stage as part of their Vocal Jazz Ensemble Concert, I noticed many new faces mixed In with the familiar. I thought fondly back to my first weeks in the church choir as I was growing up. The music began before I knew If I was ready.After Just a few notes, though, I began to relax. I was still In the sanctuary. The experience was different. My nerves were running high, but the music still took me n TTS nana, Ana gently lea me to Tanat place AT Inner peace. Can song was an exploration of different texture and flavor of music. The music was introspective and thought provoking, bold and inspiring. Most importantly, the music was an escape. Music creates a wall of protection from those concerns. That is its power.I Joyously left the peaceful sanctuary so beautifully created by the choir on Friday night. Yet, I continue to hold that reminder of God's presence in my heart. It's a place I can go to when I need strength or peace. The music continues to live through this choir, and I know that their witness has inspired me. It is my hope and prayer that everyone who is a part of this wonderful process-director, choir members, and audience alike-will continue to carry this purpose and message with them. â€Å"The music lives! † Praise the LORD! [pick]

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Illustrate the case for reading the poem as (in part) a study in becoming Roman Essay To both modern and ancient readers alike perhaps one theme of the Aeneid has generally been perceived most strongly, that of the poems glorification and aetiological justification of the values and society of the Imperial Rome in which its poet, Vergil, lived. In contrast to the Hesiodic concept of the decline of society from a bygone Golden Age, Vergil implicitly argues in the Aeneid for the constant evolution of society as having produced in Rome the very pinnacle of civilisation. However, this does not mean that his view is universally rose-tinted: Vergil, also, manages to portray the pathos of those who give their lives for this end (e.g. the self-sacrifices of Dido in book IV and Nisus and Euryalus in book IX [at whose plight Vergil says siquid mea carmina possunt, nulla dies umquam memori vos eximet aevo1]). 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Another programmatic feature of the first book involves its emphasis on kingship: to give just two examples, at line 265 we are told, by Jupiter, that Aeneas will reign over Latium and he is soon after described as king of the fugitive Trojans by Ilioneus (544). Dido is [termed] regina eleven times in book I.2 This may not be particularly surprising considering that kingship was the traditional form of government in epic poetry and the heroic world, but such emphasis could be said not only to foresee the supreme power of Augustus (though he did not, due to the negative connotations, style himself as rex or dictator) but also to legitimise it. Augustus may be seen as a benevolent dictator in the mould of Hellenistic kings. To become truly Roman it follows that Aeneas must, equally, become less Trojan, and we can see this process occurring in the poem. Due to the high esteem of Homers epics (and the relative paucity of other accounts), the Trojan world is, for both Vergil and ourselves, a predominantly Homeric one; accordingly, some critics have seen in the poem of a gradual rejection of Homeric values. For example, the Aeneas that we see in book II can be said to be rash, implusive, brave [and] seeking when all is lost the glorious death3: all perfectly Achillean attributes, which, one could argue, slowly recede as the poem progresses. In the second half of the poem (i.e. the Iliadic half), Turnus is a clear foil to Aeneas (n.b. his bellicose words to Pandarus at the end of book IX: You will soon be able to tell Priam that here too you found an Achilles!). The Roman way of life involves, arguably, a reliance on debate and compromise more than the manliness and aggression of Homeric heroes. However, this analysis cannot be treated too simplistically as there are points, even towards the poems dà ¯Ã‚ ¿Ã‚ ½nouement, where Aeneas is just as ruthless and cold as ever: for example, at many points during book X he rejects pleas for mercy and jeers at those who are on the point of death. Anchises prophetic statement in the underworld of book VI has, also, been seen by critics as important in showing both us and Aeneas how to become Roman, whilst also sanctioning the power of the Roman state: Your task, Roman, and do not forget it, will be to govern the peoples of the world in your empire. These will be your arts and to impose a settled pattern upon peace, to pardon the defeated and war down the proud. (6.851-3) It is important to note the context, for Aeneas is now starting to act very much like the good king, by acting in accordance with the gods when he leads his men to the Sibyl; whilst in the underworld, Aeneas sees a number of his descendants and successors, many of whom are rulers, and by doing so his right to rule is implicitly confirmed. The speech of Anchises, however, sets Rome within a firm tradition: it was well accepted by many Romans that Greek culture was superior in many respects. If we look at the lines above in which Anchises mentions the Greek arts of sculpture, oratory and astronomy, he can surely be said to define Rome against Greece by tacitly accepting their superiority in these realms, but he implies that the arts of Rome, the arts of peace and war, are what really matter. Though this may seem like an exceptionally aggressive mission, the extent to which clemency (a famous virtue of Augustus) and ultimate peace are emphasised must be noted. In the light of these ideals, Aeneas Achillean anger towards Turnus seems in this light disturbing.4 Perhaps the ideals are too idealistic to reflect reality truly. However, whether they were actually achieved or not, the ideals seem to have been held dearly in historical Rome, if we read what Claudian wrote (albeit with some degree of bias) four centuries after the time of Augustus: This is the only nation which has received conquered people in her embrace, and protected the human race under a common name like a mother not a tyrant, has called those whom she defeated her citizens, and has united the distant parts of the world in a bond of affection for her.5 One has to consider, however, that Roman bravado is often tempered in the poem. The many Trojan deaths throughout the poem are often glorified to emphasize the individual sacrifice for the communal goal. For example, Vergils apostrophe to Lausus: harsh deaths misfortune and your noble deeds I shall not indeed leave unsung, nor you, O unforgettable youth. 6 Such apostrophes seem to be based upon formulae deriving from Homeric invocations of the Muse, however, which might imply that the sentiment is not so personal as it seems.7 Dido, too, is seen as merely another obstacle which needs to be overcome for Rome to flourish (though she is repeatedly described, perhaps in Vergils own voice, as pitiable). Indeed, in one startling way she could be said to resemble a disgraced Homeric warrior: she falls on her own sword. Aeneas escape from her thus further represents his retreat from Homeric values. To look at one final such death, the final two lines of the poem focus on the death of Turnus: The limbs of Turnus were disolved in cold and his life left him with a groan, fleeing in anger down to the shades. (12.951-2) The coldness of Turnus body may recall in our minds the first storm scene in which we meet Aeneas at sea, and may reiterate the degree to which Aeneas has reversed his despair (turning it into the despair of his main adversary). These lines thus emphasize both the pathos of the death and the certainty of Aeneas victory. It recalls, and is based upon, Homer, i.e. the deaths of both Hector and Patroclus (Iliad 16.857 22.363).8 The sadness of his death is thereby emphasised, since he is equated with such heroes on either side of the Trojan war. His death was a natural end to the poem (though perhaps an unnatural end for him). It may now be useful to look closely at a part of the poem that is, undoubtedly, looking forward to Rome perhaps more explicitly than any other: the ecphrasis towards the end of book VIII (626-728) focusing on the shield of Aeneas wrought for him by Vulcan as a foresight of the coming Roman glory. However, the crucial intertext on which this scene was modelled is that of the ecphrasis on Achilles shield at Iliad 18.478ff, so Vergil is still using a Homeric model to emphasise Romes greatness; Greek epic has such gravitas as a genre that, if Rome is to be such a towering civilisation, Roman epic needs to look back to its Greek antecedent. Indeed, in Homer Achilles has a desperate need for new armour (with the loss of his own after the killing of Patroclus), whereas it seems that Vergil includes this scene merely to show before the full-scale fighting begins, what is to be achieved by it. 9 The final, and (both literally and symbolically) central, scene of the shield shows Augustus celebrations after the battle of Actium (31 BC) in which he gained imperium from M. Antonius. Indeed, the shield itself is reminiscent of the shield that was hung in the Curia to commemorate Augustus virtues in 27 BC; such virtues (i.e. virtus, clementia, iustitia and pietas) surely apply equally to the Roman imperator and Aeneas (especially pietas, since Aeneas pietas was proverbial and pius is a common epithet applied to him throughout the poem). The two men are poetically conflated, thereby giving heroic prestige to the emperor. Most pertinent, however, is that the scene shows numerous and various peoples of the earth (e.g. Nomads, Scythian Gelonians, Gaulish Morini etc.) offering Augustus gifts: the implication is clearly that virtually everyone throughout the world is universally thankful for the arrival of pax Romana. The message is not quite so clear-cut and confident, however, since the theme of war is also almost always present in this vignette. Quite obviously, the theme of war is apt both for the Shield as a martial instrument and for the circumstances of its delivery,10 however, it moreover emphasizes the extent to which Roman peace relies upon the willingness to fight, however counter-intuitive that might seem. Virgil is certainly patriotic, but he nevertheless neither shies from or tries to obscure the realities of the early-Imperial political situation. In conclusion, the Aeneid can clearly be seen as a study in becoming Roman. Aeneas divine mission is reiterated throughout the poem with increasing intensity, especially throughout religious symbolism and prophecy: Aeneas is well aware that he must become Roman. The poem appears to move towards Roman values as it progresses, values such as pietas and clementia, in the face of Homeric impulses and aggression. However, such an analysis needs to be tempered: most notably because of such incidents as Aeneas rage against and murder of Turnus when he sees him wearing Pallas sword belt. Moreover, the poem continuously looks forward to a Rome to come, especially the Augustan Rome of Vergils era. Some have seen the poem as a mere propaganda piece, but it is clear that Vergils implicit praise for the Augustan rà ¯Ã‚ ¿Ã‚ ½gime is sophisticated and not blind to the woes of war and those who are killed to make way for the Roman superpower: to use the phrase of the Aeneid, sunt lacrimae rerum. Through imitation (and innovation), Vergil also looks back to Homer. Perhaps the best summary of the message of the Aeneid is given by the ancient commentator Servius: Virgils intention is to imitate Homer and to praise Augustus by means of his ancestors.11 Vergil may, ultimately, have succeeded in his aim, when we consider that the poem was considered a seminal text in Roman civilisation and acquaintance with the poem was a primary method of teaching ancient children not only Latin but also the Roman way of life. Bibliography Cairns, F. (1989). Virgils Augustan Epic. Cambridge. Hardie, P.R. (1986). Virgils Aeneid: Cosmos and Imperium. Oxford. Lyne, R.O.A.M. (1987). Further Voices in Vergils Aeneid. Oxford. Williams, R.D. (1985). The Aeneid of Virgil: A Commentary. London. Williams, R.D. (1990). The Purpose of the Aeneid in Oxford Readings in Vergils Aeneid (ed. S.J. Harrison), Oxford. 1 Aeneid 9.446-7. 2 Cairns (1989), 2. 3 Williams (1990), 28. 4 Lyne (1987), 112. 5 Cairns (1989), 205. (De Consolatu Stilichonis, 3.150-3.) 6 Aeneid 10.791-3. 7 Lyne (1987), 235. 8 Lyne (1987), 135-6. 9 Williams (1985), 90. 10 Hardie (1986), 347. 11 Williams (1990), 21.

The international market of Babybjorn Essay Example for Free

The international market of Babybjorn Essay In this session, I will briefly analyze the international market of Babybjorn. To begin with, I am gonna show you the basic financial situation of Babybjorn’s international markets. According to Babybjorn’s financial report 2013, the biggest markets are Europe and North America, while Asia enjoys the fastest growth. Other areas also show high growth rate, despite smaller market share. Then I will test the market growth situation of baby-specific products. The first table is illustrating market size, while the second is on market growth. According to the tables, Western Europe, Asia, Latin America and North America have relatively large market size, among which Latin America and Asia witness the rapidest compound annual growth rate. Furthermore, according to Interconnection consulting, Babybjorn is dominated with baby carriers. For instance, in the US, Babybjorn owns about 30 percent of the baby carrier market. Therefore, it is appropriate to suppose Babybjorn enjoys high market share within this specific market. So, when considering all the information above into the BCG Matrix, we achieve a basic classification of the international markets. Asia is the star region, while Europe and North America are the cash cow area. Latin America, Australasia, Middle East and Africa are still question Marks with potential. References Euromonitor International, 2014. Beauty and Personal Care: [Euromonitor from trade sources national statistics] [online] Available through: University of St Andrews Library [Accessed 24 October 2014]. Interconnection Consulting, 2011. Baby Products: Market Recovering Well from Global Economic Meltdown. [online] Available at: [Accessed 24 October 2014]. Jakobson, 2013. Babybjorn AB Arsredovisning 2012-2013, Babybjorn AB Org. nr. Tiwari, R., 2014. Global Market for Stroller, Childrens Car Safety Seat Cribs (Durable Juvenile Products) Forecast to 2018. [online] Available at: [Accessed 24 October 2014].

Cytoplasmic Streaming in Cells | Experiment

Cytoplasmic Streaming in Cells | Experiment Cytoplasmic streaming is the cells transport system which moves a cells content around as required . This occurs in the cytoplasm of the cell, the fluid which fills the space between organelles and contains cell solutes. Movement in the cytoplasm is thought to be facilitated by actin-myosin motors (Britannica, 2012). These are molecules made up of the two proteins actin and myosin which interact to move solutes and even organelles around the cell. Long actin filaments line the cell and myosin molecules run along these filaments via active transport and attach to organelles such as endoplasmic reticulum (ribosomes) and mitochondria, transporting them around the cell along with the surrounding solutes in the cytoplasm (Kachar and Reece, 1988). The actin filaments run parallel to the direction of streaming in the cell. Nitella is a genus consisting of various species of freshwater pond alga. These algae are weed like in appearance and have large rectangular cells observable by the naked eye. Each cell begins and ends at a node. Nitella species are thought to rely heavily on the actin-myosin protein motors to facilitate cytoplasmic streaming (Palevitz et al, 1974). Cytochalasin are class of drugs derived from fungi (Turner, 1971). These drugs interfere with the interaction between actin and myosin by binding to the actin filaments that line the cell and reducing the capacity for the myosin molecules to bind (BIOL1004 Lab Manual, 2012). This then is thought to affect the rate of cytoplasmic streaming in the cell. This report will analyse the affect of two different types of Cytochalasin drugs (C and D) which are similar in structure but differ in the strength of the bonds they form with the actin filaments. Aim To observe cytoplasmic streaming in cells under the microscope and compare the effects of cytochalasin C and D on the speed of cytoplasmic streaming in Nitella cells via statistical analysis. Methods and Materials The method and materials used in this experiment is outlined in the: BIOL1004: Molecular and Cell Biology à ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬ Practical Manual (2012) on pp. 54-55 written by the Research School of Biology for the Australian National University. The following deviations from the aforementioned method are noted: The width of each cell was measured for comparison rather than the length as the cells were far too long to fit within the microscope field of view. Results and Statistical Analysis 500 The average width of the cells was calculated at 183.9um. The table above summaries the important statistics calculated from the experimental data. Each data set appears to be comparative to each other, however it is noted that cells 1.2, 3.2 and 4.2 have higher than average variances which indicates a possible deviation from normal distribution. Figure 1 presents graphically the speed of streaming against the width of the cell. The linear trend line indicates a slight negative relationship between cell size and streaming speed. Table 2 summarises the important statistics of each of the test groups. High variance values for the test groups other than the control group indicate a deviation from normal distribution, however the numbers are similar and thus the data sets are comparable. The results indicate that upon addition of both cytochalasin drugs the rate of cytoplasmic streaming fell from that observed in the control test. The recovery test taken after flushing the Cytochalasin from the slide with pond water indicates the rate is increasing, but has not quite reached the rate as observed in the control test. Table 3 summarises the values calculated for a number of t tests performed to assist in analysis of the data. From this it can be concluded that we can have no less than 98% confidence that the rate of steaming with the addition of both cytochalasin drugs is significantly different from the normal or control streaming rate. These t tests also give an indication that the size of the cell influences the rate of streaming as the difference in speed between cells 3.2 and 4.2 which have the same recorded width has been determined not to be significant, while the difference in speed between the biggest and smallest cells is significant. However, these results are not consistent when comparing different data sets both of similar widths and of different widths. Discussion As summarised in the results the change in the rate or speed of cytoplasmic streaming in the Nitella cells upon the addition of the drugs Cytochalasin C and D was significantly different to that of the control rate, with 98% and 99.9% confidence respectively. This is as expected. However as noted in Table 2 this change in speed was observed as a deceleration on the addition of both drugs. A deceleration of cytoplasmic streaming is expected with the addition of cytochalasin D, which is a well documented actin inhibitor. The drug binds to the actin filaments and changing the secondary structure and inhibiting the actin-myosin interactions (Binder and Tamm, 2003). However, even though cytochalasin C has a similar shape, it does not bind to actin as tightly as cytochalasin D (BIOL1004: Lab Manual, 2012) and does not have the same affect on actin-myosin communication. A study in the Plant Cell Physiology journal documented that cytochalasin C had no real affect on the rate of cytoplasmic streaming even at very high concentrations (Foissner and Wasteneys, 2007). Thus the deceleration with the addition of cytochalasin C, as change that has been confirmed as significant via statistical analysis is not the expected result. It is possible that the deceleration of cytoplasmic streaming in this case could be due to the differing salt concentrations between the pond water and the cytochalasin C in solution. As Nitella is normally found in freshwater that is hypotonic, the replacement of the normal pond water on the slide with the drug in a hypertonic solution (with respect to the pond water) may have inadvertently caused the cells to change their osmolarity to compensate (Ladgies et al, 2010). A study has shown that transcellular osmosis in Nitella species can cause inhibition of cytoplasmic streaming (Tazawa et al, 1993). Further support for this explanation comes from the increase in streaming rate on recovery from treatment with the drug, where the hypertonic solution wa s flushed away and replaced with isotonic pond water (with respect to the cells). It should be noted that the statistics show there is 90% confidence that the difference between the rate of streaming with the addition of each drug respectively was significant, thus it follows that the cytochalasin D was a much stronger inhibitor to the rate of streaming than that which caused the deceleration in the cytochalasin C test. The relationship between width of the cell and rate of streaming is not quite clear. Figure 1 appears to indicate that there is a negative relationship between the two, thus as cell width increases the rate of streaming would decrease. However, the statistics provided by the t tests were inconclusive as to whether the differences between streaming rate for various sized cells were significant or not. If it were true that large size indicated a slower rate of streaming, then it should follow that all t tests between data sets of cells with similar widths would indicate a non-significant difference, however only one of the three tests yields this result. Similarly, the t tests between the data sets of different sized cells should indicate a significant difference; yet again only one out of the three tests yields this result. Further analysis with a larger data set could be required to confirm the trend observed in figure 1. Therefore this experiment has demonstrated the decelerating effect of cytochalasin D on the rate of cytoplasmic streaming in Nitella cells due to its inhibition of the actin-myosin motor and has indicated a possible link between changing osmolarity and relative rate of cytoplasmic streaming in Nitella cells.

Ode to a Nightingale, Ode on a Grecian Urn, and Ode to Autumn Essay

Ode to a Nightingale, Ode on a Grecian Urn, and Ode to Autumn The casual reader of John Keats' poetry would most certainly be impressed by the exquisite and abundant detail of it's verse, the perpetual freshness of it's phrase and the extraordinarily rich sensory images scattered throughout it's lines. But, without a deeper, more intense reading of his poems as mere parts of a larger whole, the reader may miss specific themes and ideals which are not as readily apparent as are the obvious stylistic hallmarks. Through Keats' eyes, the world is a place full of idealistic beauty, both artistic and natural, who's inherent immortality, is to him a constant reminder of that man is irrevocably subject to decay and death. This theme is one which dominates a large portion of his late poetry and is most readily apparent in three of his most famous Odes: To a Nightingale, To Autumn and on a Grecian Urn. In the Ode to a Nightingale, it is the ideal beauty of the Nightingale's song - as permanent as nature itself - in the Ode on a Grecian Urn, it is the perfection of beauty as art transfixed and transfigured forever in the Grecian Urn - and in the Ode to Autumn it is the exquisiteness of the season idealised and immortalised as part of the natural cycle - which symbolise eternal and idealistic images of profound beauty. In Ode to a Nightingale, Keats uses the central symbol of a bird to exemplify the perfect beauty in nature. The nightingale sings to the poet's senses whose ardour for it's song makes the bird eternal and thus reminds him of how his own mortality separates him from this beauty. The poem begins: "My heart aches, and a drowsey numbness pains" (Norton 1845). In this first line Keats introduces his o... ...fused by the true essence of his subjects; for a bird must die and an urn must crumble and are but symbols of things imagined. Keats however, does discover his elusive eternal beauty in his Ode to Autumn, realising that it is mother nature, with her ever recurring seasons and perfection of purpose that is profoundly beautiful. Growing, maturing and dying are no longer avoided in Ode to autumn, they are embraced and accepted as necessary for the continuity of the seasons cycle. Keats, through his poetry, is constantly reminding us that the moment, whether short of duration or eternally present, is to be savoured; for all things that exist in man's world are subject to decay and death because our ability to perceive them is limited. The world is no longer simply a place of song birds, pleasing art and fruit laden trees, but a world of profound and everlasting beauty.

Pluralism :: Federalist Papers pluralistic theory

American Pluralism In Federalist No. 10, James Madison stresses that â€Å"measures are too often decided, not according to the rules of justice and the rights of the minor party, but by the superior force of an interested and overbearing majority.† Madison philosophized that a large republic, composed of numerous factions capable of competing with each other and the majority must exist in order to avoid tyranny of majority rule.# When Federalist No. 10 was published, the concept of pluralism was not widely used. However, the political theory that is the foundation for United States government was the influential force behind pluralism and its doctrines. Pluralism comes from the political system that focuses on shared power among interest groups and competing factions.# A pluralistic society contains groups that have varying interests and backgrounds, including those of ethnic, religious, and political nature.# Differences like these are to be encouraged, with overall political and economic power being maintained. When a number of people, all sharing a common interest are threatened, a group is involuntarily formed in order to defend against competing interests. These pluralistic interest groups are free to operate and lobby in the political arena, fighting against the majority and other competing factions for voice in Congress. With the influence of multiple factions operating throughout the political system, a balance of power is created (Kernell 2000, 429). This is much like the international theory of sovereign states balancing each other’s power to create a political system that focuses on stability, yet is always in a constant flux of power. With this in mind, special interest groups are constantly contending for power by raising money, campaigning, and lobbying in Congress. When a special interest group is threatened by a competing policy, the group will organize efforts to balance, or transcend the power of the competing group. The pluralistic scholar David Truman notes that â€Å"the proliferation of political interest groups [is] a natural and largely benign consequence of economic development† (Kernell 2000, 429). That is, as American economic development increases, in the form of industry, trade, and technology, factions are produced in order to protect special interests. Factions have a large platform on which to find support from various political parties, committees, subcommittees, and the courts, as well as federal, state, and local governments (Kernell 2000, 429).

Satire in How to Poison the Earth Essay -- Linnea Saukko

â€Å"How to poison the earth† by Linnea Saukko can be seen in two different aspects. The first one would be by looking at it in a literal way, in which it will make it a very harsh, inhumane and cold text. On the other hand, it could be seen as a satire, sarcastic and ironic text in which Saukko expects to catch the reader’s attention. Saukko exaggerates the sarcasm, and satire in her writing in order to make the readers realize and understand the main purpose of her essay, which is to warn readers about threats to the future of our planet. Scientific terms are used frequently through out the text, but are followed by explanations in a coherent way, hence it makes it clearer and more understandable to the reader. For example, she is writing about substances and their characteristics, one of them is an unusual term called â€Å"half-life†, followed by an explanation in a parenthesis with a clearer explanation of the term. That way, it can be understood by the general public. The writing is straight forward and it’s absent of metaphors and similes. It is more an informative reading rather than descriptive, therefore it is lacking details and adjectives. Saukko starts by pointing out sarcastically how difficult polluting the earth can be. Afterwards, she starts listing efficient methods on contaminating the world, such as â€Å"generating as much waste as possible from substances† (Saukko, 246), or building more nuclear plants. At the beginning, it might be shocking to the reader the approach she is taking to make her point. In other words, the readers might not understand why she has such a negative attitude and hatred against the world. The manipulation, exaggeration, and the wor... ...d for the general public in order to raise social awareness in preventing polluting the world. It is important to raise social awareness on topics of this nature because it is affecting our world. It is important to consider it as every individual problem and concern rather than see it as an external issue. Saukko chose a whole new approach and technique to get into people’s mind. Usually, authors that want to point out and raise social awareness on issues of this nature, tend to be direct and straightforward about it. However, Saukko has taken it to the next level by approaching the readers in a unique way that will catch more of their attention and hopefully move their emotions on the topic. Works Cited Saukko , Linnea.â€Å"How to Poison the Earth.†The Brief Bedford Reader. Bedford/St.Martin’s Boston: 9th edition ,2006.246-247.

Ethan Frome: Tragic figure that function

Ethan Frome: Tragic figure that functions as an instrument of the suffering of others ay cache1897 unit Four: Ethan Frome In the novella Ethan Frome by Edith Wharton, main character Ethan Frome is a man that faces many disappointments as well no self-assurance. Ethan Frome is definitely a tragic flgure that functions as an Instrument of the suffering of others In the novel. Ethan Frome overall is a very tragic tale of misery and suffering, and any of the main characters involved can be connected to that suffering.Wharton makes Ethan not only the victim, but the function of all the other characters suffering to ruly get In depth with the flaws that Ethan possesses. Zeena, Ethan FromeS wife experiences much suffering due to Ethan. Ethan spent his whole life never being able to stand up for himself. He chose to marry Zeena for the sole reason that she would end his loneliness. It could have also been the fact that he felt bad that she dedicated her life to taking care of Ethan's mom. Ne xt, Ethan decided to give Zeena a loveless relationship.Never in the text does Ethan show any sort of emotion toward his wife, nor does she show any towards him. Ethan is omewhat awful towards the one in which he personally chose to be his wife. He chooses to go to â€Å"work† rather than drive her to the doctor, he decides to pursue another woman who Is his wife's cousin, and lastly, he chooses to kill himself for the sake of his own independence and his â€Å"love† for Mattie. Zeena however, can be aggravating at times which causes Ethan to act certain ways. Zeena tragically has â€Å"hypochondria† which brings out the cold, unhappy, domineering woman who whines and complains incessantly.Ethan lets Zeena dominate him which shows his flaw of eing subordinate. These mistakes eventually lead to his fall. It Is clearly seen that Zeena uses Illness to get Ethan's attention and love he hasnt been giving. Zeena makes it hard for Ethan to show how he feels about Matti e in his heart, because when she comes around, Ethan Is blindsided by her thoughts in his head. â€Å"†¦ but there was only one thought in my mind: the fact that, for the first time since Mattie had come to live with them, Zeena was to be away for the night.He wondered if the girl were thinking of it too†¦ † (40). Another main character is Mattie Silver, who is he desired women Ethan wants to be with rather than his wife. From early descriptions of Mattie, she appears to be the silvery maiden whose arrival Into Ethan Frome's desperate life provides love and hope. Wharton describes Mattie as being a lively and happy young woman, before her suicide attempt that leaves her an invalid and a former shadow of herself. Her name, Mattie Silver, symbolizes the glistening and beauty of a piece of sterling silver.Wharton also states â€Å"The pure air, and the long summer hours In the open, gave life and elasticity to Mattie† (Wharton 60). Thls quote give Mattie the ima ge of someone with great beauty and personality. Ethan has strong feelings for Mattie and it turns out that the maiden has mutual feelings. Because she has feelings for him, and the sweetness of spirit to interest him in return, the resulting tragedies occur. She develops a catastrophic attitude. She had the mindset that if she couldnt be with Ethan, and be happy, then she doesn't want 1 OF2 sne tnen encourages Etnan to take tne slea down ana commit sulc10e wltn her.Her spontaneous and drastic emotions that are tied up with Ethan lead to much uffering. The fact that Ethan quickly agrees to commit suicide shows that he isn't really self-reliant and doesn't think for himself. Wharton shows a flaw that Ethan possesses which in turns cause much suffering for him and Mattie. Ethan Frome is definitely painted as a tragic figure in his crippled state of misery. His tragic flaw could be that he is too indebted to family, and feels too much obligation to them. This brings him home to care fo r his parents, and won't allow him to leave his wife to seek happiness.It's a good trait, loyalty, but in this case it eeps him shackled in a miserable situation, that, because he won't resolve it in a different way, leads to his tragic and spontaneous decision on the day he decides to go sledding with the women he truly desired. Although Ethan may have suffered, his suffering impacted the people around him. Ethan and his wife represent a broken relationship. It is very ironic how the pickle dish Zeena cherishes is broken. The fact that Zeena's cat breaks the pickle dish is significant. The cat is already symbolically linked with Zeena.

Bride Song: A Gently Worded Death Essay

Too novel for kip down, too late for joy, too late, too late (1). This is the fount line from the poem Bride birdc entirely, by Christina Rossetti. The poem is ab bug out a woman (the bride), who anticipated her life waiting for her love (the curry) to come for her. She died alone, neer having loved other man, all that duration waiting for him to return, however, he was too late, and returned only in time for her funeral. If you were dying, would you fight for your life? Death may be inevitable, but you do non nurse to accept it. You can unflurried fight, you can hold on respectable a bit longer. In the poem, the bride never seemed to fight for her life, but rather judge her remainder. It was as if she would rather die than live knowing the love of her life would never return to her. Three major poetical devices use in the poem were symbolism, repetition, and rime scheme. One example of symbolism in the poem is Now these atomic number 18 poppies in her locks,/ Wh ite poppies she must wear (25-26).The black-and-blue poppies worn by the bride are a symbol of pure close, core when the bride died, she was pure of heart. The poppies could to a breakage symbolize gross(a) sleep, implying that rather than seeing death as the end, she (the spring) saw it as rest, a sort of dreamless sleep, an lead from her lonesome life. There are some(prenominal) examples of repetition in the poem, the repetition of the discussion eyeshade in stanzas four and sextuplet We think her white brows often ached/ on a lower floor her crown (38-39) and also Lo we who love call out non today/ But crown her royal head (55-56) show enceinte hold and respect for the bride.This is also shown by the metaphor in which the author refers to the bride as The enthral princess (7). The rhyme scheme is carried out by each stanza however it changes passably in the second and sixth stanzas. The boilers suit rhyming of the poem tends to give it the outcome of a song, wh ich ties in with the title Bride Song. It also helps the poem to flow a lot smoothly. The metaphors used in the poem also helped to support the idea that the bride was lost without her love. The rimy fountain would defy leaped,The buds gone on to blow,The warm south wind would have awakedTo melt the snow (17-20)The lines above are a great example of how through imagery and metaphor, Rossetti indicates how everything stopped working when the organize was away, and how, had he returned in time, he could have saved the bride before she too, ceased to function. The melancholic, serious intelligence service choice helps to convey the dark tad or theme of the poem. By exploitation words such as enchanted (7), and royal (56) when talking well-nigh the bride, it conveys a deep sense of respect. When the poet says that the condition loite rosy (3) and trifled (4), it shows that she (the author) thinks the apparel was just wasting time, and he did not have a real rationality for no t being on that point, he was barely delaying. The repetitive use of the word we in stanza six shows that she (the author) was not alone in the anger towards the groom. The word love is used repeatedly throughout the poem, making it suck in that it plays a large part in the overall theme.The repeated use of the verge Too late in the prototypic two lines, conveys the thought that the groom was too late, that had he should have arrived earlier, perhaps he might have saved the bride from her unforgiving death. It also shows a subtle intimate of irritation or anger towards the groom. The poets attitude throughout the poem changes depending on who she is talking to or nigh. When she is talking about the bride, she speaks with nothing but respect and admiration and care towards her. She has nothing but dear(p) things to say of her, referring to her several times as royalty. However, during the parts when the poem is directed at the groom, the tone takes on an angered or irate fee l. It is clear that the author feels the groom is somewhat to blame in the death of the bride, perhaps thinking that had he been there she might have lived on, happier, or at least died with someone by her side. In the last stanza, when the poem says allow be these poppies that we strew,Your roses are too redLet be these poppies not for youCut subdue and spread. (57-60)The red roses symbolize love, by the author saying they are too red, it means that the love was too much for the bride to bear, it was too strong. When the author says that the poppies are not for him, she is basically saying that everything was done for the bride, in honor of her, none of it is for him they care not about him. The poem is rather criminal which, in all honesty is why it was chosen.Darker poems seem to have a accepted beauty that other poems do not have, a certain charm about them the pain and desperation they show reveals so much more emotional depth. It leaves you to oppugn if it really was the grooms fault for the bride dying alone. If he really leftover her, with a promise of returning, or whether, perhaps, she had been property on to false hope all along, so desperate for him to return to her, that she blind herself from reality, never allowing herself to move on, never allowing herself to love another man. It makes you wonder if she had let go of the past, if she might have found happiness.