Free Essays on The Mythological Hero In Tolkiens Lord Of The Rings

The Mythological Hero in Tolkien’s The Lord of the Rings J.R.R. Tolkien was very fond of mythology, especially Norse and Irish Mythology, and used concepts and conventions of both throughout his works. Throughout mythology there is the ever-reoccurring theme of the epic hero, whose being is ever out of the readers reach. Tolkien represents the epic hero primarily through the Kingly Edain character Aragorn. There is, however, the fairytale myth as well, which features the small hero who is a mere common person placed in extraordinary circumstances. The Fairytale hero is best represented in The Lord of the Rings, by the hobbit Frodo. Tolkien also uses the concept of â€Å"The Hero and His Sword† throughout the story and throughout his other tales of Middle Earth; however, he only uses bits and pieces, while primarily creating his heroes from his own imagination. Aragorn is the last descendent of a long line of kings. He is not immortal or descended from the gods like many heroes of Greek, Roman, and Norse Mythology; however, he does have immortal ancestry, even though it is not immediate. It must however be traced back through many generations. Unlike many of the famous heroes he is not conceived by divine intervention or by supernatural means either. Unlike Arthur or the Irish hero Cuchulainn, who are born by supernatural means, Arthur by Merlin allowing Arthur’s father Uther to seduce Arthur’s mother in the form of her husband who was already dead at the time, and Cuchulainn conceived by a mortal woman and the Irish god Lugh, Aragorn is descended from the union of the immortal elf Idril and the mortal man Tuor (Flieger 43-44.) Aragorn is not easily identified with, having such a high and unheard of heritage. The men of Rohan and Gondor also have trouble believing him, as they are not able to comprehend his story, since they are but common men compared to Aragorn and he is but thing out of their past seemingly long ... Free Essays on The Mythological Hero In Tolkien's Lord Of The Rings Free Essays on The Mythological Hero In Tolkien's Lord Of The Rings The Mythological Hero in Tolkien’s The Lord of the Rings J.R.R. Tolkien was very fond of mythology, especially Norse and Irish Mythology, and used concepts and conventions of both throughout his works. Throughout mythology there is the ever-reoccurring theme of the epic hero, whose being is ever out of the readers reach. Tolkien represents the epic hero primarily through the Kingly Edain character Aragorn. There is, however, the fairytale myth as well, which features the small hero who is a mere common person placed in extraordinary circumstances. The Fairytale hero is best represented in The Lord of the Rings, by the hobbit Frodo. Tolkien also uses the concept of â€Å"The Hero and His Sword† throughout the story and throughout his other tales of Middle Earth; however, he only uses bits and pieces, while primarily creating his heroes from his own imagination. Aragorn is the last descendent of a long line of kings. He is not immortal or descended from the gods like many heroes of Greek, Roman, and Norse Mythology; however, he does have immortal ancestry, even though it is not immediate. It must however be traced back through many generations. Unlike many of the famous heroes he is not conceived by divine intervention or by supernatural means either. Unlike Arthur or the Irish hero Cuchulainn, who are born by supernatural means, Arthur by Merlin allowing Arthur’s father Uther to seduce Arthur’s mother in the form of her husband who was already dead at the time, and Cuchulainn conceived by a mortal woman and the Irish god Lugh, Aragorn is descended from the union of the immortal elf Idril and the mortal man Tuor (Flieger 43-44.) Aragorn is not easily identified with, having such a high and unheard of heritage. The men of Rohan and Gondor also have trouble believing him, as they are not able to comprehend his story, since they are but common men compared to Aragorn and he is but thing out of their past seemingly long ...

PHP Web Page Redirect Script

PHP Web Page Redirect Script A PHP forwarding script is useful if you want to redirect one page to another so that your visitors can reach a different page than the one they land on. Fortunately, its really easy to forward with PHP. With this method,  you seamlessly transfer visitors from the web page that no longer exists to the new page without requiring them to click a link to continue. How to Redirect With PHP On the page that you want to redirect elsewhere, change the PHP code to read like this:   ?php header( Location: yoursite.com/new_page.html ) ; ? The  header()  function sends a raw HTTP header. It must be called before any output is sent, either by normal HTML tags, by PHP,  or by blank lines. Replace the URL in this sample code  with the URL of the page where you want to redirect visitors. Any page is supported, so you can transfer  visitors to a different webpage on your own site or to a different website entirely. Because this includes the  header()  function, be sure  that you do not have any text sent to the browser before this code, or it will not work. Your safest bet is to remove all the content from the page except for the redirect code. When to Use a PHP Redirect Script If you remove one of your web pages, its a good idea to set up a redirect so that anyone who bookmarked that page is transferred automatically to an active, updated page on your website. Without the PHP forward, visitors would remain on the dead, broken, or inactive page. The benefits of this PHP script are as follows: Users are redirected quickly and seamlessly.When the  Back  button is clicked, visitors  are  taken to the last viewed page, not the redirect page.The redirect works on all web browsers. Tips for Setting up a Redirect Remove  all code but this redirect script.Mention on the new page that users should update their links and bookmarks.Use this code to create a drop-down menu that redirects users.

Socialization Article Example | Topics and Well Written Essays - 500 words

Socialization - Article Example I agree with the statement that though children learn socialisation from many sources, the interaction with peer groups has the most significant influence on the development of social skill in them. The validity of this notion can be evidenced from the article, Socialisation, by Jonathan Blundell, in which the author contends that peer groups including classmates and friends â€Å"exert very strong pressures† on children (8). The article, referring to other evidences, further suggests that young children closely observe their peers and attempt to â€Å"learn† from them â€Å"how they should behave† (8). Since children spend most of the time in their classroom or with their friends, it can be construed that peer group is the most influential factor in determining the socialisation aspect of children. 5. I would first write an introduction, where I would identify the topic and provide a brief definition of the term socialisation, and identify the sources from where children learn social skills. In the body passages I would offer an explication of each how source and illustrate how they impact the socialisation of children. In the last body passage I would identify one among the sources as the most significant and explain why I believe so, with supporting evidence from published literature that are credible. Does environment or nature not play a role in socialisation of children? For example, a child may be interacting with another in a homely environment. But he may not do so in a park or other social gathering. Similarly, nature is also a source from where children learn the skill for socialisation. For example, when the child observes a flock of birds, it makes the child think why they are all going together. The article overlooks this aspect. The article has been written by a single male author and there appears to be no bias on

The Automotive Industry 1945-1960 Term Paper Example | Topics and Well Written Essays - 2500 words

The Automotive Industry 1945-1960 - Term Paper Example â€Å"After World War II there was a striking expansion of motor vehicle production. During a 35-year period the total world output increased almost 10-fold. Among individual countries the United States was the leading producer until the recession of the early 1980s† (Automotive Industry) Science and Technology developed rapidly during the period of 1945-1960 so that industrial sector, especially the automobile industry got huge benefits. â€Å"The American work force also changed significantly. During the 1950s, the number of workers providing services grew until it equaled and then surpassed the number who produced goods. And by 1956, a majority of U.S. workers held white-collar rather than blue-collar jobs† (The Post War Economy:  1945-1960) â€Å"Gross national product, a measure of all goods and services produced in the United States, jumped from about $200 thousand-million in 1940 to $300 thousand-million in 1950 to more than $500 thousand-million in 1960† (U.S. Department of State). A substantial portion of the GDP growth during this period was contributed by the automotive industry. Even though recent recession caused some problems in American automotive industry, it is still one of the largest employment sectors for Americans. It should be noted that cold war started between America and Soviet Union immediately after the end of WW2. However, United States enjoyed phenomenal economic growth during the cold war period. America cemented its place as world’s wealthiest nation during this period mainly because of the contributions of the automotive industry. This paper analyses the effect of the Cold war on the Auto Industry, both at the business to business level and business to consumer level. Between 1945 and 1960 some 30 million Americans moved to the suburbs, the growth of which was a huge boon to the auto industry. By the early 1950s the auto industry faced a crisis of falling unit demand, as most families now owned a car . At the same time working people’s discretionary spending was rising. Given these factors, the Big Three (GM, Ford and Crysler) moved to increase each car’s size and array of new gadgets, and at the same time increase the frequency of the introduction of new models (Rooke). GM, Ford and Crysler are the three automobile companies which put strong foundations to the growth in American automobile industry. These companies have introduced many new models of vehicles during the period of 1945 -1960. These three companies started to compete each other and the result was the huge growth in American automobile sector. Consumers started to get vehicles with greater fuel economy and better safety measures because of the competition between the three. â€Å"By 1950 the Big Three offered their customers 243 different new car models. With a major body change costing upwards of $200 million, by 1955 the Big Three controlled 94% of the entire US market†(Rooke). It is an accep ted fact or economic principle that when competition increases, consumers will be benefitted since heavy competition forces companies to reduce the prices of their product and services. However, this principle was not true during the period of 1945 -1960, at least in American automobile sector. Even though competition intensified between the big three, instead of a price dip a price hike occurred for different car models in America during this period. This phenomenon was occurred mainly because of the huge economic growth that happened in America after the end of

Native americans Essay Example for Free

Native americans Essay Native Americans are known for many different qualities they had as a part of their lifestyle. Native Americans have been living in the Americas for many years. During their time period, we learned so much from them. Most of the information that was found, was by the movie â€Å"The Last of the Mohicans† and the three origin myths. There are many different Native American tribes that factor out cultural differences, in which usually includes nature, hybridity, and a culture clash. Nature is one of the main aspects that Native Americans show respect to. In the movie â€Å"The Life of the Mohicans† the Mohicans, one of the Native American tribes, show respect to the animal that they killed by giving thank you to him. Sometimes nature can be a bad thing, in which it surrounds the characters and complicates their battles and their chances for survival. In the movie, the Mohicans used nature in order to track their enemies, which in this case the Hurons In the origin myths, nature was what started this world and created mankind. Many Native Americans now in days still show respect for nature. There were many kinds of hybridity shown in the movie. Hybridity is the mixing of separate elements into one whole. Hawkeye is an example of hybridity because white by blood but Indian by habit. In the novel, Cora is a hybrid because her mother was black and her father was white. When nature and culture collide it makes a hybridity, just like what the Mohicans did in the movie. By the end of the nineteenth century, hybridity became very popular by rapid developments in genetic. When the Native Americans lived in the Americas, they were not alone. There was a culture clash between the Native Americans and the Europeans. In the movie, the Hurons and the Europeans did not get along. The Europeans would take by force the Native Americans Most of the Europeans killed the Native Americans for no particular reason. At the end, the ones getting involved in the small battle were the Mohicans and the Hurons. Even though both of the tribes were related, there were some differences that they had. Native Americans were well known for their culture and different lifestyles. The Native Americans had many beliefs of their different gods. The Native Americans had different tribes, but they all show respect to nature, some kind of hybridity, and the culture clash that they were involved in.

Coping Mechanisms in Tim OBriens The Things They Carried Essay

During the Vietnam war, soldiers were not exposed to the traditional coping mechanisms of our American society, as illustrated in Tim Obrien's The Things They Carried. These men were forced to discover and invent new ways to deal with the pressures of war, using only their resources while in the Vietnamese jungle. It was not possible for any soldier to carry many items or burdens with them, but if something was a necessity, a way was found to carry it, and coping mechanisms were a necessity to survive the war. Anti-depressants, psychiatrists, massages...there are many different things offered in American society today to help individuals fight the stress of life. People are willing to pay hundreds of dollars for medicine and treatments that promise to give them a better life. They will spend hours of their time at a masseuse or a psychiatrist in constant search for relief from the lives they live. During the Vietnam War, however, soldiers were not exposed to any of these traditional "coping mechanisms". Instead, these men were forced to discover and invent new ways to deal with the pressures of war, using only their resources while in the Vietnamese jungle. It was not possible for any soldier to carry many items or burdens with them, but if something was a necessity, a way was found to carry it, and coping mechanisms were a necessity to survive the war. Each soldier had a personal effect, story, or process that helped him wake up each morning and go to battle once again, and it was these personal necessities that enabled men to return home after the war. Stress was caused by the war itself and the continual conditions of battle, as well as the knowledge and guilt of killing another ... ... could not help themselves, they were not going to be helped. If struggle were encountered, men had personalized ways to reconnect with the real world, and if a tragedy were encountered which affected the entire company, they also found a combined way to cope with this pressure. The priorities of men during the war shifted greatly toward emotional connections to people and events other than the war, and it was these connections that helped them survive and return home. Coping with the stress and burden of war is not an easy task for anyone, yet in The Things they Carried, O'Brien depicts men dealing and coping as much as they can, using only their primeval resources. They learn how to cope with the barest necessities in life, and they learn how to make use of the smallest opportunities to obtain the most relief and joy from every moment in life.

Ajanta Caves Essay

Ajanta Caves in Maharashtra, India are a Buddhist monastery complex of twenty-nine rock-cut cave monuments containing paintings and sculpture considered to be masterpieces of both â€Å"Buddhist religious art†[1] and â€Å"universal pictorial art†[2] The caves are located just outside the village of Ajiná ¹ ­hÄ  in Aurangabad District in the Indian state of Maharashtra (N. lat. 20 deg. 30†² by E. long. 75 deg. 40†²). Since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. Excavation of the caves began in the third-second century B.C.E., during the period when Dakshinapath was ruled by Satavahana dynasty, and activity at the complex continued until the fifth to sixth century C.E., when the region was ruled by Vakatakas. Both the Satavahanas and Vakatakas were followers of Brahmanism, but also patronized the Buddhist shrines. The walls, ceilings and columns of the caves were covered with complex compositions of the Jataka stories (the stories of the Buddha’s former existences as Boddhisattva), and ornate floral and animal decorations. The exuberance and richness of the painting suggests that the artists were accustomed to painting secular as well as religious works. The paintings have a natural fluidity, depth and volume not found in later, more stylized Indian art. Jataka tales from the Ajanta caves Ajanta Caves – view from ticket officeAjanta Caves in Maharashtra, India are a Buddhist monastery complex of twenty-nine rock-cut cave monuments containing paintings and sculpture considered to be masterpieces of both â€Å"Buddhist religious art†[1] and â€Å"universal pictorial art†[2] The caves are located just outside the village of Ajiná ¹ ­hÄ  in Aurangabad District in the Indian state of Maharashtra (N. lat. 20 deg. 30†² by E. long. 75 deg. 40†²). Since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. Excavation of the caves began in the third-second century B.C.E., during the period when Dakshinapath was ruled by Satavahana dynasty, and activity at the complex continued until the fifth to sixth century C.E., when the region was ruled by Vakatakas. Both the Satavahanas and Vakatakas were followers of Brahmanism, but also patronized the Buddhist shrines. The walls, ceilings and columns of the caves were covered with complex compositions of the Jataka stories (the stories of the Buddha’s former existences as  Boddhisattva), and ornate floral and animal decorations. The exuberance and richness of the painting suggests that the artists were accustomed to painting secular as well as religious works. The paintings have a natural fluidity, depth and volume not found in later, more stylized Indian art. Jataka tales from the Ajanta caves Ajanta Caves – view from ticket office Horse shoe shaped Ajanta caves view from Caves Viewpoint some eight kms away Contents [hide] †¢1 Description and History †¢2 Dating of the Caves †¢3 Structure of the Caves o3.1 Cave One o3.2 Cave Two †¢4 Paintings †¢5 See also †¢6 Notes †¢7 References †¢8 External links †¢9 Credits Description and History The Ajanta Caves are a Buddhist monastery complex consisting of 29 caves (as officially numbered by the Archaeological Survey of India), located in a wooded and rugged horseshoe-shaped ravine about 3.5 km from the village of Ajintha, which is situated in the AurangÄ bÄ d district of Maharashtra State in India (106 kilometers away from the city of Aurangabad). Along the bottom of the ravine runs the Waghur River, a mountain stream. The caves, carved into the south side of the precipitous scarp made by the cutting of the ravine, vary from 35 to 110 feet in elevation above the bed of the stream. The monastic complex of Ajanta consists of several viharas (monastic halls of residence) and chaitya-grihas (stupa monument halls), adorned with  architectural details, sculptures and paintings that, even in their partially damaged state, are considered one of the glories of world art.[3] Excavation of the caves began in the third-second century B.C.E., during the period when Dakshinapath was ruled by Satavahana dynasty, and activity at the complex continued until the fifth to the sixth century C.E., when the region was ruled by Vakatakas. Both the Satavahanas and Vakatakas were followers of Brahmanism; nevertheless, they not only generated a liberal climate in which all religions could flourish, but also patronized the Buddhist shrines. The mention of a rock-cut monastery as the abode of the Buddhist monk Achala celebrated Buddhist philosopher and author of well-known books on logic, and the mountain range where it was located, the monastery being for certain Cave No. 26 and the mountain range, Ajanta ridge, appeared in the travel account of the Chinese pilgrim Hiuen Tsang, who visited India in the seventh century C.E. and stayed there for 15 years[4]. Nothing more was known of Ajanta before 1819, when some British officers of the Madras Army made a chance discovery of this magnificent site. They named it Ajanta after the name of the nearest village. In 1843, after a gap of 25 years, James Fergusson presented a paper to the Royal Asiatic Society of Great Britain and Ireland and drew global attention to the site. The M adras Army deputed its officer R. Gill to prepare copies of the Ajanta murals. Gill worked from 1849 to 1855 and prepared 30 paintings, but unfortunately they were destroyed in a fire in 1866. The efforts to discover Ajanta progressed in two directions, the preparation of copies of the murals, and research on Ajanta’s other aspects. Mr. Griffiths, the Superintendent and Principal of Sir Jamshedji Jijibhai School of Art, Bombay, was at Ajanta from 1872 to 1885 with a team of his students, to copy its murals, but unfortunately most of these were also destroyed in a fire. Finally, Lady Haringham and a team of artists comprising Syed Ahmad and Mohammad Fazlud-din of Hyderabad and Nandalal Bose, Asit Kumar Haldar and Samarendranath Gupta of the Calcutta School, camped at Ajanta from 1910 to 1912 copying its murals. In 1956-1957 the Archeological Survey of India took up the project and authentic copies of the murals were prepared. In 1983, the Ajanta Caves were declared a UNESCO World Heritage Site. Dating of the Caves The period during which Ajanta Caves were excavated stretches over eight- or nine hundred years from the third- to second century B.C.E. to the fifth- sixth century C.E. The caves reveal two distinct phases of excavation. Six of them, namely, caves 9, 10, 8, 12, 13, and 15-A (the last one was re-discovered in 1956, and is still not officially numbered), belong to the early period. Caves 9 and 10 appear to have been excavated during the second half of the third or the first half of the second century B.C.E.. The other four date from the first century B.C.E. However, Cave 10 is the earliest; it precedes even Cave 9 by at least 50 years. Caves 12, 13, and 15A of this phase are vihÄ ras (monastic halls of residence). During this period, Buddhism pursued the HÄ «nayÄ na doctrine, which initially prohibited the worship of anthropomorphic images of Buddha. Caves 9 and 10, the Chaitya-grahas (homes of the Sacred, monument halls) do not have anthropomorphic images of Buddha, though on th e faà §ade of Cave No. 9 such images were subsequently added. Around the first century B.C.E.Hinayana allowed the making of Buddha’s personal images. The shift from non-image to image characterizes other caves of this early phase, known as the Hinayana-Satavahana phase. Caves 1, 2, 4, 7, 11, 14, 15, 16, 17, 18, 19, 20 to 24, 25, 26, 27, 28 and 29 belong to the later phase, which began three centuries later, from the fifth to the sixth century C.E.. Buddhism had largely shifted to Mahayana doctrine and the region was ruled by Vakatakas of the Vatsagulma branch, who were also the patrons of these caves; this phase is usually known as Mahayana-Vakataka phase. As suggested by epigraphic records, Caves No. 16 and 17 were commissioned by Vakataka ruler Harishena (475-500 C.E.) through one of his ministers Varahadeva, who was posted at the site for supervising the progress, and a subordinate vassal of the area respectively. Ajanta had been a center of monastic and religious activities since the second- to first century B.C.E.; the embellishment of facades and wall spaces with paintings and sculptures continued all through. However, the excavation of the caves seems to have been suspended until the excavation of Caves 16 and 17. Cave 8 was long thought to be a HinayÄ na cave; however current research shows that it is in fact a Mahayana cave. Three chaitya-grihas, caves 19, 26, and 29, were excavated during the Vakataka or Mahayana phase. The last cave was abandoned soon after it was begun. The rest of the excavations are viharas: caves 1-3, 5-8, 11, 14-18,  20-25, and 27-28. None of the caves in the Vakataka phase were ever fully completed. Based on the archaeological evidence visible on site, the suggestion of Walter M. Spink that a crisis occurred when the ruling Vakataka dynasty suddenly fell out of power and forced all activities to a sudden halt, is increasingly gaining acceptance. Structure of the Caves The viharas are of various sizes, the maximum being about 52 feet. They are often square-shaped. Their designs are varied; some have simple and some have ornate facades, some have a porch and others do not. The hall was an essential element of a vihara. The early viharas of the Vakataka phase were not intended to have shrines because they were meant to be used solely as halls of residence and congregation. Later, a shrine set in the back wall of the vihara became a norm. The shrines were fashion to house a central object of reverence, often the image of the Buddha seated in the dharmachakrapravartana mudra (the gesture of teaching position). In the more recent caves, subsidiary shrines are added on the side walls, porch or the front-court. The facades of many vihÄ ras are decorated with carvings, and walls and ceilings were often covered with paintings. Most of the subjects of the paintings have been identified by the German Ajantologist, Dieter Schlingloff. Cave One Painting from Cave No. 1 Cave 1 The first cave on the eastern end of the horse-shoe shaped scarp, it is, according to Spink, one of the latest caves to have begun on site and brought to near-completion in the VÄ kÄ Ã… £aka phase. Although there is no epigraphic evidence, it has been proposed that the VÄ kÄ Ã… £aka king Harisena may have been the benefactor of this better-preserved cave. This cave has an elaborate carving on its facade with relief sculptures on entablature and fridges, depicting scenes from the life of the Buddha as well as a number of decorative motifs. A two-pillared portico, visible in nineteenth-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side, and a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that  the porch was not excavated in the latest phase of Ajanta, when pillared vestibules had became the norm. Most areas of the porch were once covered with murals, of whi ch many fragments remain. There are three doorways: a central doorway and two side doorways, and two square windows carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet long and 20 feet high. A square colonnade of 12 pillars inside supports the ceiling and creates spacious aisles along the walls. A shrine carved on the rear wall houses an impressive seated image of the Buddha, his hands in the dharmachakrapravartana mudra (position). There are four cells on each of the left, rear, and the right walls. The walls are covered with paintings in a fair state of preservation, depicting mostly didactic, devotional, and ornamental scenes from the Jataka stories (the stories of the Buddha’s former existences as Boddhisattva), the life of the Gautam Buddha, and those of his veneration. Cave Two Painting, Cave No. 2 (?) Painting from the Ajanta caves Ajanta Caves Ajanta Caves Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It resembles Cave 1 and is in a better state of preservation. The porch and the facade carvings are different, and the cave is supported by robust ornamented pillars, but the size and ground plan have many aspects in common with the first cave. The front porch has of cells supported by pillared vestibules on both ends; porch-end cells, which provided more room, symmetry, and beauty, became a trend in all later Vakataka excavations. The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha’s life in former existences as Bodhisattva. The porch’s rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interiors. Four colonnades arranged in a square support the ceiling; the  capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative and semi-divine forms. The paintings covering the walls and ceilings are eroded and fragmentary at various places. Painted narratives of the Jataka tales are depicted on the walls in such a way that a devotee walking through the aisles between the colonnades and the wall would be able to â€Å"read† about the Buddha’s teachings and life through successive births. Paintings The Ajanta Cave paintings are the earliest and most important wall paintings in India and are particularly significant because all other forms of painting, such as palace murals and painting on wood, cloth or palm-leaf from before about 1000 C.E. have not survived. [5] The technique and process used to create the Ajanta cave paintings are unlike any other artwork found in the art history of other civilizations, and are unique within the history of South Asian art. The walls, ceilings and columns of the caves were covered with complex compositions of the Jataka stories and ornate floral and animal decorations. The paintings depict a universe in which aristocratic men and women dwell in harmony with an abundant nature. The exuberance and richness of the painting suggests that the artists were accustomed to painting secular as well as religious works. The process of painting involved several stages. First, the rock surface was chiseled to make it rough enough to hold a plaster made of c lay, hay, dung and lime over a clay under-layer. Differences are found in the ingredients and their proportions from cave to cave. While the plaster was still wet, the drawings were outlined and the colors applied. The wet plaster had the capacity to soak up the color so that the color became a part of the surface and would not peel off or decay easily. The colors were referred to as ‘earth colors’ or ‘vegetable colors.’ Various kinds of stones, minerals, and plants were used in combinations to prepare different colors. The paint brushes used to create the artwork were made from animal hair and twigs. The outline drawing has a fluency and vigor not found in later Indian painting. Modeling and highlights, as well as spatial recession are used to accentuate the volume of the figures. The latest paintings show some of the highly-stylized, flatter qualities of paintings from the succeeding centuries. Sculptures were often covered with stucco to give them a fine finish and lustrous  polish. The stucco had the ingredients of lime and powdered sea-shell or conch. The latter afforded exceptio nal shine and smoothness. In cave upper 6, where some of it is extant, the smoothness resembles the surface of glass. See also The Ajanta Caves (Ajiá ¹â€¡Ã¡ ¹ ­hÄ  leni; Marathi: à ¤â€¦Ã  ¤Å"à ¤ ¿Ã  ¤â€šÃ  ¤  Ã  ¤ ¾ à ¤ ²Ã  ¥â€¡Ã  ¤ £Ã  ¥â‚¬) in Aurangabad district of Maharashtra, India are 30 rock-cut cave monuments which date from the 2nd century BCE to the 600 CE. The caves include paintings and sculptures considered to be masterpieces of Buddhist religious art (which depict the Jataka tales)[1] as well as frescos which are reminiscent of the Sigiriya paintings in Sri Lanka.[2] The caves were built in two phases starting around 2nd century BCE, with the second group of caves built around 600 CE.[3] It is a protected monument under the Archaeological Survey of India.[4] Since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. The caves are located in the Indian state of Maharashtra, near Jalgaon, just outside the village of Ajiná ¹ ­hÄ  (20 °31†²56†³N 75 °44†²44†³E). Caves are only about 59 kilometers from Jalgaon Railway station (on Delhi – Mumbai, Rail line of the Central railways, India); and 104 kilometers from Aurangabad (from Ellora Caves 100 Kilometers). Contents [hide] †¢1 First period †¢2 Second period †¢3 Rediscovery by Europeans †¢4 Cave One †¢5 Cave Two o5.1 The facade o5.2 The porch o5.3 The hall o5.4 The paintings †¢6 Cave Four †¢7 See also †¢8 References †¢9 Literature †¢10 External links [edit]First period According to Spink (2006), the first phase was the construction of sanctuaries (known as chaytia-grihas) built during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) in the canyons of the Waghora River. The caves 9, 10, 12 and 15A were constructed during this period.[5] Murals preserved from this time belong to the oldest monuments of painted art in India. Bird’s eye view of Ajanta Caves. [edit]Second period Ajanta Caves, map Scholars disagree about the date of the Ajanta Caves’ second period. For a time it was thought that the work was done over a long period from the fourth to the 7th century AD, but recently long-time researcher Walter M. Spink declared that most of the work took place over short time period, from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. Some 20 cave temples were simultaneously created, for the most part viharas: monasteries with a sanctuary in the structure’s rear centre. Each of cave temples seem to be patronised by influential authority, numerous best available artists have been involved in the work with fruitful rivalry between the neighbouring construction sites.[6] According to Spink, the Ajanta Caves appear to have been abandoned shortly after the fall of Harishena c. 480 CE. Since then, these temples have been abandoned and gradually forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, un visited and undisturbed.[7] [edit]Rediscovery by Europeans On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to one of the cave temples (Cave No. 10) deep within the tangled undergrowth. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other, larger, animals, Captain Smith scratched his name in on one of the pillars. Still faintly visible, it records his name and the date, April 1819. Since he stood on a five foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult.[8] Shortly after this discovery, the Ajanta Caves became renowned for their exotic setting, impressive architecture, historic artwork, and long-forgotten history. [edit]Cave One Painting of Padmapani and Vajrapani from Cave No. 1 Porch of cave no. 1. Ajanta Caves The first cave was built on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in theVÄ kÄ Ã… £aka phase.[clarification needed] Although there is no epigraphic evidence, it has been proposed that the VÄ kÄ Ã… £aka Emperor Harishena may have been the benefactor of this better-preserved cave. A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta. This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6.1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the ‘dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls. The  walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. The themes are from the Jataka stories (the stories of the Buddha’s former existences as Bodhisattva), the life of the Gautama Buddha, and those of his veneration. [edit] Cave Two Ajanta Caves ï‚ § Painting, cave no. 2. ï‚ § Painting from the Ajanta Caves. ï‚ § A section of the mural at Ajanta in Cave No 17, depicts the ‘coming of Sinhala’. The prince (Prince Vijaya) is seen in both of groups of elephants and riders. ï‚ §The consecration of KingSinhala (Prince Vijaya) (Detail from the Ajanta Mural of Cave No 17). ï‚ § Entrance of cave no. 9. ï‚ § Lord Buddha in preaching pose flanked by Bodhisattvas, Cave 4, Ajanta. Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation. The facade Cave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the first cave. The porch The front porch consists of cells supported by pillared vestibules on both  ends. The cells on the previously â€Å"wasted areas† were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty. The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha’s life in former existences as Bodhisattva. The porch’s rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior. The hall The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms. The paintings Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha’s teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and ‘read’ the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site’s rediscovery in 1819. Dieter Schlingloff’s identifications have updated our knowledge on the subject. Some believe that the art work has erroneously been alluded to as â€Å"fresco†, rather than mural, and assert that the technique and process used to produce this kind of artwork is unlike any other artwork found in the art history of other civilizations, including within the history of South Asian art. Cave Four The Archeological Survey of India board outside the caves gives the following detail about cave 4 : â€Å"This is the largest monastery planned on a grandiose scale but was never finished.An inscription on the pedestal of the buddha’s image mentions that it was a gift from a person named Mathura and paleographically belongs to 6 th century A.D. It consists of a verandah , a hypostylar hall, sanctum with an antechamber and a series of unfinished cells.The sanctum houses a colossal image of Lord buddha in preaching pose flanked

In the Eyes of the Common Filipino Essay

In what ways does Campus Journalism become a good ground for developing Nationalistic Ideals? Maria Blandina Pamaong fondly known by her friends as ‘Inday’ wakes up at four in the morning to prepare her goods and products for her eighteen year old small business. She lives in Capitol Valley just a trek away from BIT Dao. In a 4 kilometer drive with her husband Marito in a tricycle, they carry all their goods all the way to the Tagbilaran Rizal Park and reach there by 6:00am. They stack and arrange thee products neatly for the benefit of passers by. She’s now 47 years old and has been this woman whom I buy the sweetest popcorns and snack from, every time I go to the church across the road. And I’ve been buying from her ever since I could remember. At the same time, she had been a witness of different stories in Rizal Park as far as she could recall when she started. She has four children. All of whom are boys. The eldest, Marito, Jr. , just graduated at BISU MC with the course of something Automotive Mechanic and is now in Cebu. Following him, Marc Anthony is now in Cebu Philippine State College of Aeronautics. And the other two, Matthew and Vincent are studying high school at Dr. Cecilio Putong National High School (DCPNHS). You didn’t think she was some kind of low profile nothing, right? As far as I can tell she was able to send them to school with a 500Php daily income from her small business and their tricycle. To add, ‘Inday’ has worked her way to graduate of Bachelor of Science in Commerce at Holy Name University (HNU). You see, I find her the best person to answer my question above. And it is because she is part of the common ‘pinoy’. She is the witness, the spectator of unwavering events that does seem to shape our ideals today. And she is also the testimony to the positive nationalistic ideals that is either preserved or annihilated. Similarly, her experiences speak of the ideals that she has cultivated and the dreams that were forgotten. For instance, she has encountered many young Filipinos dating in their vulgar exhibit of Public Display of affection (PDA). Many of these students are in their school uniforms. They go frolicking as if they’re proud that they’re doing it while they’re from a catholic school. She has also bared the irresponsible littering done by many. They cast trash as if it was nothing harmful. In other occasions, she finds joy among volunteers who are very cooperative especially towards keeping the park clean. They have also blessed them with gifts and packed lunches especially during Christmas season. She is glad that thee people are compelled to share what they have gained. And when I reached to that question, she was assured of her answers. First, she shared the nationalistic ideals she adheres. She enumerated hard work, respect, self-discipline and self respect as the ideals she yearns for everyone who has neglected them. Afterwards, she said that the affectivity of journalism as a ground for developing these ideals will depend upon the people. Will they do something after they’ve read an article like this? Will they respond for the greater good? She even said that when those who see the signs like â€Å"keep off the grass†, they will have different reactions. The other one would probably follow it and another wont. Likewise, she agrees that campus journalism is a good ground for the development of nationalistic ideals. â€Å"Maayo na lang ng nay naningkamot†, she affirms. We both agreed that it does become an excellent ground by reminding and guiding us into noticing the ideals that we should regain. People will always respond to these guides in different ways. Just like her children, they answer differently to her concerns. She says that with higher technology among the new generation, it is indeed great. It is absolutely immense to have journalists’ and campus journalism to wake and endorse the ideals that we’ve grown to and may have been lost. It is amazing too that this came from her. All this is from a persistent vendor, under a coke tent in Rizal Park just across the St. Joseph Cathedral. And that this lady, whose hobby was reading romantic and horror books, looks forward. She positively looks forward for journalists who will write for the betterment of the Filipino nationalistic ideals engraved to every Filipinos mind and heart.

Francium Facts (Atomic Number 87 or Fr)

Francium Facts (Atomic Number 87 or Fr) Francium is a highly radioactive alkali metal with the atomic number 87 and element symbol Fr. Although it occurs naturally, it decays so quickly its very rare. In fact, scientists have never had a large enough sample of francium to know what it actually looks like! Learn about the chemical and physical properties of francium and what its used for. Francium Basic Facts Atomic Number: 87 Symbol: Fr Atomic Weight: 223.0197 Discovery: Discovered in 1939 by Marguerite Perey of the Curie Institute, Paris (France), francium was the last natural element to be discovered (others are synthetic). Electron Configuration: [Rn] 7s1 Word Origin: Named for France, the home country of its discoverer. Isotopes: There are 33 known isotopes of francium. The longest-lived is Fr-223, a daughter of Ac-227, with a half-life of 22 minutes. This is the only naturally-occurring isotope of francium. Francium rapidly decays into astatine, radium, and radon. Properties: The melting point of francium is 27 Â °C, its boiling point is 677 Â °C, and its valence is 1. It is the second-least electronegative element, following cesium. It is the second rarest natural element, following astatine. Francium is the heaviest known member of the alkali metals series. It has the highest equivalent weight of any element and is the most unstable of the first 101 elements of the periodic system. All known isotopes of francium are highly unstable, so knowledge of the chemical properties of this element comes from radiochemical techniques. No weighable quantity of the element has ever been prepared or isolated. To date, the largest sample of francium consisted of only about 300,000 atoms. The chemical properties of francium most closely resemble those of cesium. Appearance: It is possible that francium may be a liquid rather than a solid at room temperature and pressure. Its expected the element would be a shiny metal in its pure state, like the other alkali metals, and that it would readily oxidize in air and react (very) vigorously with water. Uses: Francium is so rare and decays so quickly, it doesnt have any commercial applications. The element is used for research. It has been used in spectroscopy experiments to learn about coupling constants between subatomic particles and energy levels. Its possible the element may find application in diagnostic tests for cancer. Sources: Francium occurs as a result of an alpha disintegration of actinium. It can be produced by artificially bombarding thorium with protons. It occurs naturally in uranium minerals but there is probably less than an ounce of francium at any time in the total crust of the earth. Element Classification: Alkali Metal Francium Physical Data Melting Point (K): 300 Boiling Point (K): 950 Ionic Radius: 180 (1e) Fusion Heat (kJ/mol): 15.7 First Ionizing Energy (kJ/mol): ~375 Oxidation States: 1 Lattice Structure: Body-Centered Cubic Return to the Periodic Table Sources Bonchev, Danail; Kamenska, Verginia (1981). Predicting the Properties of the 113–120 Transactinide Elements. Journal of Physical Chemistry. American Chemical Society. 85 (9): 1177–1186. doi:10.1021/j150609a021Considine, Glenn D., ed. (2005). Francium, in Van Nostrands Encyclopedia of Chemistry. New York: Wiley-Interscience. p. 679. ISBN 0-471-61525-0.Emsley, John (2001). Natures Building Blocks. Oxford: Oxford University Press. pp. 151–153. ISBN 0-19-850341-5.Lide, David R., ed. (2006). CRC Handbook of Chemistry and Physics. 11. CRC. pp. 180–181. ISBN 0-8493-0487-3.

Aircraft Warfare in WWI

Aircraft Warfare in WWI During the first World War,  the industrialization of the aircraft industry became entrenched as a vital piece of the modern war machine. Although it was just shy of two decades after the first airplane  was flown in the United States in 1903, by the time the WWI broke out, the military already had plans for these new means of warfare. In the years leading up to World War One, military aviation was sponsored by powerful people in government and business, and by 1909 both France and Germany had military air branches with a focus on reconnaissance and bombing. During the war, the belligerents quickly took to the air to gain an advantage. Pilots were initially sent up on missions to photograph enemy bases and troop movements so war strategists could plan their next moves, but as pilots began shooting at one another, the idea of aerial combat emerged as a new means of warfare that would someday evolve into the drone-strike technology we have today. The Invention of Aerial Combat The biggest leap forward in early aerial combat came when Frenchman Roland Garros attached a machine gun to his plane, making an attempt to synchronize with the propeller and use metal bands to deflect bullets from this vital piece of machinery. After a brief period of aerial dominance, Garros crashed and the Germans were able to study his craft. Dutchman Anthony Fokker, who was working for the Germans, then created interrupter gear to allow a machine gun to be safely shot and miss the propeller. Fierce aerial combat with dedicated fighter planes then followed. The cult of the air ace and their tally of kills was close behind; it was used by British, French, and German media to inspire their nations and none were more famous than Manfred von Richthofen, better known as the Red Baron  because of the color of his plane. Plane technology, pilot training, and aerial combat techniques all developed rapidly during the first parts of World War One, with advantage switching back and forth with each new development. Battle formation developed by around 1918, when there could be more than a hundred planes all working on the same attack plan. The Effects of the War Training was just as deadly as flying; over half of the Royal Flying Corps casualties occurred in training and, as a result, the air arm had become a recognized and highly distinguished part of the military. However, neither side ever achieved total air superiority for very long though the Germans briefly managed to cover their small base at  Verdun  in 1916 with a dominant air cover. By 1918, aerial warfare had become so important that there were thousands of planes crewed and supported by hundreds of thousands of people, all produced by a massive industry. Despite the belief- then and now- that this war was fought by individuals daring to fly for either side, aerial warfare was really one of attrition instead of victory. The effect of aircraft on the outcome of the war was indirect. They didn’t achieve victories but were invaluable in supporting infantry and artillery. Despite the evidence to the contrary, people left the war assuming that the aerial bombardment of civilians could destroy morale and end a war sooner. The German bombing of Britain- via zeppelin in 1915- failed to have any effect and the war continued anyway. Still, this belief persisted into WWII where both sides terror-bombed civilians in order to try to force a surrender.

Marketing Essay Example | Topics and Well Written Essays - 2000 words - 9

Marketing - Essay Example Cervo & Allen (2011 p.67) revealing the client information may not only raise ethical concerns, but also alienates the customers from the business. In attempt to unravel this dilemma, business critics have suggested a number of possible effects that would occur if a firm opts to disclose such information. The case study illustrates the above problem and provides a suggestion on how to handle the problem. Marketing issues at stake The primary marketing issue at stake is the leaking of customer secret information. IFA marketing executives have sought confidential information of customers of ShopSense. The marketing executives of IFA believe that confidential information about consumers of foodstuffs would be useful in developing products for their customers. However, extracting such information from another company such as ShopSense is not easy. A major concern raised against the idea is the detrimental effects that leaking such information may have on the reputation of the company. Es tablishing confidence of the consumers as well as maintaining a consistent customer takes long. The two firms seem to acknowledge this fact. The relationship between the business and the firm hangs on respects to the mutual agreement consented to by both parties (Russo, 2010 p.167). The deal seems lucrative, but poses serious challenges to ShopSense. Arguably, clients of this firm have demonstrated their trust to the firm. In addition, they have maintained trust to the firm by consistently buying their products from the firm. This means that disclosing the information is an attempt to break the bond between the firm and the clients. The nagging question is who should allow the dissemination of the client’s private information. Compare and contrast the advice provided by different critics. A common observation made by the marketing critics is the sensitivity of the information kept by ShopSense. ShopSense values the customers’ information more than IFA. In this sense, i t means that disclosing information about the client would affect their business adversely. Clients of ShopSense seem to confide in the company. However, disclosing such information for financial benefit seems to have a short-term benefit to ShopSense. In business, the benefits derived from any decision dictates the present and the future of the business. The critics have demonstrated their stands concerning the idea. George L Jones for instance argues that the engagement between IFA and ShopSense is valid provided that the clients of ShopSense do not feel the reverberations of the leaked information. Katherine Lemmon argues that the issue in this case is disclosing unintended information to another party. She believes that the consumers are likely to lose the trust they have to the company an aspect that might Influence the overall performance of the ShopSence. In essence, she believes that the decision about disclosing or not disclosing the non intended information would be valid if it would not spark any concerns that would have a negative impacts to the company. Norton and McCallister share the similar information that the scorecard of the ShopSense is the confidence that they have built from their customers. This means that the activity is not only risky, but also attracts ethical concerns. All the critics seem to suggest that the opportunity may not be fruitful at the long run. In all the cases cited, the integrity of the company disclosing this information would

How an experience of attending a concert may be affected by your Essay

How an experience of attending a concert may be affected by your expectations of it - Essay Example The mass media with the aid of different technologies often provide the viewers or the audiences with synthetic realities like animations, fast as well as slow motions, computer simulations and zooms. The broadcasts in the televisions deliver a clear view of any events or actions rather than experiencing the real event. The different effects of mass media include the deliverance of valuable information as well as news to the people, informing the public about various government programs along with policies, entertaining people and promoting various trades and industries through advertisements (Marikkar, â€Å"An Introduction to Mass Media and Their Effects and Roles in Society†). Thus, it can be stated that the mass media imposes crucial impact upon the individuals and the society at large. Thesis Statement In this discussion, a critical examination about the way an experience of attending a concert may get affected due to the prior expectations in comparison to the experience of the same event in a mediated form will be taken into concern. Moreover, a detailed analysis of both the types of experiences of the event in terms of various relevant conceptions and theories will also be portrayed in the discussion. Discussion It has been observed that the notion of synthetic experience or a mediated type of experience is qualitatively different from a real experience. The aspect of real experience principally originates within the natural sensory envelope of a person i.e. constant vision sounds among others which arises from the events occurring at their own paces in real time within the reach of the sensory capabilities of a person. Conversely, the facet of synthetic experience arises from the conceptions which do not possibly originate within the natural sensory envelope of an individual. During the years of twentieth century, the public has known to become quite familiar with an informative environment which is based upon real experiences blended with unrea l or synthetic experiences. The motion pictures usually provide synthetic experiences to the people and they self-consciously attend them as a recreational event. In this regard, both real as well as synthetic events are gradually presented to the audiences of mass media and hence every individual experiences the mixture of both the events. Through the expansion of mass media, synthetic events have increasingly become more persistent in comparison to real events in modern life in the form of synthetic experiences. The mass media has been successful in attracting the attention of a huge number of people and it has been recognized in this context that much of the current day experiences are entirely different from the experiences prior to the years of twentieth century (Funkhouser & Shaw, â€Å"How Synthetic Experience Shapes Social Reality†). However, there exist both synthetic as well as real experiences with regard to attending a particular concert. The