Staging Hamlet for a Modern Audience Essay -- Shakespeare Hamlet

I do not agree with the comment of Hazlitt:   'There is no play that suffers so much in being transferred to the stage'  Ã‚   Based on performances I have seen and other plays by Shakespeare, I think this is one of his better plays as it does not stick to guidelines.  Ã‚   Although a long play, it has a depth to it, that, if transferred to the stage well, is transformed from a long and winding script to a fascinating play filled with suspense and the emotions of the characters run high.   'Hamlet', nonetheless is a challenging script and Hamlet himself can either create the play, or destroy it, he is the key element.      To fascinate the audience from the outset you need to examine the setting that Shakespeare describes throughout the script.   For in order to create the atmosphere that is in the book you have to overcome the challenges set out, for example the many different sets in the play, the castle, the battlements, Ophelia's bedroom, and the grounds. The sky is important in 'Hamlet' for the stars and Greek Gods were the interest of the time.      Ã‚  Ã‚  Ã‚  Ã‚   'This most excellent canopy, the air, look you, this brave o'erhanging firmament, this magestical roof fretted with golden fire- why, it appeareth nothing to me but a foul and pestilent congregation of vapours.      The difficulty of including all the settings for each scene on stage can be solved by a backdrop or sky cloth painting which has perspective, drawing the audience in.   The sky can be painted high on a separate curtain which can roll up or down in order to be able to change the time of day, for example, one of a sunrise and another of the stars and... ...empty corridor, dissolving into a Pepsi machine! But the moment is not a visual joke but a creepy reminder of him being omniscient in the play.   This would be an effective way of playing him on stage, walking from room to room in the castle to show his restless soul.    'Hamlet' is a challenging play which has been produced many times in many different ways.   The ideal 'Hamlet' would be one which combines the old with the new and illustrates the depth and feelings of hamlet through the set whilst creating the characters as the reader sees them whilst reading the script.   Everyone sees the ideal 'Hamlet' differently and it would probably be impossible to create one which everyone would love, but to satisfy most I would create all that I have mentioned and create my 'Hamlet' from modern productions and ideas from the text.   

Hamlet, Prince of Denmar Essay

Hamlet, Prince of Denmark, by William Shakespeare, tells the morbid tale of a young man’s quest for revenge. Set in Denmark during the Middle Ages, the play chronicles the assassination of a king and his brother’s usurpation of the throne and insinuation into the king’s old life, to the point of marrying the king’s own widow. Hamlet, the young prince, is charged by his dead father’s ghost to bring his uncle to justice and restore the rightful crown. When Claudius, Hamlet’s uncle, comes to the realization that his young nephew has uncovered his murderous conspiracy, he resolves to assassinate the young prince as well. However, when his attempt to have Hamlet executed in England is foiled, he must find another means to surreptitiously remove the threat to his kingship. After Hamlet accidentally kills Polonius, Claudius’ chief counselor, Polonius’ son is filled with rage, resulting in Claudius concocting a plan to match Hamlet against Polonius’ son, Laertes, in a duel to the death. II. THEME The theme primarily seen throughout the play Hamlet, Prince of Denmark is one of dilemma and indecision. This theme is reiterated often in the play, habitually in situations surrounding young Hamlet himself, due to his immaturity and inexperience. This is demonstrated as early as the opening of the play, in which Old Hamlet’s ghost appears to Hamlet. Hamlet’s difficulty in determining the difference between appearance and reality causes him to question whether the ghost is really a good spirit, or a devil trying to trick him. † Angels and ministers of grace defend us! — / Be thou a spirit of health or goblin damn’d, / Bring with thee airs from heaven or blasts from hell, / Be thy intents wicked or charitable, / Thou com’st in such a questionable shape† (Ham. I. iv.623-627). This theme can also be seen in Act III, Scene iii, in which Hamlet is debating on whether to truly kill Claudius or to spare his life. Hamlet is at the point of deliberation as he sees his uncle kneeling in prayer and remorse, and thus, vulnerable. â€Å"Now might I do it pat, now he is praying; / And now I’ll do’t;–and so he goes to heaven; / And so am I reveng’d. –that would be scann’d:† (Ham. III. iii. 2350-2353). However, at that very moment, Hamlet wavers and begins to have misgivings about doing the actual deed. â€Å"But in our circumstance and course of thought,/ ‘Tis heavy with him: and am I, then, reveng’d, / To take him in the purging of his soul, / When he is fit and season’d for his passage? / No† (Ham. III. iii. 2360-2363). Another example of this theme is seen during one of Hamlet’s darkest hours, in which he is disenchanted with life since his father’s death, as well as disgusted with is mother’s hasty marriage to Claudius. To Hamlet, these momentous events have degraded the Danish court. Hamlet’s strongest impulse to kill himself to avoid debasement, and yet, he fears the damning consequences of suicide. â€Å"To be, or not to be,–that is the question:– / Whether ’tis nobler in the mind to suffer / The slings and arrows of outrageous fortune / Or to take arms against a sea of troubles, / And by opposing end them? –To die,–to sleep† (Ham. III. i. 1710-1714). A minor theme in Hamlet, Prince of Denmark is remorse. In Act III, Scene iii, Claudius reveals his profound guilt about his crime, and states that he will never be able to seek God’s forgiveness for it. â€Å"My fault is past. But, O, what form of prayer / Can serve my turn? Forgive me my foul murder! — / That cannot be; since I am still possess’d / Of those effects for which I did the murder,† (Ham. III. iii. 2327-2330). This minor theme can also be noted when Hamlet regrets not telling Ophelia that he really did love her when he stumbles upon her funeral in Act V, Scene i. Earlier, he had insulted and rejected Ophelia during one of his bouts of madness. â€Å"I lov’d Ophelia; forty thousand brothers / Could not, with all their quantity of love, / Make up my sum. –What wilt thou do for her? † (Ham. V. i.3466-3468). III. DICTION In the play Hamlet, Prince of Denmark, William Shakespeare utilizes an assortment of vivid images to describe certain objects. This enables the reader to form a clear mental picture of what is happening in each scene and of what had happened in the past. †¦ in my imagination it is! my gorge rises at it. Here hung those lips that I have kiss’d I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? quite chap-fallen? Now, get you to my lady’s chamber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that (Ham. V. i. 3375-3381). Shakespeare also makes good use of idialect in the play, which is particularly seen in Hamlet’s involvement with the gravediggers. â€Å"A pickaxe and a spade, a spade / For and a shrouding sheet; / O, a pit of clay for to be made / For such a guest is meet† (Ham. V. i. 3283-3286). These terms are expressions that are commonly used in the mortuatory business. Due to the fact that the play was written centuries ago, the language of the play contains a large amount of poetic diction, with antiquated pronouns as well as inverted sentence order, such as seen in â€Å"‘Tis now struck twelve. Get thee to bed, Francisco. / For this relief much thanks: ’tis bitter cold, / And I am sick at heart† (Ham. I. i. 11-13). Precise, exact meanings are used when describing scenes, as well. This is clearly seen in Act III, Scene ii in which the actors are reenacting Old Hamlet’s poisoning by Claudius. â€Å"Neptune’s salt wash and Tellus’ orbed ground, / And thirty dozen moons with borrow’d sheen / About the world have times twelve thirties been, / Since love our hearts, and Hymen did our hands, / Unite commutual in most sacred bands† (Ham. III. ii. 2023-2027). The use of diction greatly contributes to the subject and theme of the play, as well. The use of vivid images, as well as precise, exact meanings enable the reader to visualize the action that is taking place in each scene as well as understand the relationships that are occurring in the play. The inverted word order and use of antiquated pronouns help the reader picture a forbidding time period as well as visualize the conspiracies hatching around Denmark. Why, let the strucken deer go weep, The hart ungalled play; For some must watch, while some must sleep: So runs the world away. – Would not this, sir, and a forest of feathers–if the rest of my fortunes turn Turk with me,–with two Provincial roses on my razed shoes, get me a fellowship in a cry of players, sir? (Ham. III. ii. 2142- 2150). IV. TONE The major tone of Hamlet, Prince of Denmark is ominous. With the play opening in the dead of night at the walls of Elsinore Castle, the reader can immediately sense the gloom, uncertainty, and anxiety that hangs over the kingdom of Denmark. It seems that everyone is aware of the terrible evil that surrounds the monarchy, particularly all of the circumstances that led to Claudius’s coronation. The threatening possibility of further evil to descend upon the kingdom is unconsciously on the minds of every character within the play. Minor tones can be sensed throughout the story during certain areas. A feeling of morbidity can be felt while looking at specific sections of the story. This gruesome feeling is often felt in association with the scenes involving death, such as the graveyard scene in which the gravediggers are chuckling and singing as they dig Ophelia’s grave. Irony is also another minor tone that can be found in several areas of the play. Hamlet truly loved Ophelia, and, by a twist of fate, he also caused her death in a roundabout way, in the murder of Polonius, whose death so depressed Ophelia that it lead her to insanity, and ultimately suicide. Irony is also especially evident in Claudius’ death, in which he was forced to die in the same manner that he had planned for Hamlet. V. SYMBOLISM Different symbols represent different universal meanings in life and in the story. The most obvious symbol in the play is the poison that is used by Claudius in the murder of Old Hamlet. Poison is also used on the tip of Laertes’ sword and in Claudius’ drink in another attempt to assassinate Hamlet. This poison could also be seen as a symbol of the death and corruption spreading throughout Denmark as a direct result of Claudius’ rule. Another symbol seen in the play is the murder of Old Hamlet by his own brother, Claudius. The death of Old Hamlet by Claudius traces back to the time of the first murder between brothers, and shows a religious parallelism in going back to the story of Cain and Abel. Flowers are common enough in the play, but daisies hold a special meaning as well. Ophelia’s ‘mad scene’ is a scene which is full of flowers. In particular, however, she gives a daisy to Hamlet’s mother, Gertrude, which symbolizes faithlessness, in reference to Gertrude’s marriage to Claudius less than two months after her first husband’s death. Upon his suspicion of Claudius’ involvement in Old Hamlet’s death, Hamlet is struck with the inspiration to have actors reenact the death of his father in order to observe Claudius’ reaction. When the moment of his father’s murder is in the theater, Claudius is compelled to leave the room, and the play that the actors perform is symbolic of the guilt that Claudius feels. Perhaps the most famous of all symbols in the play Hamlet, Prince of Denmark is the skull of the king’s former jester, Yorick. Hamlet holds a few sentimental memories of the jester, who used to give him piggyback rides and play with him. Yorick’s death gives Hamlet an opportunity to contemplate human mortality, as well as remind him that life is not all pessimistic and glum and that there was a happier time in his life. VI. SPEAKER In Hamlet, Prince of Denmark, the speaker is in the third person. The author, William Shakespeare, is unnamed and uninvolved. The speaker does not have an active role within the story, yet is omniscient of everything that is occurring within the context of the play. VII. STRUCTURE Within Hamlet, Prince of Denmark, Shakespeare uses chronological order. The play begins with Hamlet discovering that the ghost of his father has been spotted wandering Elsinore castle, and ends with Hamlet avenging Claudius for the death of his father as well as his own death. Although references are made to events that have occurred in the past, such as the murder of Old Hamlet, these events are revealed as the past. Hamlet, Prince of Denmark, written by William Shakespeare, is a paperback book consisting of 342 pages. The front cover depicts a man in the foreground, presumably Hamlet, with the image of a lady in the background, presumably Ophelia. The play consists of five acts, with as little as two scenes and as many as seven scenes within an act. VIII. Imagery William Shakespeare’s play Hamlet, Prince of Denmark includes a wide variety of figurative language that helps the reader visualize the story and to guide in the understanding of the plot and the characters. Similes are used frequently throughout the play; the author uses similes often in describing objects around the scene, such as, â€Å"By the mass, and ’tis like a camel indeed† (Ham. III. ii. 2249). Irony of situation is also used in the story. For example, throughout the last half of the play, the reader is aware of Claudius’ plot to assassinate Hamlet by planting poison inside a goblet of wine, and assumes that Hamlet will be poisoned and die. However, in reality it is Claudius and Gertrude who drink the poison instead â€Å"No, no! the drink, the drink! –O my dear Hamlet! — / The drink, the drink! –I am poison’d †¦ Here, thou incestuous, murderous, damned Dane, / Drink off this potion. –Is thy union here? / Follow my mother† (Ham. V. ii.3788-3810). Alliteration is also used in the play by Hamlet. For instance, he refers to his â€Å"long life† (Ham. III. i. 69). and a â€Å"bare bodkin† (Ham. III. i. 76). An obvious and famous antithesis that can also be found in the play is the line, â€Å"to be or not to be† (Ham. III. i. 58), in which two opposites are juxtaposed next to each other for a dramatic effect. Metaphors were also used to imply comparisons between certain objects. This is clearly demonstrated in Act I, Scene ii during Hamlet’s soliloquy where he is comparing his own flesh to melting ice. â€Å"O that this too too solid flesh would melt, / Thaw, and resolve itself into a dew! † (Ham. I. ii. 312). The play also includes several soliloquies by Hamlet in which he is conversing with no one in particular save himself or the audience. During one long monologue, he is agitated and visibly upset over his mother’s marriage to Claudius and addresses the heavens â€Å"Like Niobe, all tears;–why she, even she,– / O God! a beast that wants discourse of reason, / Would have mourn’d longer,–married with mine uncle† (Ham. I. ii. 333-335). To help the reader understand certain situations and see circumstances from his point of view, Hamlet described certain objects with human characteristics, such as in â€Å"She married:– O, most wicked speed, to post / With such dexterity to incestuous sheets! † (Ham. I. ii. 340-341). Hyperbole is the use of figurative language that greatly exaggerates facts; for example, at Ophelia’s burial, Hamlet and Laertes are arguing and Hamlet calls for â€Å"millions of acres† (Ham. V. i. 3478) of earth to be piled onto all three of them. The phrase â€Å"Tis an unweeded garden,† (Ham. I. ii. 19). is the beginning of a conceit that extends throughout the book. Shakespeare is comparing Denmark to Eden, relying on the theme of corruption and how it spreads from the head monarch of Denmark (Claudius) throughout the entire court. IX. Genre The Handbook to Literature states that a revenge tragedy is a â€Å"form of tragedy made popular on the Elizabethan stage †¦ largely Senecan in its inspiration and technique. The theme is the revenge of a father for a son or vice versa, the revenge being directed by the ghost of the murdered man†¦ (440). The play Hamlet, Prince of Denmark perfectly fits this description in that Hamlet literally is the son that is directed by the ghost of his father, Old Hamlet, to avenge his death and bring Claudius to justice. Hamlet seeks revenge for the death of his father, which leads to much bloodshed and violence later in the play. According to The Handbook to Literature, a Senecan tragedy †¦ combined native English tragic tradition with a modified Senecan technique and led directly toward the typical Elizabethan tragedy†¦ though reflecting nsuch Senecan traits such as sensationalism, bombast, and the use of the chorus and the ghost, departed from the Senecan method in placing the murders and horrors on the state, in response to popular Elizabethan taste†¦ (472). This genre is also greatly accentuated in Hamlet, Prince of Denmark, particularly towards the climax of the play during the duel between Hamlet and Laertes, in Act V, Scene ii, which leads to the dramatic, and somewhat sensationalized, deaths of Hamlet, Claudius, Laertes, and Gertrude onstage. X. Metrics Hamlet, Prince of Denmark is a play that primarily uses blank verse. The Handbook to Literature defines blank verse as â€Å"unrhymed but otherwise regular verse, usually iambic pentameter† (62). The four lines below are spoken by Hamlet as be deliberates on whether to commit suicide or not. To be, or not to be: that is the question: Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles, (Ham. III. i. 1710-1714). These lines are written in iambic pentameter, although each of these lines contain an extra unstressed syllable at the end of each line. The majority of the play uses blank verse. However, there are certain areas in Hamlet, Prince of Denmark that employ prose in order to show intense feeling, as demonstrated in Act II, Scene ii. â€Å"†¦ l tell you why; so shall my anticipation / prevent your discovery, and your secrecy to the king and / queen moult no feather I have of late,–but wherefore / I know not,–lost all my mirth, forgone all custom of exercises† (Ham. II. ii. 1340-1343). Prose is also commonly used for expressing madness.

Sigmund Freud Essays (4800 words) - Freudian Psychology, Id

Sigmund Freud Essays (4800 words) - Freudian Psychology, Id Sigmund Freud Many believe Freud to be the father of modern psychiatry and psychology and the only psychiatrist of any worth. He is certainly the most well known figure, perhaps because sex played such a prominent role in his system. There are other psychologists, however, whose theories demand respectful consideration. Erik Erickson, born Eric Homburger, whose theories while not as titillating as Freud's, are just as sound. This paper will compare the two great men and their systems. In addition, this paper will argue that Freud offers the more useful foundation for understanding the Jenny Masterson's confused psyche. Sigmund Freud showed signs of independence and brilliance well before entering the University of Vienna in 1873. He had a prodigious memory and loved reading to the point of running himself into debt at various bookstores. Among his favorite authors were Goethe, Shakespeare, Kant, Hegel and Nietzsche. To avoid disruption of his studies, he often ate in his room. After medical school, Freud began a private practice, specializing in nervous disorders. He was soon faced with patients whose disorders made no neurological sense. For example, a patient might have lost feeling in his foot with no evidence to any sensory nerve damage. Freud wondered if the problem could be psychological rather than physiological. Dr. Freud evolved as he treated patients and analyzed himself. He recorded his assessment and expounded his theories in 24 volumes published between 1888 and 1939. Although his first book, The Interpretation of Dreams, sold only 600 copies in its first eight years of publication, his ideas gradually began to attract faithful followers and students - along with a great number of critics. While exploring the possible psychological roots of nervous disorders, Freud spent several months in Paris, studying with Jean Charcot, a French neurologist from whom he learned hypnosis. On return to Vienna, Freud began to hypnotize patients and encouraging them while under hypnosis to speak openly about themselves and the onset of their symptoms. Often the patients responded freely, and upon reviewing their past, became quite upset and agitated. By this process, some saw their symptoms lessened or banished entirely. It was in this way that Freud discovered what he termed the "unconscious." Piecing together his patients' accounts of their lives, he decided that the loss of feeling in one's hand might be caused by, say, the fear of touching one's genitals; blindness or deafness might be caused by the fear of hearing or seeing something that might arouse grief or distress. Over time, Freud saw hundreds of patients. He soon recognized that hypnosis was not as helpful as he had first hoped. He thus pioneered a new technique termed "free association." Patients were told to relax and say whatever came to mind, no matter how mortifying or irrelevant. Freud believed that free association produced a chain of thought that was linked to the unconscious, and often painful, memories of childhood. Freud called this process psychoanalysis. Underlying Freud's psychoanalytic perception of personality was his belief that the mind was akin to an iceberg - most of it was hidden from view. The conscious awareness is the part of the iceberg that is above the surface but below the surface is a much larger unconscious region that contains feelings, wishes and memories of which persons are largely unaware. Some thoughts are stored temporarily in a preconscious area, from where they can be retrieved at will. However, Freud was more interested in the mass of thought and feeling that are repressed - forcibly blocked from conscious thought because it would be too painful to acknowledge. Freud believed that these repressed materials unconsciously exert a powerful influence on behavior and choices. Freud believed that dreams and slips of tongue and pen were windows to his patient's unconscious. Intrusive thoughts or seemingly trivial errors while reading, writing and speaking suggested to Freud that what is said and done reflects the working of the unconscious. Jokes especially were an outlet for expressing repressed sexual and aggressive tendencies. For Freud, nothing was accidental. Freud believed that human personality, expressed emotions, strivings, and beliefs arise from a conflict between the aggressive, pleasure-seeking, biological impulses and the social restraints against their expression. This conflict between expression and repression, in ways that

Philosophy of God

Philosophy of God Introduction The quest as to whether a good and benevolent God exists is a philosophical question inwhich both theists and atheists have invested greatly. For a theist, a good and benevolent God exists; a God absolutely committed to goodness and merciness.Advertising We will write a custom essay sample on Philosophy of God specifically for you for only $16.05 $11/page Learn More On the other hand, atheist holds the position that evil experienced in the world is a clear indication that either this world is not the best to live or there is no such being as â€Å"good and benevolent god†. The aim of this paper therefore, is to show that, the presence of evil in the world does not in any way contradict the existence of a benevolent God. For atheists, evil is intrinsically opposed to absolute good. There is so much evil in the world! Therefore, there is no absolute good in the world. What this argument means is that, evil and absolute good cannot coexist a t the same time in the same manner. Therefore, it is rationally plausible that, either there is an absolute good in the world; hence God exists, or this world is not the best because evil is witnessed in it; thus God does not exist. And since it is incontestable, that there is evil in this world, therefore atheists conclude that God does not exist. If God exists, than he is not as good and benevolent as purported by theists, or God is either a sadist or incapable of controlling what he is alleged to have created. For atheists, this forms the fundamental argument against the existence of a good and benevolent God. Conversely, theists argue that this world is the best because it is created by a benevolent God. And evil experienced in the world is used by God to achieve some good. That God is so powerful that he can use any means whatsoever as long as some intended good is achieved. Therefore, the presence of evil in the world does not in any way whatsoever contradicts the existence of a benevolent God. Both arguments are logically conceivable, and both contestants can argue their case infinitely. However, atheists have raised a very strong logical objection as to whether God exists, and if he does is he good? They argue that the world is full of evil of all kind. For instance, parents who die in a road accident leaving behind a day old baby, or HIV virus that is claiming many lives. If there is God, then is he so careless as to just sit watching at all these evil happenings without even lifting a finger to evade them? The objection from atheists is very logical and convincing. This is because it is illogical to think that absolute good and evil can coexist. However, the case argued by theists is equally strong because if God is not limited by anything, then he may use what is perceived as evil to bring greater intended good. For example, if a man prays for his flight only to go to air port and find the plane has left, such a man sees evil but only when the plane crashes killing everyone, that man is able to see good.Advertising Looking for essay on philosophy? Let's see if we can help you! Get your first paper with 15% OFF Learn More The theist position would be challenged with such questions as; who created evil? And whether God at the point of creation foresaw the imminent evil in the world, and if so why did he allow it? Despite of such heated debate, it is evident that there is so much good in the world as compared to evil. Therefore, a few cases of evil are not enough to conclude that God does not exist.

Torture is necessary for gaining valuable information to keep america Research Paper

Torture is necessary for gaining valuable information to keep america and its allies safe in the war on terrorism - Research Paper Example In the recent geo-political context, the fight against terrorism has reopened this debate. The United States’ military personnel, with permission/instructions from higher authorities (going as high up as Secretary of Defense Donald Rumsfeld), have tortured suspected terrorists since the beginning of its War on Terror operations. While some of the methods employed in eliciting important information from suspects is degrading and inhuman, one has to understand prevailing political contexts in which such actions become inevitable. For example, â€Å"to counter an enemy who relies on stealth and surprise, the most valuable tool is information, and often the only source of that information is the enemy himself. Men like Sheikh Mohammed who have been taken alive in this war are classic candidates for the most cunning practices of this dark art. Intellectual, sophisticated, deeply religious, and well trained, they present a perfect challenge for the interrogator. Getting at the info rmation they possess could allow us to thwart major attacks, unravel their organization, and save thousands of lives. They and their situation pose one of the strongest arguments in modern times for the use of  torture.† (Bowden, 2003, p.52) The rest of this essay will try and present more points in support of torture as a key interrogative tool, and show why its continued employment will save thousands of innocent lives in the future. Foremost among the rationales for usage of torture techniques is the current era of warfare we are living through. The September 11, 2001 attacks on the World Trade Center, Pentagon and other targets within the United States had illustrated clearly the scope and magnitude of jihadist terrorism. (Bowden, 2003, p.52) This event showed to leaders of democratic nations that terrorism has indeed come of age. In this new era of warfare, battles are no longer waged between symmetrical power entities – one state upon another. Rather, in the asy mmetrical military engagements of today, conventional states confront non-state enemies â€Å"who are palpably post-modern: trans-national, decentralized, more closely resembling a fog or that mythic beast with multiple and multiplying heads, the hydra, than the traditional more or less well-defined and (at least potentially) containable national enemy. Moreover, this hydra is one given particularly to living amongst and preying upon civilians. In other words, as the smoldering ruins of Ground Zero reminded us, this is an enemy who does not respect the traditional moral parameters of warfare. Accompanying this recognition is the suspicion that these developments have finally rendered the just war tradition obsolete, irrelevant, impossible.† (Bell, 2006, p.34) Hence, in these uncertain and insecure times, traditional criteria of measuring fairness and justice no longer apply. Waging the War on Terror successfully requires rejection of antiquarian views of â€Å"legitimate aut hority, last resort, and the possibility of distinguishing between combatant and non-combatant.† (Bell, 2006, p.34) Our leaders no longer have the luxury of â€Å"moral purity or clean hands† that the just war tradition requires. Moreover, one has to make a distinction between acting morally and acting foolishly. It would amount to acting foolishly if key protections of the Bill of Rights are extended to ruthless enemies who do not share America’s vision of war, justice and morality. The key question to ask is whether the imperative to destroy the

Henrys Law Constant Of Glyoxal Research Paper Example | Topics and Well Written Essays - 3500 words

Henrys Law Constant Of Glyoxal - Research Paper Example The enhancement of KH was linked to the sulfate: carbonyl molar ratio rather than the absolute concentration of sulfate ions in bulk solution. The profound sulfate effect was only observed in glyoxal and formaldehyde, but not methylglyoxal. Chemical analysis suggested that this sulfate mediated reaction was reversible. Meanwhile, Time of Flight-MS (TOF-MS), NMR spectroscopy and X-ray diffraction (XRD) suggested the unknown product was sulfate containing product. For ionic strength effect, KH of formaldehyde, methylglyoxal and glyoxal were investigated in NaCl solution with concentrations ranging from 25mM to 4M. Our observation suggested that the formation of hydrogen bonding between chloride ions and diol groups of the hydrated carbonyls lead to "salting-in" effects in concentrated NaCl solution. The partitioning process of these small, reactive carbonyls was not sensitive to the ionic strength of wet aerosols and the profound effects of sulfate on glyoxal KH supported the hypothesi s that sulfate play an important role in glyoxal gas/aqueous phase partitioning. The Henry law constant KH is a key parameter that aids in the... 2.2 Experimentation Methods 6 3.0 Results and Discussion 7 3.1 Formaldehyde 7 Product Identification 9 3.2 Glyoxal 10 3.3 Methylglyoxal 13 4.0 Conclusion 14 Work cited 16 Appendix 25 1.0 Introduction The Henry law constant KH is a key parameter that aids in the determination of the magnitude, rate and flux direction between the aqueous and the gas solution. Due to the insufficient thermodynamic data and poor understanding in gas/particle partitioning behaviors of glyoxal and other oxidation products from both anthropogenic and biogenic volatile organic compounds (VOCs), discrepancies between field measurements and SOA models were large (Volkamer et al., 2006). In particular, the partitioning process of C2, C3-bifunctional species, formed in significant yields from the photo-oxidation of aromatic hydrocarbons, isoprene, terepene, alkenes as well as alkynes, remain unclear [Yu et al., 1995; Yu et al., 1997; Yu et al., 1998; Yu et al., 1999; Warneck, 2003]. Field measurements have revealed that these low molecular weight, bi-functional species are important precursors for SOA in cloud-processing [Blando and Turpin, 2000; Warneck, 2003]. Laboratory evidence suggests that, the rate-limiting step in SOA formation of isoprene photo-oxidation was the oxidation of first-generation reaction products which leads to the formation of up to four functional groups of the carbon skeleton. Therefore, the partitioning of chemical species containing multifunction groups could be more likely a critical step for formation of SOA in other systems as well (Kroll et al, 2006). Recently, glyoxal was used as an activity indicator for photo-oxidation attributed to its high abundance after onset of sunlight and short lifetime, while formaldehyde worked

Professionals in each the three areas of education, biomedical, and Research Paper

Professionals in each the three areas of education, biomedical, and sensory integration interventions - Research Paper Example This is the current role of biomedical engineers as stipulated by many job markets. The performance of such professions can be improved through provision of a platform for research and innovation as well as provision of motivating factors such as proper remuneration and appropriate working environments. Lesson learned is that biomedical engineers apply a combination of knowledge from various disciplines. They basically guide intervention processes for children with substantial challenges in processing and interpreting information that may hinder their efforts to participate in daily life activities (http://atcnts.com/wp n.d). They act as therapists and perform duties ascribed to cognitive challenges. Their performance can be improved through research and innovation and improving their working conditions. This profession deals more with psycho-social challenges. Directors of Occupational Therapy in Sensory Integration Intervention. (n.d.). Directors of Occupational Therapy in Sensory Integration Intervention. Retrieved February 27, 2014, from