Bacteria Outline essays

Bacteria Outline essays - Oldest, structurally simplest, most abundant forms of life - Only organism with prokaryotic cellular organization - The only members of the kingdom Monera (4800 different kinds) - Characteristics change depending on growth conditions - Maintenance of life depends on them - play vital role of productivity and as decomposers - Capable of fixing atmospheric N for use by other organisms - Used in production and fermentation of various food and as antibiotics and is being tested for - All bacteria fundamentally single celled - Sometimes cells adhere within a matrix to form filaments - Activities of bacterial colonies less integrated and coordinated than in multicellular eukaryotes Cell Size 10x size of bacteria 1 micrometer (Ã §m) diameter Chromosomes Membrane bound nucleus w/ chromosomes w/ nucleic acid Cell Division and Genetic Remcombination Mitosis involving microtubules Sexual reproduction - meiosis/syngamy Binary fusion Lack of sexual reproduction - no equal participation Internal Compartementalization Respirational enzymes packed into mitochondria Corresponding enzymes bound to cell membranes Cytoplasm - no internal compartments/organelles (except ribosomes) Flagella Complex 9+2 structure of microtubules (whip-like motion) Simple w/ a single fiber protein flagellin Autotrophic Diversity Enzymes for photosyn. Packed in membrane-bound organelles (plastids) Only 1 type of photo. - release of O2 Enzymes bound to cell membrane Several patterns of aerobic/anaerobic photo. w/ formation of S, O, sulfate Chemosynthesis - process where certain bacteria obtain energy from oxidation of inorganic compounds and obtain C from CO2 - Lypopolysaccharide - polysaccharide chain with lipids attached - Molecules of it deposited over layer of gram positive - forming outer membrane - Makes gram negative bacteri...

How does Hardy present characters and the setting in this particular chapter Essay Example

How does Hardy present characters and the setting in this particular chapter Essay Example How does Hardy present characters and the setting in this particular chapter Essay How does Hardy present characters and the setting in this particular chapter Essay Essay Topic: Literature The Namesake The central character in this chapter is Tess, and Hardy reveals to the readers how Tesss guilt leads her to Alec, who has a lot more on his mind then just helping Tesss family. Tess is very beautiful and men are always pursuing her, either for purely sexual reasons or because she represents an excitingly unformed life waiting to be molded. The landscape and Tess are often described similarly, and the seasons and the weather reflect her emotional and physical state. The naturalistic imagery that Hardy uses is an important component of his style, which is characterized both by beautiful descriptive passages and by more philosophical or abstract asides detailing the ironies of his characters lives and fates. The countryside is almost a character in Tess. Much of the time the settings reflect whats happening to Tess and the characters that influence her life. Each station or place where Tess stops is a testing place for her soul. Nature also reflects the characters emotions and fortunes. For example, when Tess is happy, the sky is blue and birds sing. When events turn out badly the earth appears harsh and coldly indifferent to her agony. Nature is also depicted in the many journeys that take place in Tess. Both traveling and the rhythms of nature are seen as causing fatigue in the novel. Hardy focuses very heavily on Tesss reactions to the events around her and shows us the world more or less through her eyes. In this chapter Tess, convinced she has murdered Prince, feels responsible for her familys subsequent lack of livelihood and therefore complies with Joans wish that she go in search of their rich relations Tess seems older than her years in her willingness to accept adult responsibilities, but shes also very naive and inexperienced. The beginning of Chapter 5 opens up with the situation where Hardy stresses that there is something bad foreshadowing Tess due to the loss of a family horse. This is the first hint in this chapter where the reader realizes that sorrow and pain may follow Tess in the near future. The haggling business, which had mainly depended on the horse, became disorganized forthwith. Distress, if not penury, loomed in the distance This distress looms in the distance because of the death of the horse. Joan Durbeyfield tells Tess about Mrs. dUrberville living on the outskirts of The Chase, and tells Tess that she must go and claim kinship and ask for help. Tess is deferential, but she cannot understand why her mother should find such satisfaction in contemplating this venture. Tess suggests getting work instead, but finally agrees to go. Tess mother seems to be a strong guiding force within Tess, although Tess father seems laid back. Hardy presents Tesss mother as vain, not very bright, and a poor manager of the household. Indeed, Tess does much of the work of looking after the many younger Durbeyfield children. Joan Durbeyfield schemes to get Tess to go to Trantridge in the hope that the girl might make a grand marriage with the rich Alec dUrberville, but she is otherwise shiftless and a fairly inactive mother. The reader gets the impression that if Tess father had been more assertive, than maybe he could have told her not too go. Instead, her mother is very manipulating with the situation Tess is faced with. He is a laborer, unintelligent like Tesss mother, and he drinks too much and works too little. When he hears that he has noble ancestors, he immediately becomes proud of the fact, and considers himself too good to work very much more. Because he is such a poor provider, the Durbeyfield family is doomed to poverty. Every day seemed to throw upon her young shoulders more of the family burdens, and that Tess should be the representative of the Durbeyfields at the dUrberville mansion came as a thing of course. In this instance it must be admitted that the Durbeyfields were putting their fairest side outward Durbeyfield, you can settle it, said his wife, turning to where he sat in the background. If you say she ought to go, she will go. I dont like my children going and making themselves beholden to strange kin, murmured he. Im the head of the noblest branch o the family, and I ought to live up to it. Tess is, perhaps, a striking example of someone forced to grow up too quickly which chapter 5 is a good example of. The death of the Durbeyfields horse is the event that motivates Tess to visit the dUrbervilles and beg them for financial assistance, Tess is in fact sent to find a husband; behind her mothers request is the assumption that Tess will marry a gentleman who will provide for the Durbeyfields. Mr. and Mrs. Durbyfield cling to their obsolete idea of the family in total ignorance of the reality, and Tess may suffer as a result. The Durbeyfield parents started the cycle of tragedy in Tess life by thinking of themselves first. Her parents weakness is that her father is lazy and her mother is simple. The Durbeyfields need of a new horse, and the mothers greed for her daughter to claim kin against her will with a noble family member of the dUrbervilles, starts Tess on her journey to her destruction. Tess parents could have supported themselves if they had not been so proud about being descendants of the prestigious dUrbervilles. Tess, being simplistic, is unaware of dangers a man such as Alec dUrberville posed, and it is not fair that she is being made to suffer for succumbing to an unknown danger. This is noted when she protests to her mother: Tess innocence is at risk her because she is not informed of the dangers of life by her parents; her mother does not even stop her from leaving with Alec, even though she has a feeling that Alec may take advantage of Tess. The greed for her daughters marriage into a noble family has put the wool over her eyes. Hardys writing style is simple but wordy here. The sentance structures are not long or very complicated, but the complexity in his work comes from the way he uses several sentences. For example, he uses a lot of imagery and describes the scenery in great detail. While each individual sentence may not be difficult to understand, it is the way the various sentences fit together to form a whole picture. The Vale of Blackmoor was to her the world, and its inhabitants the races thereof. From the gates and stiles of Marlott she had looked down its length in the wondering days of infancy, and what had been mystery to her then was not much less than mystery to her now. She had hardly ever visited the place, only a small tract even of the Vale and its environs being known to her by close inspection. Much less had she been far outside the valley. Tess leaves for The Chase, where she finds the home of the Stoke-dUrbervilles, as they are now called. When Tess arrives at the manor house, her first reaction is that its strange that such an ancient family has a new and modern home. The farmlands appear to be kept more for show than for income. The new industrial world seems to be creeping into the countryside. In contrast to this newness is the mysterious primeval forest known as The Chase, which encompasses the dUrberville estate like an unshakeable shroud. The Chase is so old that it puts Tess venerable ancestry to shame. It seems that for Hardy, nothing is as old or as essential as nature. It was of recent erectionindeed almost newand of the same rich red colour that formed such a contrast with the evergreens of the lodge. Far behind the corner of the house-which rose like a geranium bloom against the subdued colours aroundstretched the soft azure landscape of The Chasea truly venerable tract of forest land, one of the few remaining woodlands in England of undoubted primaeval date, wherein Druidical mistletoe was still found on aged oaks, and where enormous yew-trees, not planted by the hand of man grew as they had grown when they were pollarded for bows. All this sylvan antiquity, however, though visible from The Slopes, was outside the immediate boundaries of the estate. Tess notices how inappropriate this modern estate seems for people with such a supposedly ancient background. Youll notice throughout the novel that often Tess intuitively divines things that she cant explain or logically act upon. The representation of the cheapening and decay of ancient traditions is one of the many roles of Alec dUrberville. He is of course not a dUrberville at all, and Hardy depicts his house in a way, which highlights its modernity, and its disharmony with the natural and ancient surroundings. It is this aspect of the visit to the dUrbervilles that disturbs Tess most, highlighting her particular sexual innocence. Hardy introduces the theme of sexuality and innocence; at this point in the novel, Tess represents a particular sexual innocence. She is unaware of her own sexuality and thus cannot perceive the danger that Alec dUrberville presents to her. Tess is very wary, and she has no idea what to expect. The situation is an embarrassing one, but Tess guilt has driven her their, so now she feels it her obligation for the family. Her guilt and naivity could cause Tess problems as Hardy indicates. I thought we were an old family; but this is all new! she said, in her artlessness. She wished that she had not fallen in so readily with her mothers plans for claiming kin, and had endeavoured to gain assistance nearer home. A young man with an almost swarthy complexion answers the door, and claims to be Alec dUrberville. He does not allow Tess to see his mother, for she is an invalid, but she tells him that she is a poor relation. Alec shows her the estate, and he promises that his mother will find a berth for her. He tells her not to bother with the Durbeyfield name, but she says she wishes for no better. Alec prepares to kiss her, but lets her go. Tess perceives nothing, but if she had, she might have asked why she was doomed to be seen and coveted that day by the wrong man. From Alecs introduction in the novel, Alec dUrberville represents a sexuality that contrasts with Tess Durbeyfields innocence. However, as important as his sexuality is the danger inherent in his sensuality. His early attempt to seduce Tess only serves to foreshadow later, more serious attempts to infringe on his cousins innocence. Hardy even explicitly notes the danger that Alec dUrberville poses to Tess. Alec is presented a typical Victorian rake, and indeed seems somewhat stereotyped at times, with his curled moustache and melodramatic phrases to seduce Tess. He is deceptive and often cruel to Tess, though he can be kind to her as well; he seems to follow whatever plan seems most likely to succeed, for he has a genuine lust for her. He is rich and morally corrupt. His moral hollowness is underscored by the fact that his claim to the dUrberville name is completely spurious and false, like everything else about him. Of course Tess is ignorant of the fact that these dUrbervilles are frauds and consequently have no familial responsibility to her. When she meets Alec Stoke-dUrberville she assumes that hes her cousin and therefore treats him with a certain informality that he takes advantage of. Although Alec promises to make cousin Tess presence known to his mother, he does nothing of the kind. The historical background that Hardy presents us with shows irony that the rich relations that Tess had come to see only acquired their name, they are not at all family. Conning for an hour in the British Museum the pages of works devoted to extinct, half-extinct, obscured, and ruined families appertaining to the quarter of England in which he proposed to settle, he considered that dUrberville looked and sounded as well as any of them: and dUrberville accordingly was annexed to his own name for himself and his heirs eternally Of this work of imagination poor Tess and her parents were naturally in ignorancemuch to their discomfiture; indeed, the very possibility of such annexations was unknown to them; who supposed that, though to be well-favoured might be the gift of fortune, a family name came nature. After Tess doubts from her first thoughts of the house her relations live in, Tess is very unsure weather to approach the house or not. Hardy shows Tess innocence and how Tess is often led by her head, instead of not following her gut feelings. Her reluctance is outweighed by her sense of a duty to make reparation for the loss of the horse a virtuous motive and the obstinate insistence of her mother. Tess is trapped; her freedom of choice is curtailed by a combination of the fates, (the death of the horse and the discovery of family connections), and filial duty. Tess still stood hesitating like a bather about to make his plunge, hardly knowing whether to retreat or to persevere, when a figure came forth from the dark He had an almost swarthy complexion, with full lips, badly moulded, though red and smooth, above which was a well-groomed black moustache with curled points, though his age could not be more than three-or four-and-twenty. Despite the touches of barbarism in his contours, there was a singular force in the gentlemans face, and in his bold rolling eye. Hardy presents Alec as been smarmy, very overpowering and insistent. Tess picture of expectations of Alec that Tess had built up in her mind prior to the visit is very different to what Tess is presented with in reality. This embodiment of a dUrberville and a namesake differed even more from what Tess had expected than the house and grounds had differed. She had dreamed of an aged and dignified face, the sublimation of all the dUrberville lineaments, furrowed with incarnate memories representing in hieroglyphic the centuries of her familys and Englands history. But she screwed herself up to the work in hand, since she could not get out of it, and answered Tess is a very pretty, young and attractive but is unaware of this. Alec, already on their first meeting acts as if Tess is something he owns. Well, my Beauty, what can I do for you? Keeping Tess presence secret, he fills her mouth with strawberries and her basket with roses. She obeyed like one in a dream. Why does the shy Tess submit, though somewhat reluctantly, to such intimacies? Although Hardy never tells us explicitly, he suggests many reasons. First Tess believes that Alec is her cousin and that kin are more likely to protect than harm her. Hardy also shows us how completely awed Tess is by the unfamiliar richness of her new surroundings. She seems assaulted by sensations, not the least of which are Alecs passionate advances. Tess is probably caught in such a whirlwind of impressions that she follows where shes led. Tess wished to abridge her visit as much as possible; but the young man was pressing, and she consented to accompany him. He conducted her about the lawns, and flower-beds, and conservatories; and thence to the fruit-garden and greenhouses, where he asked her if she liked strawberries. Alec becomes very pressing and imposing toward Tess, and Hardy uses the walk of Alec showing Tess around the gardens as an opportunity to hint to the readers maybe of Alecs intentions. He wants to spend time with her and chat her up and he does this by flattering her and showering her with gifts of nature. They are already here. DUrberville began gathering specimens of the fruit for her, handing them back to her as he stooped; and, presently, selecting a specially fine product of the British Queen variety, he stood up and held it by the stem to her mouth. Nono! she said quickly, putting her fingers between his hand and her lips. I would rather take it in my own hand. Nonsense! he insisted; and in a slight distress she parted her lips and took it in. Hardy does this to again show how Tess is easily led and very easily pleased by the simplest of things. Tess is maybe not used to so much attention and gifts, so she is captured by the moment. Tess feels very powerless and guilty. Tess is also not aware of men and how they can manipulate and take advantage of women. Hardy maybe having another dig at Tesss parents, and how she has been told very little about life. She obeyed like one in a dream, and when she could affix no more he himself tucked a bud or two into her hat, and heaped her basket with others in the prodigality of his bounty Hardy uses the symbols of the strawberry and roses as a sexual indication to the readers. This creates a very awkward situation for Tess. This part of the chapter is presented as been very suggestive and a very passionate part of the chapter. Alec is almost acting like something from a fairytale, like little red riding hood as he fills her little basket towards Tess and she is certainly trapped by the big, bad wolf character that Alec comes across as. one who stood fair to be the blood-red ray in the spectrum of her young life. She had an attribute which amounted to a disadvantage just now; and it was this that caused Alec dUrbervilles eyes to rivet themselves upon her. It was a luxuriance of aspect, a fulness of growth, which made her appear more of a woman than she really was There is a strong sense given to the reader that Tess is more developed in physical appearance than mentally. I think Hardy gives a link between the strawberries and roses and likens them to Tess in the way that the strawberries and roses are artificially moved on in the green house, like Tess been forced by her parent to grow up to soon, almost ripe before their time. Although Tess appears mature, she is nai ve and not able to defend her self against Alec, who is devious and has more experience with life. The blood statement used in this part of the chapter the blood-red ray in the spectrum of her young life, is I think Hardy hinting to the reader of something bad to come, and that death is not long of Tess and maybe Alec would be a part of ruining Tesss innocence. For a momentonly for a momentwhen they were in the turning of the drive, between the tall rhododendrons and conifers, before the lodge became visible, he inclined his face towards her as ifbut, no: he thought better of it, and let her go. Alec has already decided on a plan in which to get Tess. Hardy has already suggested a number of times in the way Alec looks and admires Tess that he feels attracted to her young, nai ve, striking look Tess has about her. Alec knows he has to be careful in the way he goes about this, and I think he decides to kiss her, but doesnt think the timing is quite right, after all he doesnt want to scare her off. There is also a strong sense of entrapment that Hardy conveys, as if to let the reader know that Tess has made a very wrong move in visiting Alec, but is now trapped in the situation. Had she perceived this meetings import she might have asked why she was doomed to be seen and coveted that day by the wrong man, and not by some other man, the right and desired one in all respects Hardy uses time as an arch instrument of Fate, but it operates within the bounds of credibility and as a powerful aid to distinction in Tess. I think Hardy, in this chapter is showing how woman is Fates most important instrument for opposing mans happiness. Hardy shows that Tess is helpless in the hands of Fate and carries out Fates work.

Read the article Essay Example | Topics and Well Written Essays - 750 words

Read the article - Essay Example The thing to be kept in mind is that the economic constraints forcing the Liberals to raise tuition fee in Quebec are very different from those in Chile. Somehow, the writer is perhaps trying to link the unpopularity of the Chilean government with the Charest government in Quebec. In the first paragraph, the writer seems to be realistic and fact based while elaborating on acts of vandalism and mass protests being attributed to a large proportion of the students in Quebec. It becomes amply clear in the second paragraph that the education funding in Quebec is right now undergoing many changes. Now, the big question that needs to be asked is that had the students in Quebec tolerated this change, if it was led in by some other government than that of Mr. Charest? In that context, the Liberals come out in a positive light in the sense that they are willing to lead and manage change in consonance with the imminent economic realities in the province. Perhaps, this also leads to the conclusion that Parti Quà ©bà ©cois (PQ) is pro status quo and intends to grab power by pandering to the youth sentiment. It is amply clear that Quebec faces a huge budgetary deficit and hence needs to cut down on the government spending. However, is it that the government intends to make the best of this situation by fomenting the youth sentiment or is it that it is sincere in its intentions of cutting down on the budgetary deficit by initiating austerity measures in other aspects of the government spending also? The one other thing that needs to be asked is that why the successive governments in Quebec continued to resort to populist measures, as far as the funding of university education is concerned and why did they not initiate the austerity measures well in advance? Why now only? The steps taken by the Liberal government to manage student unrest seem to be reasonable, logical and understandable. The

Information Systems in Business Coursework Example | Topics and Well Written Essays - 2000 words

Information Systems in Business - Coursework Example Putting catalogs, newsletters and invoices online will save numerous trees. The war game hosting business is an inexpensive way to reach and interact with new markets. Savings will be made on office and transportation costs. War game hosting will also offer unlimited possibilities for the business. The order and payment processes, inventory management and the customer support tasks will be fully automated (Reuvid 2005). The war game hosting is a sign of professionalism and the business will have a global presence 24/7. There are fewer competitors for international war game hosting and for some countries where it is illegal, people who are interested in war games can have an opportunity to play in other countries. The future of hosting war games online looks bright. Currently, both direct and indirect global sales attributed to the internet constitute nearly 5 percent of total sales (Blythe & Megicks 2010). Five years from now, these global sales are expected to rise to 35 percent (Blythe & Megicks 2010). According to the Integrated Management Resources Group (IMRG), online sales in Australia alone will stand at 10 billion pounds by 2011 (Blythe & Megicks 2010). In May 2007 global electronic commerce generated 750 million pounds and in May 2008 it generated 2.3 billion pounds (Blythe & Megicks 2010). During the last three years, internet traffic has doubled every 100 days (Blythe & Megicks 2010). Currently, 40 million Australian devices are connected to the internet (Blythe & Megicks 2010). By 2012, this figure is expected to rise to 65 million (Blythe & Megicks 2010). By 2012, it is likely that 1 billion devices will be linked to the Internet worldwide (Blythe & Megicks 2010). Given the low competition and these figures, the international war game hosting is likely to generate revenue and profits. Building cooperation with war game owners and air soft gun

A Sense of Sin Essay Example for Free

A Sense of Sin Essay No one doubts the presence of evil in the world. We experience it in a variety of ways: national and international conflict; domestic and street violence; political and corporate corruption; and a host of manifestations of sexism, clericalism, racism, ageism, and other violations of justice. All such forms of brutality, disorder and discrimination, seem from a theological perspective, are rooted in sin. But do we ever recognize the sin and name it as such? 1 Retrieving a Sense of Sin For some reason, sin seems to have lost its hold on us as a way of accounting for and naming so much of the evil we know. Among the many other reasons, the eclipse of the religious world view through the rise of the secular spirit accounts significantly for the loss of the sense of sin. In fact, in his post-synodal exhortation, Reconciliatio et Penitentia (1984), Pope John Paul II credits â€Å"secularism† above all with contributing to a loss of a sense of sin.2 The secular spirit questions the relevance and meaning of all Christian symbols, and even of religion itself. One effect of this secular spirit on the meaning of sin, for example, has been to reduce sin to some form of psychological or social disorder. The therapeutic perspective which pervades the secular spirit looks on behavior as either healthily adaptive-problem-solving behavior, or as unhealthy, nonadaptive, and problem-creating behavior.3 It does not call the latter sin. For a survey at major attempts in the past twenty years to explore the mystery of sin, see James A. O’Donohue, Toward a Theology of Sin: A Look at the Last Twenty Years,† Church 2 (Spring 1986): 48-54. 2 The other factors of a non-ecclesial nature which John Paul II lists as errors made in evaluating certain findings of the human sciences, deriving systems of ethics from historical relativism, and identifying sin with neurotic guilt. Within the thought and life of the Church, certain trends have also contributed to the loss of the sense of sin. Among these he lists the movement from seeing sin everywhere to not recognizing it anywhere; from an emphasis on fear of external punishment to preaching a love of God that excludes punishment; from correcting erroneous consciences to respecting consciences but excluding the duty to tell the truth. Two other ecclesial factors are the plurality of opinions existing in the church on questions of morality and the deficiencies in the practice of penance. To restore a healthy sense of sin, the pope advocates â€Å"a sound catechetics, illuminated by the biblical theology of the covenant, by an attentive listening and trustful openness to the magisterium of the church, which never ceases to enlighten consciences, and by an ever more careful practice of the sacrament of penance.† See Origins 14 (December 20, 1984): 443-444, quotation at p. 444. 3 The research of the team headed by sociologist Robert Bellah which has produced Habits of the Heart (Berkeley: University of California Press, 1985), a study of the American beliefs and practices which give shape to our character and form our social order, shows that the therapist is the newest character forming American culture. See Chapter Two â€Å"Culture and Character: The Historical Conversation,† pp. 27-51, especially pp. 47-48. 2 Moreover, the secular, therapeutic perspective tends to look on persons more as victims of unconscious or socio-cultural influences than as agents of free actions. Psychiatrists Karl Menninger in Whatever Happened to Sin4 and M. Scott Peck in People of the Lie5 want to make full allowance for those conditions which cause people to do evil. Yet both insist on a strip of responsibility which cannot be negotiated away to these determining influences. While the behavioral sciences provide us with helpful explanations of human behavior, they do not give a full account. Sin is real, and we need a fresh way to get at it and call it what it is. What do we need to grasp in order to retrieve a sense of sin in an adult manner? Contemporary moral theology says a â€Å"sense of responsibility.† Christian theologians find in â€Å"responsibility† the essential theme of Christian faith and the central characteristic of the moral life. A leading Protestant theologian of this century, H. Richard Niebuhr, has done much to give impetus to the â€Å"responsibility† motif in Christian morality. 6 He summarizes the constituents of responsibility by describing the agent’s actions as a response to an action upon him in accordance with his interpretation of the latter action and with his expectation of response to his response; and all of this is in a continuing community of agents. (The Responsible Self, 65) Since God is present to us in and through all that makes up our lives so that we are never not in the presence of God, our responses to all our actions upon us include our response to God. As Niebuhr asserts, â€Å"Responsibility affirms: God is acting in all our actions upon you. So respond to all actions upon you as to respond to his action† (The Responsible Self, 126). If â€Å"being responsible† sums up the quality of character and action marking Christian moral living, sin will mark the failure to be fully responsible. â€Å"Responsibility† as a motif for the moral life has found its way into Catholic moral thinking with the strong support of the biblical renewal in the Catholic Church. Bernard Hà ¤ring, who has been instrumental in renewing Catholic moral thinking, has used this notion of â€Å"responsibility† with great success in reconstructing Catholic moral thought. Along with other Catholic theologians, Hà ¤ring has found in the biblical renewal a fresh theological framework and an orientation for understanding the moral life.7 We turn, then, to the biblical perspective on sin. Menninger, Whatever Happened to Sin? (New York: Hawthorn Books, Inc., 1973). Peck, People of the Lie (New York: Simon and Shuster, 1983). 6 See especially Niebuhr, The Responsible Self (New York: Harper Row, 1963), pp. 61-65. 7 Bernard Hà ¤ring’s writings are vast and wide-ranging. His early three-volume work, The Law of Christ (Westminster: Newman Press, 1961, 1963, 1966), was one of the first major works by a Catholic moral theologian to rethink morality in light of the biblical renewal. His most recent three-volume work, Free and Faithful in Christ (New York: Seabury Press, 1978, 1979, 1981), is an expression of Hà ¤ring’s more mature thought. This work is not a revision of The Law of Christ, but a completely new work. Charles E. Curran, a student of Hà ¤ring, has followed his teacher’s lead in making efforts at renewing moral theology in light of the biblical renewal. Some of Curran’s pertinent articles are â€Å"The Relevancy of the Ethical Teaching of Jesus† and â€Å"Conversion: The Central Message of Jesus† in A New Look at Christian Morality (Notre Dame: Fides Publishers, Inc., 1968), pp. 1-23 and 25-71. Sin: The Biblical Perspective From the Bible we see that Christian morality is primarily a â€Å"vocation.† This means that our life is a response to the word of God spoken to us preeminently in Jesus, but also in and through the people and events of our lives. From the perspective of vocation, wherein God calls and we respond, responsibility replaces obligation as the primary characteristic of the moral life. Also, the relationship that we establish with God in and through our responses to all things becomes the focal point of the moral life. From this point of view, practicing the presence of God becomes essential for Christian responsibility, Christian moral growth, and our awareness of sin. A consistent theme of contemporary theology has been that we cannot have a proper understanding of sin unless we have a proper understanding of the nature and implications of the covenant God has established with us. â€Å"Covenant† and â€Å"heart† are the dominant metaphors of biblical faith for understanding the moral life. They provide the biblical horizon against which to recognize sin. Covenant The two frequently used terms for sin in the Old Testament point to violations of relationships. Hattah is the most common term. Its meaning, â€Å"to miss the mark† or â€Å"to offend,† points to a purposeful action oriented toward an existing relationship. The existence of the relationship makes the offence or failure possible. Pesa, meaning â€Å"rebellion,† is a legal term denoting a deliberate action violating a relationship in community. The New Testament term for sin is hamartia. It connotes a deliberate action rooted in the heart and missing the intended mark. 8 These terms acquire theological significance when used in the context of the covenant which expresses the most personal kind of relationship between God and us. The primary aim of the covenant is that God loves us without our having done anything to attract God’s attention or to win that love. God’s covenant is a bond of completely gratuitous love, pure grace. But God’s initiative of love (grace) does not destroy our freedom. Unlike the Godfather, God makes an offer we can refuse. God’s offer of love awaits our acceptance. Once we accept the offer of love we commit ourselves to living as the covenant requires. The covenant context lifts the notion of sin out of a legalistic framework to set it on a level of a personal relationship with God. In worshipping the golden calf (Ex 32), Israel missed the mark of covenant love, or sinned, not so much because Israel broke one of the laws of the covenant, but because Israel broke the personal bond of love of which the law was an external expression. The law was not to be the final object of Israel’s fidelity. God was. Sin in the Bible is not merely breaking a law. Sin is breaking or weakening the God-given bond of love. The law was an aid to Israel’s fidelity and pointed to the responsibilities of being in relationship to God.

Shakespeares Macbeth as Tragic Hero Essay -- Macbeth essays

Macbeth as Tragic Hero      Ã‚  Ã‚   A tragic hero is usually a person of high esteem or social ranking cursed with a flaw or obsession that will eventually lead to their demise. Macbeth is a tragic hero. Examining the events that occur as Macbeth travels the typical path of a tragic hero easily supports this claim.    Before Macbeth is even introduced to the audience, Duncan and Ross speak of his greatness. When it is discovered that the Thane of Cawdor has surrendered, Duncan decides to give Macbeth this title: "What he hath lost noble Macbeth hath won" (1.2.70). This lets the audience see Macbeth's rank, which starts him in the right direction for a tragic hero.    As Macbeth starts to believe the prophecies of the witches that he will be the Thane of Cawdor, Glamis, and the King, the audience starts to see his obsession with his destiny: "Stars, hide your fires;/ Let not light see my black and deep desires" (1.4.50-51). This great ambition will turn into the flaw that hurtles Macbeth to his demise.    Macbeth is convinced, partly by his own ambition and partly ...

Discussion of High Tech Architecture

Give a description of the work of one of the undermentioned interior decorators: James Stirling ; Norman Foster ; Ettore Sottsass ; Richard Rogers ; David Hicks ; Philippe Starck. High Tech appeared in the mid-thirtiess, Gallic designers Jean Orouve and Pierre Chareau, used High Tech to plan house, when High Tech was architecture design tendencies. In the mid-thirtiess, Industry was common, bring forth more metal, so High Tech manner utilizing really metal stuff to concept. In 1779, the first Fe span in England River Severn, it is a metal construction. High Tech popular earlier built the Fe span. High Tech have five points, about the characteristics and elements of the manner. First, High Tech have mechanical and structural aesthetics, emphasizes logic, procedures, machinery and equipment, engineering and construction. And it has mobility, for illustration emphasizes the construct of extrasensory, more lightweight and flexible, ‘exoskeleton consequence ‘ . Second, it has ocular effects. Third, it have High Tech stuffs, it utilizing smooth metal, transparent glass and crystalline minerals, to do cool feeling in the architecture, chief colour is white, grey and black, for illustration Yoyogi National Gymnasium and Hong Kong and Shanghai Bank. Fourth, High Tech accent on industrial engineering, transparent and translucent, and do more new thoughts, to accomplish height of engineering in high tech manner. Last, High Tech created new design thoughts, for illustration it break the restrictions of the column and wall, mesh grid, glass contemplation and transmittal, and o pen construction. High Tech architectures are ‘energy-saving architecture ‘ . Because it is environmentally friendly, the architectures wall is glass, the visible radiation can easy travel to indoor. Renzo Piano, Jean Nouvel, Richard Rogers, Helmut Jahn, Jean Nouvel, Santiago Calatrava and James Stirling, they use High Tech to plan and build their plants. Norman Foster is high tech ‘s representative designer and interior decorator excessively. Norman Foster was born 1 June 1935 in England Manchester. When he was 21 old ages old, he graduated Manchester University School of Architecture and City Planning in 1961, so he won Yale University scholarships and studied Master of Architecture. Next, he married Wendy Cheesman who is designer, in 1964. Norman Foster constituted Foster Associates ( Foster + Partners ) with his married woman Wendy Cheesman and eight working spouses in 1967. Foster Associates ( Foster + Partners ) is a building company in London, England. Foster + Partners founded in 1967. The president is Norman Foster and the main executive officer is Mouzhan Majidi. Foster + Partners completed many major undertakings, it has ten parts those maestro programs, Bridgess, authorities edifice, cultural edifice, higher instruction edifice, athletics land, transit, office, leisure installing, and house. First for maestro programs, Foster + Partners planned Duisburg Inner Harbour in Germany ( 1991-2003 ) , Trafalgar Square Redevelopment in London ( 1996-2003 ) , West Kowloon Cultural District in Hong Kong ( 2009 ) and so no. Second for Bridgess, they constructed and designed Western Arsta Bridge Arstabroarna in Sweden ( 1994/2005 ) , Millennium Bridge in London ( 1999/2002 ) , and Millau Viaduct ( 2004 ) ; it was the highest route span in the universe. Third for authorities edifice, they constructed London City Hall ( 2002 ) , New Supreme Court Building in Singapore ( 2005 ) , and reconstruct Reichstag edifice in Berlin ( 1999 ) . Fourth for cultural edifice, they constructed and intentional Sainsbury Centre for Visual Arts at University of East Anglia in Norwich, in UK ( 1978 ) , renovation of the Queen Elizabeth II Great Court of the British Museum ( 2000 ) , and extension to Lenbachhaus art museum, Munich ( 2013 ) . Fifth for higher instruction edifice, for illustration Kings Nort on Library in UK Cranfield University ( 1994 ) , Cambridge Faculty of Law in UK ( 1995 ) , British Library of Political and Economic Science in UK London School of Economics ( 1993-2001 ) . Then, Foster + Partners constructed and designed Lusail Iconic Stadium in Qatar ( 2010 ) , and reconstruct Wembley Stadium ( 2007 ) . Seventh for transit, it had Stansted Airport in UK ( 1991 ) , Canary Wharf Underground Station in London ( 1999 ) , Spaceport America in New Mexico ( 2005-2013 ) . Eighth for office, it had London Citigroup Centre in UK ( 1996-2000 ) , Hearst Tower in New York City ( 2006 ) , Caja Madrid in Spain Madrid ( 2002-2009 ) . Ninth for leisure installing, it had The Great Glashouse National Botanic Garden of Wales in UK Wales ( 1995-2000 ) , Elephant House of Copenhagen Zoo in Denmark ( 2002-2008 ) , Faustino Winery Bodegas Faustino in Spain Castilla Y Leon ( 2007-2010 ) . Tenth for house, it had The Murezzan in Switzerland St Moritz ( 2003-2007 ) , Regent Place in Australia Sydney ( 2003-2007 ) , Jameson House in Canada Vancouver ( 2004-2011 ) . Norman Foster has many architectural accomplishments, for illustration he is ex-vice president of the Architectural Association, external councilors of the Royal Architectural Association ( RIBA ) , councilor of the Royal College of Art in London, member of the Royal Society of Arts in London, honorary member of the American Institute of Architects and so on. Norman Foster won 190 awards and more than 50 international competitions. He was awarded The RIBA Royal Gold Medal in 1983, Japan Association for International Design Award in 1987, the RIBA legal guardians medal in 1990 and Gold Medal of the AIA in 1994. In 1999, he won The 21st Pritzker Architecture Awards, and was awarded the rubric of ‘Lord ‘ by the Queen, so we could name him Lord Norman Foster. Willis Faber Dumas Offices in 1974, Sainsbury Centre for the Visual Arts in 1976, Hong Kong and Shanghai Bank in 1979, Airport Terminal in 1980, Museum of Modern Art in 1983, Kings Cross Redevelopment in 1988, 30 St. Mary Axe in 2003 and so on. There were High Tech manner architecture by Norman Foster. On the other manus, Norman Foster has many celebrated plants, for illustration Reliance Control Factory in 1966, Original Drawings in 1978, Whitworth Art Gallery in 1984, Institute francais vitamin D rchitecture in 1986 and Royal Academy of Arts in 1986. In add-on to, Furniture appeared High Tech, for illustration tabular arraies, chairs, beds. Adreas Weber, Bruce Burdick and Norman Foster used High Tech to plan tabular arraies and work tables, those are unstained steel and glass. Hermann Muller desgined Aeron Office Chair, that is High Tech manner and biotechnologies. Norman Foster did non make High Tech, but he was influential in architecture and design. Norman Foster made High Tech that became common. In add-on, many interior decorators will utilize High Tech in interior design, because it has five good points. First, High Tech utilizing smooth metal, to do cool feeling. Second, High Tech has mechanical and structural aesthetics, to do modern. Third, High Tech chief colour is white, grey and black, does non impact the interior decorator and to do modern. Fourth, High Tech utilizing crystalline glass, it can increase interior sense of infinite, and visible radiation can easy travel to indoor. Fifth, inside can utilize High Tech furniture for illustration tabular arraies, chairs, and beds. In decision, Norman Foster do non merely lending to architecture, he contribute design, for illustration interior design and furniture design. Beginning hypertext transfer protocol: //www.ad.ntust.edu.tw/grad/think/PEOPLE/FOSTER/FOSTER.HTM hypertext transfer protocol: //tw.streetvoice.com/wchlc156/articles/249952/ hypertext transfer protocol: //miko750808.pixnet.net/blog/post/30724354-a ­a?†°- ( a ·?a? ®?†? ) -aZ?e «?c §Ã¢â‚¬Ëœ?Sˆa »?c?†°aa? °ca? °a?ˆ hypertext transfer protocol: //en.wikipedia.org/wiki/Norman_Foster, _Baron_Foster_of_Thames_Bank hypertext transfer protocol: //cforum.cari.com.my/forum.php? mod=viewthread & A ; tid=421131 hypertext transfer protocol: //www.archinfo.com.tw/public/p02.aspx hypertext transfer protocol: //tw.knowledge.yahoo.com/question/question? qid=1206040807154