Restriction of Liability Using the Floodgates Argument Essay

Limitation of Liability Using the Floodgates Argument - Essay Example For example, Lord Atkin introduced a neighbor rule. This rule characterized that an obligation of care ought to be routed to neighbors, while the neighbors are the individuals that may experience the ill effects of our activities or blunders. Be that as it may, this portrayal gave off an impression of being excessively dubious, and various situations where obligation of care was viewed as to be owed, expanded quickly. Afterward, Lord Bridge included three components that ought to be seen before offering expression: This expansion helped much as far as judges can tell, yet the substance of these three components relies on the sort of injury that was caused to the petitioner. There are 3 sorts of injury: physical mischief, mental injury and financial misfortune. The circumstance with the laws comparable to mental harm has altogether changed during most recent hundred years. From the start, comparative cases were dismissed by the courts: One of the soonest revealed cases on anxious stun, as it was then called, was that of Victorian Railway Commissioners v. Coultas. 3. Because of the carelessness of a level-intersection watchman, a train barely missed hitting the offended party. This episode made the offended party endure stun. The Privy Council dismissed the case expressing, entomb alia, that to permit recuperation would result in a wide field [being] opened for nonexistent cases. (2) As indicated by the law, before engaging with a grievance for anxious stun, the casualty ought to demonstrate the accompanying things: 1. That the individual encountered a clear mental ailment. Mental injury can thusly include: clinical sorrow, character changes and post-horrendous pressure issue (a sickness wherein stunning occasions cause indications, for example, resting trouble, strain, frightening flashbacks and extreme depression).(6) An unmistakable determination ought to demonstrate the announcement. On the off chance that the individual is simply frustrated or disturbed, the case won't be viewed as the instance of mental injury. 2. It is important to see if the injury is the consequence of litigant's oversights or activities. For this situation the carelessness of the respondent must be obvious. It is additionally critical to watch on the off chance that it was conceivable to anticipate the harm. In the event that the previously mentioned thing is demonstrated and it is set up that the respondent didn't execute his obligation of care towards the person in question, at that point the standard laws that are identified with the break of obligation can be actualized. 3. It is important to characterize whether the petitioner is an essential or optional casualty To the extent the instances of mental injury are worried, there are a few inquiries that are to be fathomed. The

Understanding What Fluid Dynamics is

Understanding What Fluid Dynamics is Liquid elements is the investigation of the development of liquids, including their cooperations as two liquids come into contact with one another. In this unique circumstance, the term liquid alludes to either fluid or gases. It is a plainly visible, factual way to deal with dissecting these associations at a huge scope, seeing the liquids as a continuum of issue and for the most part disregarding the way that the fluid or gas is made out of individual molecules. Liquid elements is one of the two principle parts of liquid mechanics, with the other branch beingâ fluid statics,â the investigation of liquids very still. (Maybe as anyone might expect, liquid statics might be thought of as somewhat less energizing more often than not than liquid elements.) Key Concepts of Fluid Dynamics Each control includes ideas that are essential to seeing how it works. Here are a portion of the principle ones that youll run over when attempting to comprehend liquid elements. Essential Fluid Principles The liquid ideas that apply in liquid statics additionally become an integral factor when considering liquid that is moving. Essentially the soonest idea in liquid mechanics is that of lightness, found in old Greece by Archimedes. As liquids stream, the thickness and weight of the liquids are additionally significant to seeing how they will connect. The viscosityâ determines how safe the fluid is to change, so is likewise fundamental in examining the development of the fluid. Here are a portion of the factors that surface in these examinations: Mass viscosity: Î ¼Density:Â Ï Kinematic viscosity:â î ½ ÃŽ ¼/Ï  Stream Since liquid elements includes the investigation of the movement of liquid, one of the main ideas that must be comprehended is the way physicists measure that development. The term that physicists use to portray the physical properties of the development of fluid is stream. Stream portrays a wide scope of smooth motion, such blowing through the air, coursing through a funnel, or running along a surface. The progression of a liquid is arranged in a wide range of ways, in view of the different properties of the stream. Consistent versus Flimsy Flow In the event that the development of liquid doesn't change after some time, it is viewed as a consistent stream. This is dictated by a circumstance where all properties of the stream stay consistent as for time or on the other hand can be discussed by saying that the time-subsidiaries of the stream field disappear. (Look at analytics for increasingly about getting subsidiaries.) A consistent state flowâ is even less time-subordinate since the entirety of the liquid properties (not simply the stream properties) stay steady at each point inside the liquid. So in the event that you had a consistent stream, yet the properties of the liquid itself changed sooner or later (potentially as a result of a boundary causing time-subordinate waves in certain pieces of the liquid), at that point you would have a consistent stream that is certifiably not a consistent state stream. All consistent state streams are instances of consistent streams, though. A current streaming at a steady rate through a straight funnel would be a case of a consistent state stream (and furthermore a consistent flow).â On the off chance that the stream itself has properties that change after some time, at that point it is called a precarious stream or a transient stream. Downpour streaming into a canal during a tempest is a case of flimsy stream. When in doubt, consistent streams make for simpler issues to manage than precarious streams, which is the thing that one would expect given that the time-subordinate changes to the stream dont must be considered, and things that change after some time are commonly going to make things progressively confounded. Laminar Flow versus Violent Flow A smooth progression of fluid is said to have laminar stream. Stream that contains apparently disorderly, non-direct movement is said to have fierce stream. By definition, a fierce stream is a sort of precarious flow.â The two sorts of streams may contain swirls, vortices, and different kinds of distribution, however the a greater amount of such practices that exist the more probable the stream is to be delegated turbulent.â The qualification between whether a stream is laminar or fierce is generally identified with the Reynolds number (Re). The Reynolds number was first determined in 1951 by physicist George Gabriel Stokes, yet it is named after the nineteenth century researcher Osborne Reynolds. The Reynolds number is needy not just on the points of interest of the liquid itself yet in addition on the states of its stream, inferred as the proportion of inertial powers to thick powers in the accompanying way:â Re Inertial power/Viscous powers Re (Ï  V dV/dx)/(ÃŽ ¼ d2V/dx2) The term dV/dx is the angle of the speed (or first subsidiary of the speed), which is relative to the speed (V) separated by L, speaking to a size of length, coming about in dV/dx V/L. The subsequent subordinate is with the end goal that d2V/dx2 V/L2. Subbing these in for the first and second subsidiaries results in: Re (Ï  V/L)/(ÃŽ ¼ V/L2) Re  (ï  V L)/ÃŽ ¼ You can likewise separate through by the length scale L, bringing about a Reynolds number for each foot, assigned as Re f V/Â î ½. A low Reynolds number demonstrates smooth, laminar stream. A high Reynolds number shows a stream that will exhibit whirlpools and vortices and will for the most part be increasingly tempestuous. Channel Flow versus Open-Channel Flow Channel stream speaks to a stream that is in contact with unbending limits on all sides, for example, water traveling through a funnel (subsequently the name pipe stream) or air traveling through an air pipe. Open-direct stream portrays stream in different circumstances where there is in any event one free surface that isn't in contact with an unbending limit. (In specialized terms, the free surface has 0 equal sheer pressure.) Cases of open-channel stream incorporate water traveling through a waterway, floods, water streaming during precipitation, flowing ebbs and flows, and water system trenches. In these cases, the outside of the streaming water, where the water is in contact with the air, speaks to the free surface of the stream. Streams in a funnel are driven by either weight or gravity, yet streams in open-channel circumstances are driven exclusively by gravity. City water frameworks frequently use water towers to exploit this, so the height distinction of the water in the pinnacle (theâ hydrodynamic head)â creates a weight differential, which is then balanced with mechanical siphons to get water to the areas in the framework where they are needed.â Compressible versus Incompressible Gases are commonly treated as compressible liquids in light of the fact that the volume that contains them can be diminished. An air pipe can be diminished significantly the size and still convey a similar measure of gas at a similar rate. Indeed, even as the gas courses through the air pipe, a few districts will have higher densities than different locales. When in doubt, being incompressible implies that the thickness of any district of the liquid doesn't change as a component of time as it travels through the stream. Fluids can likewise be packed, obviously, yet theres to a greater degree an impediment on the measure of pressure that can be made. Therefore, fluids are ordinarily displayed as though they were incompressible. Bernoullis Principle Bernoullis standard is another key component of liquid elements, distributed in Daniel Bernoullis 1738 book Hydrodynamica. Basically, it relates the speed up in a fluid to an abatement in weight or potential energy. For incompressible liquids, this can be portrayed utilizing what is known as Bernoullis condition: (v2/2) gz p/Ï  steady Where g is the quickening because of gravity, Ï  is the weight all through the liquid,â v is the liquid stream speed at a given point, z is the rise by then, and p is the weight by then. Since this is steady inside a liquid, this implies these conditions can relate any two focuses, 1 and 2, with the accompanying condition: (v12/2) gz1 p1/Ï  (v22/2) gz2 p2/Ï  The connection among weight and potential vitality of a fluid dependent on rise is additionally related through Pascals Law. Utilizations of Fluid Dynamics 66% of the Earths surface is water and the planet is encircled by layers of climate, so we are truly encircled consistently by liquids ... quite often moving. Considering it for a piece, this makes it quite evident that there would be a great deal of connections of moving liquids for us to examine and see deductively. That is the place liquid elements comes in, obviously, so theres no lack of fields that apply ideas from liquid elements. This rundown isn't at all thorough, yet gives a decent diagram of manners by which liquid elements appear in the investigation of material science over a scope of specializations: Oceanography, Meteorology,â Climate Science - Since the air is displayed as liquids, the investigation of air scienceâ and sea flows, essential for comprehension and foreseeing climate examples and atmosphere patterns, depends intensely on liquid dynamics.Aeronautics - The material science of liquid elements includes considering the progression of air to make drag and lift, which thusly create the powers that permit heavier-than-air flight.Geology Geophysics - Plate tectonics includes examining the movement of the warmed issue inside the fluid center of the Earth.Hematology Hemodynamics - The organic investigation of blood incorporates the investigation of its course through veins, and the blood dissemination can be demonstrated utilizing the strategies for liquid dynamics.Plasma Physics - Though neither a fluid nor a gas, plasma frequently carries on in manners that are like liquids, so can likewise be demonstrated utilizing liquid dynamics.Astrophysics Cosmologyâ -The procedure of heavenly development includes the difference in stars after some time, which can be comprehended by concentrating how the plasma that forms the stars streams

The Religious Symbolism and Architecture of Angkor Wat and Borobudur

Worked by the Khmers somewhere in the range of 802 and 1220 AD, the antiquated sanctuaries of Angkor Wat exist as the rest of the relics of a truly and strictly rich city. While numerous other chronicled and strict structures in Cambodia have vanished due partially from being built out of defenseless materials like wood, Angkor Wat still stays as an image of the eternality of its previous rulers, just as for the royal residence itself. Moreover, Indonesia’s Borodubur sanctuaries exist as the single residual structures of the city.The sanctuaries of Angkor Wat and Borodubur hold a few likenesses inside engineering and imagery, both being vigorously founded on strict conviction. In any case, various highlights inside the two structures, compositionally and emblematically, recognize and give understanding into the individual societies. Hugeness of Hinduism, Astronomy, and Cosmology In Angkor Wat Architecture With Hinduism filling in as the overarching religion of Cambodia, the sa nctuaries of Angkor Wat fill in as a visual extension between the earthbound plane and the otherworldly one.The sanctuaries of Ankgor Wat utilizes design includes all together speak to different thoughts of Hindu Cosmology; â€Å"The dividers, canals, focal asylum, passages, pyramidal sanctuaries and scaffolds with naga balustrades, and landmarks, for example, the Neak Pean, or Bayon,† all add to the re-making of the eminent world on Earth. By re-making this, Earth and the grand world are laced; making a bond between the two universes that permits mankind to thrive. In building Angkor Wat to speak to strict convictions, the Khmer individuals actually fabricated paradise on Earth.By making a substantial portrayal of what is accepted to have occurred previously, the past turns out to be all the more genuine and progressively cement to watchers and devotees the same. So as to respect the Hindu God Vishnu, Suryavaram II constructed Angkor Wat during the early long periods of the twelfth century, around 1150 B. C. Basically, the focal structure of Angkor Wat is fills in as a re-formation of Mount Meru, the mountain that the focal point of the Jambudvipa inside Hindu cosmology just as being viewed as the hub of the Earth by the Hindu religion.The focal mammoth of a pinnacle speaks to Mount Meru, and extraordinarily faces west rather than east towards the dawn, as every single other sanctuary do. A few hypotheses clarify why the sanctuary faces west; the principal hypothesis being that the west is related with Vishnu. In confronting the sanctuary west, the sanctuary keeps on filling in as a methods for respecting Vishnu. The subsequent hypothesis expresses that King Suryavarman expected Angkor Wat to fill in as his funerary sanctuary while a the third hypothesis clarifies that the arrangement of the focal pinnacle with the sun adds another measurement to the heavenliness of the temple.Ankgor Wat’s engineering doesn't just show its strict roots, yet addi tionally shows the significance of space science and cosmology. It â€Å"contains calendrical, chronicled, and fanciful information encoded into its estimations. † Because sun based development directs the situation of the bas-reliefs, the engineering shows the significance of the sun to the Cambodians. The Cambodians constructed the structure of Angkor Wat to adjust straightforwardly with the sun throughout the spring equinox, â€Å"where the sun can be seen ascending over the focal pinnacle. Albeit no simultaneous explanation exists regarding why the sun is so imperative to the Cambodians, what can be said is that the sun was so huge to the Cambodians, that they not just put together their schedule with respect to the sunlight based and lunar cycles, however they built their King’s castle, a position critical that interfaces the sky with Earth, to line up with the sun. The five focal towers of Ankgor Wat that stand 77 meters tall hold strict centrality too. These fi ve between settled rectangular towers speak to five pinnacles of the mountain Meru.Also, the channel encompassing the focal sanctuary that estimates 190 meters wide represents the vast sea that existed before the beginning of creation, and the encasing divider speaks to the stone circling the universe. Making a replication of â€Å"Mount Meru, encasing dividers as the mass of rock, and the canal loaded up with water as the ocean† fills in as the basic models for the Cambodians to re-make and represent their Hindu strict convictions. Enhancing components all through the towers and exhibitions present their own qualities and satisfy explicit needs inside the temple.The towers are framed into the state of the ever-well known lotus buds, and the displays are utilized to grow the numerous ways of the sanctuary. Likewise, the pivotal displays inside the sanctuary are utilized to associate a few walled in areas. Trademark enhancing parts of Angkor Wat incorporate account and verifia ble bas-reliefs, pediments, and devatas. The bas-reliefs situated in the exhibition of Angkor Wat holds an extraordinary connotation for Angkor Wat. The exhibition shows paradise and the black market in which garudas and lions are holding the divine palaces.These gerudas demonstrate that the castles were drifting in paradise, contrasting Angkor Wat with the royal residences of the Gods. This showcase encourages the possibility that Angkor Wat goes about as a liason between the universe of Heaven and Earth. Since the royal residence truly stays on earth however profoundly lives inside paradise, the castle goes about as public spot for devotees to assemble. The bas-reliefs and pictures didn't just serve to improve the royal residences, or portray accounts of the past. They hold the significant errand of changing the royal residence into a â€Å"celestial dwelling† or glorious place.Further proof to help this idea is the way that numerous scenes are covered up to where they can' t be seen by the unaided eye. This features the otherworldliness of the spot, that otherworldliness isn't really unmistakable or seen. Secluded from everything the bas-reliefs, or making them subtler in the general development of the sanctuary, promotes the possibility that the castle isn't intended to be only a position of excellence, yet additionally a position of godliness. Candi Borobudur Layout Unlike Angkor Wat, Buddhism all the more vigorously impacts Borobudur.Built in Indonesia in the ninth century as a holy place to Buddha just as a journey site for devotees, Borobudur comprises of six square stages bested with four roundabout stages. Almost 2. 700 alleviation board and 500 sculptures of Buddha finish the sanctuary. Moreover, 72 Buddha sculptures encompass the focal point of the top foundation of the landmark. As a journey site, Pilgrims move from the base of the landmark, rising to the top. While on their journeys, they are said to pass two three degrees of Buddhist cosmo logy, or three phases of Buddhist edification: the Kamadhatu, Ruppadhatu, and Arupadhatu.These levels speak to the universe of want, the universe of structures and the universe of indistinctness. Borobudur varies from Angkor Wat in that is developed as a solitary, enormous stupa, with no inward space. It is the single residual sanctuary of its sort in Java, and is more than likely planned as a place of worship to Buddha, rather than sanctuary or place of love. Commonplace Buddhist sanctuaries were worked with rooms, planned to have symbols; Borobudur doesn't have a similar measure of room or rooms to appropriately house symbols, proposing that the reason for Borobudur contrasts from different sanctuaries of Java.Various speculations exist to clarify the reason behind Burobudur and engineering. It has been said that Borobudur speaks to Mt. Meru, that it contains three degrees of Buddhist illumination, that the â€Å"round upper porches were intended to shape the base for a tremendou s stone stupa which contained a valuable relic of Gautama Buddha,† or that Borobudur was essentially a stupa or for commencement rights. Strict Symbolism in Borobudur Architecture Similarly to the uniqueness of Angkor Wat confronting the west, Borobudur is interesting too, for it was developed on a bedrock slope, between two volcanoes, rather than on a level surface like other temples.Similarly to the Khmer sanctuary, Borobudur likewise shows a few varieties of strict noteworthiness all through the design. The lotus is predominant in the building and ornamental parts of the hallowed place. The design of Borobudur is comparative the presence of a lotus and the Buddha sculptures inside Borobudur represent the Lotus Sutra, which is found in a few Mahayana Buddhism writings. Moreover, the four round stages situated on the highest point of Borobudur are likewise considered to typify the leaf of a lotus.The establishment of Borobudur quantifies roughly 118 meters on each side, as a square. Of the ten stages that make up the structure six are square and the staying four are round. The most elevated stage displays seventy-two little ringer molded and gorgeously penetrated stupas. Sculptures of Buddha live inside these penetrated stupas. When Borobudur is seen from over, the landmark looks like the presence of a tantric Buddhist mandala, encouraging the portrayal of the Buddhist cosmology.The division of Borobudur into three sections, the base, body, and top, representing the three phases of what Buddhist cosmology considers the â€Å"ultimate objective. † The base speaks to the Kamadhatu, the five square stages the make up the body speak to Rupadhatu, and the three roundabout stages that create the top speak to Arupadhatu . Thus, the ways that control pioneers to the â€Å"ultimate goal† were planned through consecrated Buddhist information, in view of Buddhist cosmology. Practically identical to Ankgor Wat, Borobudur had accurate estimations that potentially show calendrical, galactic and cosmological themes.The definite proportion equation 4:6:9 has likewise been found in the Pawon and Mendhut, two other neighboring Buddhist sanctuaries. The landmark further speaks to cosmology since it tends to be presumed that the 360 squares that encompass the focal square of the landmark represent the 36o degrees of the â€Å"celestial circle that encompasses the Earth. † However, de

“Ozymandias” Shelley’s Investigation in Permanence Through the use of Diction and Juxtapositio - Literature Essay Samples

â€Å"My name is Ozymandias, King of Kings;/ Look on my Works, ye Mighty, and despair!† (10) demands the pedestal of the statue of the previously named ancient ruler. Out of context a casual passerby of the king’s shattered sculpted likeness might infer that Ozymandias was a powerful presence in the region, and that he had dominion over not only his loyal subjects, but abstract concepts like time and death. In context, knowing that his statue is now primarily rubble, abandoned and forgotten in the desert, one can recognize that it is Ozymandias who is in fact the one ruled by time. In the poem the speaker meets an unnamed traveler who tells of the rule of Ozymandias long ago, a legend which is contradicted by the crumbling statue the speaker stumbled upon in the desert. Percy Bysshe Shelley highlights this theme in the poem through the use of provocative diction and the juxtaposition of unlike things, communicating to the reader that nothing is permanent, and all is eve ntually lost to the stubborn march of time. First, through the use of diction, Shelley presents Ozymandias as a concept of power and monarchial glory. This pays off later in the poem when the reader realizes that even the mighty Ozymandias is powerless against time, reinforcing the claim that time masters us all. For example, Shelley chooses in line one to describe the desert where Ozymandias’ statue lies in ruins as an â€Å"antique land†. This attaches to Ozymandias the connotations of the word antique, specifically the idea that something that is antique carries extra value than its less historical counterparts. This imbues the character of Ozymandias with regality and historical worth. It is in these first lines of the poem where the speaker builds upon the image of a powerful Ozymandias, which is next reinforced by the choice of the word â€Å"visage† in line four to describe the king’s facial features. Although the visage is one that is â€Å"half sunk† and â€Å"shattered† (4), the elitist nature the word visage connotes gives the reader a glimpse into the royal pompousness of Ozymandias. Even if the speaker does concede that today this is not the case, and that more relevant to this era is the destruction of the statue, this portrayal of a once-powerful king reinforces the weight of his downfall. If the great Ozymandias now lies in ruins, we truly are helpless against the ticking time of fate. The speaker does provide one last glimpse into what Ozymandias was like as a king, when the speaker is describing the â€Å"wrinkled lip† the â€Å"frown† and â€Å"sneer of cold command† (4-5) which remain in the sculptor’s depiction of Ozymandias. Here it is revealed not only that Ozymandias was powerful, but that he was also notably cruel in his subjugation of his people. This choice in depicting Ozymandias as cruel instead of benevolent inspires imagery of a rule with no checks and where the king’s full wrath could be exercised . Compared to his current state in the desert, where his likeness is now passive shattered remains, this is a significant shift in characterization, and it supports the speaker’s claim that even the most powerful and dominative will fall to the master of time. Throughout the poem, there is a juxtaposition of Ozymandias as a powerful ruler, and Ozymandias as the abandoned remains of a statue. So while there is diction which portrays Ozymandias as a powerful force in his rule, the word choice which contradicts that idea is similarly important to the overall meaning. For example, in line 12, the shattered remains of his statue is described as â€Å"the decay†. The connotation of the word decay with dying plant or animal matter is an obvious shift from the Ozymandias who wore a â€Å"sneer of cold command† (5). The result is that while the memory of Ozymandias is that of an active and even possibly abusive ruler, his current condition is revealed to be in complete contradiction with this, as the rubble of his statue sits idly forgotten in the desert. All that is left of Ozymandias at this point is his â€Å"frown†, â€Å"wrinkled lip†, and â€Å"sneer† (4-5), but even these lose their significance as they wer e â€Å"stamped on [this] lifeless [thing]† (7). Describing the sculpting process as stamping has a connotation of a quick imprint instead of a careful chiseling process, but similarly important is a possible separate meaning. According to the Merriam-Webster dictionary, another meaning of stamp is, â€Å"to extinguish or destroy by or as if by stamping with the foot- usually used with out.† Perhaps this additional meaning was unintentional, but within the context of the poem it is not unreasonable to consider this word choice as a conscious signaling of the extinguishing of Ozymandias and his memory by the ever constant march of time. Diction is important to reveal this theme, but it is the juxtaposition of diction describing Ozymandias as a ruler, and the remains of his abandoned statue that highlight the contrast between the power and passivity of Ozymandias before and after he was lost to time. The core juxtaposition of the poem is in lines 10-12, following the description on the pedestal of his statue â€Å"My name is Ozymandias, King of Kings;/ Look on my works, ye Mighty, and despair!† with â€Å"Nothing beside remains.†, referring to the barren desert to where Ozymandias’ statue has been abandoned. This serves to contrast the two competing narratives which are the basis of the poem: that Ozymandias was a forceful and powerful ruler but that he is now alone and crumbling, lost to the world entirely. Throughout the poem however, other juxtapositions serve to highlight the theme in a similar way. Another example can be seen in lines 4-7 with â€Å"Half sunk a shattered visage lies, whose frown,/ And wrinkled lip, and sneer of cold command,/ Tell that its sculptor well those passions read/ Which yet survive, stamped on these lifeless things,†. The juxtaposition of words and phrases such as â€Å"frown† (4) and â€Å"sneer of cold commandà ¢â‚¬  (5) which depict Ozymandias as cruel and controlling in his rule, with the description of his statue as a â€Å"lifeless [thing]† (7) and his visage as â€Å"shattered† (4) again serves to reinforce these two competing depictions of Ozymandias as powerful and powerless. Juxtaposition is not used only to compare these two ideas of his character, but is also used to contrast other aspects of Ozymandias. This is used in line 8 with â€Å"The hand that mocked them, and the heart that fed;† where Ozymandias’ cruelty and benevolence are juxtaposed in part of the development of the characterization of Ozymandias as a leader. Juxtaposition is also used to establish setting. In line 13, â€Å"Of that colossal Wreck, boundless and bare/ The lone and level sands stretch far away† the rubble is juxtaposed with the lonely desert to which it had been lost. This reinforces the defeat and abandonment of Ozymandias by time, and supports the theme of the lack of permanence of not just Ozymandias, but everything. In â€Å"Ozymandias† by Shelley, diction and juxtaposition are the formal features most often used to support the theme. Other features like alliteration in â€Å"boundless and bare† (13) â€Å"lone and level† (14) and â€Å"cold command† (5) serve to highlight important descriptive phrases in the poem, but their ultimate purpose is often to serve the overarching formal features of diction and juxtaposition. For example, â€Å"Boundless and bare† is juxtaposed with â€Å"that colossal wreck† while the alliteration serves to highlight further this juxtaposition. By describing Ozymandias as he was as a leader and as he is, as a pile of rubble in the desert, the poem is able to contrast the two, and this in turn supports the claim that even the powerful Ozymandias who is â€Å"King of Kings† (10) is no match for the march of time. Nothing is permanent, time masters us all, and through the use of juxtaposition of unlike things, and diction , Shelley reveals in the poem this great truth of our world.

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Speech On Love It Is The Most Important - 1607 Words

In The Symposium Diotima’s speech on love it is the most important, therefore she should be the last speech to help impact the overall meaning. Although, she actually is not the last speech, Alcibiades is. This leads to questioning over why Alcibiades is at the end if the speech is just drunken madness. Diotima’s speech focuses on love and places important emphasis on the idea of beauty pertaining to love. She also focuses on the way a boy and a man’s relationship are centered around love because of the mentorship that they obtain with each other. It does not make sense in a book about love to have the ending be Alcibiades drunk confessing his love for Socrates.Bataille has led me to the belief that it does make sense for Alcibiades to be the end of the Symposium because of the objective for humans to reach continuity through a drunken state of being. After reading Erotism, Diotima cannot be the final speech in The Symposium. Diotima could often be read as the most important speech in The Symposium, therefore she should be the last speech because her speech is based around the conception of love. Socrates begins to question Diotima about what love actually is. She says: â€Å"I think that’s why love struck you as beautiful in every way: because it is what is really beautiful and graceful that deserves to be loved, and this is perfect and highly blessed; but being a lover takes a different form which I have just described.† When someone loves something beautiful, they long forShow MoreRelatedEssay about Romeo and Juliet: Act 1 Scene 5870 Words   |  4 PagesJuliet, about two love struck teenagers whom aren’t able to be together due to their families feud/ social situation. There are two key themes that of love and hate. Before Romeo and Juliet meet, the audience is only aware that he is a Montague and that she is a Capulet. 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Elizabeth Bathory Blood Couyn Essay Research Paper free essay sample

Elizabeth Bathory: Blood Couyn Essay, Research Paper Countess Bathory was Magyar by birth. Records give her entry into the universe as I56I. As a miss she was beautiful with long just hair and an keen skin color. She was married off to an blue soldier when she was 15 and became kept woman of the Castle of Csejthe in the Carpathians. Life in the dark, glooming Csejthe Castle, while her hubby was off on his assorted military runs, became really deadening so. She was determined to invigorate things up. First she gathered unit of ammunition her a sinister set of enchantresss, magicians and alchemists who taught her the black humanistic disciplines. Then, armed with her particular flesh- lacrimation Ag tweezers, a manual of anguishs her hubby had used when contending the Turks and a gustatory sensation for flagellation learned from her aunt, she set out to indulge herself and while off the alone hours. We will write a custom essay sample on Elizabeth Bathory Blood Couyn Essay Research Paper or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page When her hubby died in I6o4 she had reached the hard age of 43. She longed for a new lover to replace him but her contemplation in the mirror showed her that clip and indulgence had non improved her expressions. One twenty-four hours she slapped the face of a servant miss and drew blood with her nails. She was convinced that that portion of her organic structure where the miss # 8217 ; s blood had dripped was much fresher and younger than earlier. It merely needed the alchemists to add their sentiment and she was convinced that imbibing and bathing in the blood of immature virgins would continue her beauty for of all time. So, at the dead of dark, the Countess and her buddies would rupture Bachelor of Arts out the countryside runing for misss. They would be taken back to the palace, hung in ironss and their blood used for the countess’ bath, the finest saved for her to imbibe. The awful adult female carried on like this for five old ages until she began to recognize the blood of peasant misss had non been awfully effectual. In I609 she turned to the girls of her ain category. Offer to take in 25 misss at a clip to educate them in societal graces, she shortly had a booming academy. Helped as usual by her provincial procuress, Dorotta Szentes, know as Dorka, she treated the `pupils # 8217 ; with the same inhumane inhuman treatment as she had treated the others. But this clip she became excessively careless. The organic structures of four misss were thrown over the palace walls. Before she realized her error villagers collected them and took them away to be identified. It was non long before her secret was out. News of her reign of panic eventually reached the ears of the Hungarian Emperor, Matthias II. He ordered that the Countess be brought to test. But as an blue blood she could non be arrested, so Parliament passed a new Act so that she would non be able to steal throught their custodies. At her hearing in 1610 it was said she had murdered 6oo misss. Dorka and her enchantresss were burnt at the interest. The Countess escaped executing because of her baronial birth. But she was condemned to a life decease # 8211 ; walled up in a bantam room of her palace and kept alive by garbages of nutrient pushed through the bars. She died four old ages subsequently without a word of compunction.