Board Game and Total Cycle Time

X-Opoly Inc. X-Opoly, Inc. , was founded by two first-year college students to produce a knockoff real estate board game similar to Monopoly. Initially, the company’s purpose was to produce a board game based on popular local landmarks in their small college town, as a way to help pay for their college expenses. However, due to big success and since they enjoyed running their own business, the founders decided to pursue the business full-time after graduation.X-Opoly has growth over the last couple of years attributed to its designing and producing custom real estate trading games for universities, municipalities, chambers of commerce, and lately even some businesses. The company fills orders from a couple of hundred to several thousand and projects that its sales will grow 25 percent annually for the next five years. X-Opoly’s Process X-Opoly’s clients request either a new game board that has not been produced or repeat orders for a game that was previously prod uced.Once the request for a new game is received from a client, a meeting is arranged with a graphic designer from X-Opoly’s art department and the actual game board is designed. The approved designs are transferred electronically to the printing department where they are loaded onto personal computers and printed on special decals. The printing department is also responsible for printing the property cards, game cards, and money. The money is then moved to the cutting department, where it is cut into individual bills. Similarly, property cards and game cards are produced with the exception of using material resembling poster board.In addition to cutting the money, game cards, and property cards, the cutting department also cuts the cardboard that serves as the substrate for the actual game board. After being cut, game boards, money, and cards are stored in totes in a work-in-process area and delivered to the appropriate station on the assembly line as needed. X-Opoly Operati ons Efficiency Measuring X-Opoly’s performance is the key to improving its service to customers. The company currently operates 19 stations with a total cycle time of 6 min 45 sec per job.In my opinion, X-Opoly should consider combining assemblies within stations to reduce the number of stations. This process would allow some components to be partially assembled for the next station. This reduces the number of jobs involved in making multi-level products and keeps inventory to a minimum. Adopting a lean approach starts with a simple question: â€Å"What's essential? † Whether X-Opoly is simply trying to survive or conducting an assessment of their productivity, it is imperative to determine that every activity they engage in is essential in the value chain to providing a competitive product.This involves analyzing each phase of the product lifecycle from innovation, to design and development, to testing and, eventually, manufacturing and removing the waste from those p rocesses. For example, the company’s production line maximum capacity/day is would increase by reducing the waste and redundancy in design and development which would increase the company’s efficiency. To further improve X-Opoly’s efficiency, I would recommend developing a more formal manufacturing system (Flow Manufacturing). Flow manufacturing is a time-based process that pulls material through a production system without any interruption. (SAE. rg) This can be achieved by striking the proper balance between new technology and the proper amount of skilled labour. Flow manufacturing would reduce total cycle time, lessen inventory and increase X-Opoly’s productivity. The increase productivity would assist the company in meeting and possibly exceeding future demands. Finally, I believe X-Opoly would benefit from eliminating is non value added time to improve its efficiency. References Jacobs, F. , and Chase, R. , (2011). Operations and Supply Chain Managem ent (13th ed. ). McGraw-Hill, New York, NY SAE. org (2011). Thinking of Lean Manufacturing Systems. Retrieved October 2011

Did Wordsworth or Coleridge Have Greater Influence on Modern Criticism? Essay

After a brief introduction of the period that will contrast the Romantics with the century that preceded them, we shall move on to analyze the great poetic, theoretical experiment that most consider the Ur text of British Romanticism: â€Å"Lyrical Ballads†. We shall explore both the unique plan of â€Å"Lyrical Ballads†, and the implications of that plan for literary theory. In this elaborate introductory summary, we shall consider the contributions of the British Romantic poets. Our texts will be: Wordsworth’s Preface to the â€Å"Lyrical Ballads†, Coleridge’s â€Å"Biographia Literaria†, Shelly’s â€Å"Defense of Poetry†, Keats’ Letters. After this initial lecture on â€Å"Lyrical Ballads† itself, we’ll then devote one talk to Wordsworth. Coleridge, and Shelly. Rather than devote an entire lecture to Keats, we’ll consider Keats’ theories in relation to those of Wordsworth, Coleridge, and Shelly. So he will be fitted in the additional talks. Like Pope and Dryden, all four of our theorists were poets before they were critics. Thus their theory is a reflection of their own poetic technique. Because the four Romantics were poets, when they wrote their criticism, they were doing so out of their own experience. So this gives a little more practicality or pragmatic touch to their theory. Now the difference is that they’re like Pope and Dryden in the sense that they’re poets, however, there’s a big difference. The Romantics treated the poet, rather than the rules of decorum, as a source and touchstone of art. When we look at Pope and Dryden, especially the former, we notice that they were theorists very interested in decorum, following those rules. Yet we’ll see our poets/critics following the idea of the poet. In addition, we’ll find they fashion a new social role for the poet, very different from the 18th century (mainly to delight and teach or more precisely to teach and delight). Another introductory matter is all four of our Romantics altered the epistemological theories of the Germans. Now the Romantics are epistemologists[1], but there’s a difference. Whereas the German epistemologists were stillpragmatic theorists and interested in the relationshipbetween the poem and the audience, the British Romantics were what we might callexpressive epistemologists, interested in the relationship between the poem and the poet. Another different is that whereas the theorists of the last century portray an 18th century or Enlightenment orientation, particularly true in the case of Burke and Kant, as proto- or pre-Romatics, yet still very much interested in reason and analysis. The Romantics often define themselves in opposition to the Age of Reason. They borrow some ideas from it, but basically they are a kind of revolution, a reaction against what was going on in the age before. Now although they are still interested in mental faculties, like epistemology, they replace the 18th emphasis onanalysis, with a new focus on synthesis[2]. In addition, they privilege imagination over reason and judgment. Of course, we talked about this in quite some detail in the last unit. 12 Origins of Romanticism So before moving on to â€Å"Lyrical Ballads†, we’ll survey one more thing. There are three competing events for the cause or origin of Romanticism, that we’ll just run-through quickly. Rousseau’s â€Å"Confessions† The first possible origin is the publication of Rousseau’s â€Å"Confessions† in 1781, with itschampioning of the individual and its radical notion that the personal life and ideas of a single individual, is matter worth of great art. So the great Jean Jacques Rousseau, although he lived and died in the 18th century, really is one of the great origins of Romanticism. He was one of the first people to dare to write an autobiography. Rousseau is writing an autobiography because he thinks that he himself is matter worthy of great literature.That is a radically new idea, that you could spend a whole book, writing about yourself. Rousseau actually delight sin his individuality, saying he is unique, no one is like him, when they made him, they broke the mold! This is a radical, Romantic notion, which says that the individual, rather than society or God or anything else, should be at the center. So that’s an origin or cause of Romanticism. French Revolution The second one often discussed, is the start of the French Revolution, the storm of the Bastille in 1789. That event offered the hope of not only internal and external freedom, but promised more radically that internal dreams could affect and even alter the external world. In other words, the French Revolution not only showed that we can throw off our chains, that we can change the world, but more radically, that an internal vision that people have, of freedom, can be taken and projected onto the world, changing it in accordance with their dreams. That’s very Romantic, as we’ll see in this unit. â€Å"Lyrical Ballads† Finally, the third origin, which we are most interested in, is the publication of â€Å"Lyrical Ballads† in 1798, and what it was followed within 1800, when a second edition was published, to which Wordsworth added a preface. Now in this lecture we’ll look at the â€Å"Lyrical Ballads† of 1798, while the next lecture looks at the preface itself because the preface in some ways, really caused the revolution, even more than â€Å"Lyrical Ballad†, but we’ll split them up. So why is â€Å"Lyrical Ballads† a third source? It championed new subjects for poetry, and a new approach to those subjects that changed literary theory forever. So that’s what we’ll do in this lecture, by showing how â€Å"Lyrical Ballads† did just that. Wordsworth and Coleridge planned together â€Å"Lyrical Ballads†, wanting to make it a new kind of poetic volume. Now as some of you may know already, the friendship between Wordsworth and Coleridg e is one of the most wonderful in all of literary theory. It was one of the most artistically stimulating friendships, perhaps of all time. It was unique and the two men really played off each other, helping the other in terms of strength and weaknesses, so that together they did some great things. It was fruitful in terms of poetry and theory. Now the origin of â€Å"Lyrical Ballads† is described a little by Wordsworth in his Preface, but if you want to really learn of the origin, you want to read chapter 14 of Coleridge’s â€Å"Biographia Literaria†, his autobiography. It’s a wonderful reading and is excerpted in â€Å"Critical Reading Since Plato†. In 1797, Wordsworth and Coleridge were neighbors in the beautiful Lake District in northern England. They spent many days discussing and talking about poetry and life, doing what British love to do up there, taking long walks along the beautiful grass they have there. They’d walk, talk, and let their mind run free. So out of these conversations, they c onceived the idea of composing a series of poems of two distinct but complementary kinds. Neither remembered who first came up with the idea, but they decided to both write different kinds of poems, yet they would complement each other in a special way. These two kinds of poems and how they complemented each other is now discussed. The former kind of poem, from Wordsworth, would select its objects from nature, from the common, mundane, everyday world of the countryside and its inhabitants. In short, these poems would focus on things so familiar, that we often overlook them, things whose very commonness renders them invisible. In other words, he would take everyday things of nature, rustic farmers living in the Lake District as subject matters not rich people, aristocrats, but common everyday things, people and objects on nature. That would be the source or object of the poetry. However, what made these objects unique is rather than merely copy or record these things in a straight mimetic fashion, rather than simply describing the object, the poet would throw over them an imaginative coloring that would allow his readers to see them afresh. In other words, the trouble with everyday things is that we see them so often, we take them for granted. We don’t even notice them anymore. They lose their mystery and wonder. We’ve got a sort of tired clichà ©, to â€Å"stop and smell the roses.† Well, here we might say, we need to â€Å"stop and SEE the roses.† We miss the mystery of it all. The best example of this, comes from painting. The great Romantic painter Vincent van Gogh, we’ve all seen some of his pictures of sunflowers. Yet the first time you see any of them, you think to yourself, my God, I’ve never seen a sunflower before, I missed something all along. Well the same thing van Gogh does in his painting, is what Wordsworth is going to do in his poems. By lending these objects, these common things, a charm of novelty, the poet wants to evoke a sense of child-like wonder in his reader, a feeling more often associated with the supernatural than with the natural. Again, he wants us to see it afresh, as if we’ve never seen it before, the way a child sees the world. Every time a child sees the moon in the evening, it’s a whole new experience. It’s beautiful, it’s exciting, they grab their parents and say, look up there, isn’t it magical? Well that’s what Wordsworth wants to restore in us, not childish, but child-like. Now this process by which the veil of familiarity is suddenly, mystically, ripped away from everyday objects, is known as defamiliarization. Now what do we mean by the veil of familiarity? We all can understand the veil of mystery. Certain mysteries like death, we can’t fully pierce through, because they’re a mystery. Yet the veil of familiarity means that when something becomes so familiar because we see it every day, we don’t see it anymore, so it’s as if a veil has covered it, we’re missing it. We’re not seeing it. Defamiliarization means that suddenly through poetry, our familiarity is ripped away and we’re forced to look at it, as if for the first time. Coleridge says that most men are like what God says of the Jews in Isaiah VI, we have eyes but we do not see. Recall we have eyes but do not see, ears but do not hear. They are like their idols. Well many times that happens to us as well. We see it, but we don’t really see it. Defamiliarization opens our eyes to the wonders around us. It’s apocalyptic, it rips away the veil or covering, to allow us to see the true mystery that lurks behind. Now as we’ve said, Wordsworth was responsible for this portion of â€Å"Lyrical Ballads†, and he composed a series of poems centered around such humble, rustic characters, as Simon Lee, Goody Blake, and the Idiot Boy. Believe it or not, those are the titles of some of his rustic people, not the kind that an 18th century poet would think worthy of writing any kind of serious poem about. They are very simple, rustic characters, usually illiterate, or barely literate. Yet despite their commonness, Wordsworth’s poems infuse them with dignity, power, and mystery. Romanticism is much more democratic. It sees the dignity in the common. The 18th century looked towards the aristocratic, to the refined. So that’s what Wordsworth does in his portion of â€Å"Lyrical Ballads†. One way to put it is that he takes natural objects and makes them seem almost supernatural. The latter kind of poem, which Coleridge did, would select its object from the realm of the supernatural, so it goes the other way. Wordsworth takes the natural and makes it supernatural, while Coleridge takes the supernatural and makes it natural. His â€Å"Rhyme of the Ancient Mariner†, Coleridge’s main contribution to â€Å"Lyrical Ballads†, is richly suffused with supernatural characters and events. It’s a magical, mysterious sea journey that takes place in this world, but is really in another world. It’s a place of mystery, straight out of the Arabian Nights or something! So just as Wordsworth presents his natural objects in such a way as to stimulate an almost supernatural response, so Coleridge presents his supernatural world in such a way as to render it almost natural. That’s what we mean when we say that they are complementary, as opposed to simply opposites. Now, Coleridge accomplished this poetic feat, by uncovering behind the sup ernatural veil of his tale, dramatic and emotional truths. In other words, yes the story of the Mariner is supernatural, not really a part of our world, finally. Yet the dramatic and emotional truths,what’s going on in his psyche as he goes through the journey, are realistic. So we can identify with them, and they do seem very real and natural. Also, our recognition of the psychological truth of the Mariner’s journey, compels us to give to the poem, our â€Å"willing suspension of disbelief.† Many of you have heard that phrase before. This famous Coleridgean phrase,signifies our ability to temporarily suspend the claims of reason and logic, and to enter, through the power of the sympathetic imagination, into the life and heart of the poem. In other words, he writes it in such a way, that he gets us as readers to say all right, I know this is not real, I know it’s a fantasy. Yet I’m going to forget about that now, or I’m going to suspend that. I’m going to move into the poem, via sympathetic imagination, move toward the poem, just as when we’re in sympathy with a person, we move towards t hat person. So we are going to allow ourselves to just accept the poem as true. For in fact, dramatically and psychologically, it is true. So we’re going to suspend all that logical, mathematical-side of ourselves, and just enter into that world which Coleridge creates. Now another aspects of this, is that Coleridge tells us, to inspire in its readers, this moment of what he calls â€Å"poetic faith,† the poem must invite them into a higher realm of illusion, rather than merely delude them with fanciful images and events. So the distinction between illusion and delusion. Illusion is when we are pulled into it and say, ah what a beautiful world, it’s not real and yet it is real. It’s an illusion, like that of the stage. Delusion is when we suddenly feel like we’re being manipulated and fooled. The best way to get the distinction is to do so in terms of movies. The Star Wars films are the best example of illusion. They take us away to a long time ago in a galaxy far away. Now this is total fantasy, yet we buy-into their illusion because they’re so real, the relationships and whatnot going on, all seem so real to us, that we move into these movies and accept them as such. The Batman movies are examples of delusion. If any of you have bothered to see them, they are so phony that you feel manipulated and deluded. Maybe some teenagers buy it, but we certainly do not buy those worlds as real. Perhaps even the director does not either, so how can we? You feel deluded, so you sit there and watch, perhaps entertained by special effects, yet we’re not being moved in any emotional level, as in Star Wars or other good movies. Implications of â€Å"Lyrical Ballads† Now with the idea of this basic plan, let’s tell you about the implications of â€Å"Lyrical Ballads†, to the history of literary theory. Why is it so important and central? â€Å"Lyrical Ballads†, calls for a new kind of mimesis. That rather than simply imitate or even perfect its object, it transforms it into something rich and strange. That is to say, nature or supernature, is merely the occasion for the poem. The poetic act itself, the transformation, is the real point. In other words, the point of the poems in â€Å"Lyrical Ballads†is not the object itself, not merely to record the object. Although this is interesting and important, it isn’t not the key function in the poem. So what the poem is really about, is what Wordsworth or Coleridge do with that object, how they transform it through their poetic imagination. They change it into something new. That’s what it’s about, the poetic process, rather than about the object. So it’s about the subject then, if you will, that’s the importance of epistemology. In other words, it’s not the rules of decorum that control the art, but the imaginative vision of the poet that determines the shape and end of the poem. That’s why expressive theories are interested in the relationship between the poem and poet, because it’s the poet’s perceptive powers that determine what the poem is going to be like. Even more radically, the plan or â€Å"Lyrical Ballads† carries out a supreme form of epistemology in which objects or things take their ultimate nature not from what they are, but from howthey are perceived by the poet. This is radical, and since this is epistemological, perception is important. Yet now, really, the object is not even important at all. Now, the way we perceive the object, is what it becomes. The object now is a mix of what it is, and what we make it. William Blake This is very interesting and needs further explaining. Wordsworth and Coleridge were certainly influenced – even more than they were by the Germans – by a great poet named William Blake with his masterpiece, â€Å"The Songs of Innocence and Experience†. In this work, Blake demonstrates how the same images and events, take on a different coloring, form, and reality, when viewed through the eyes of innocence and experience. The subtitle of his work, â€Å"Shewing the Two Contrary States of the Human Soul,† captures perfectly the radical Romantic belief that things are as they are perceived, and that we half-create the world around us. Let’s explain further once again. The â€Å"Songs of Innocence and Experience† have two volumes of poetry, meant to be linked together. Often, there will be a poem in the â€Å"Songs of Innocence†, which has a parallel in the â€Å"Songs of Experience†. For instance, there are two poems called the â €Å"Chimney Sweeper†, on in Innocence, one in Experience. They’re both about the horrible reality of these little boys who were forced to clean chimneys. It was a terrible job involving social manipulation, and many died young from cancer and all kinds of diseases. Yet in the world of Innocence, even though there is horrible exploitation, the focus of that poem is innocence. It’s on how the child-like faith and innocence can rise above the horrors of social exploitation. The version in experience though, we always see the exploitation and manipulation. In other words, the world, the reality, the event, is exactly the same, but because theperceptive point of view in each poem is different, it makes everything else different. So things are not as they are, but as they are perceived. We create the world around us. Example for perceptive point of view You are somewhere. It’s around 9 in the evening, and you’re about to walk out to go home, and it’s raining. Now the same exact setting, yet a different background now. Just before one walks out to go home in the rain, her friend of many years is visiting, and they’re excited because they’ve been waiting for this meeting, so it’s a beautiful rain, and you’re just on top of the world. On the other hand, before the other girl walks out into the rain, her friend of four years has just died. You are just horrified by that. You both walk into the rain, and now each is to write a poem/fiction/nonfiction about the rainstorm. It’s the same rain, same time of day, same place. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ So what are we saying here? It’s the exact same rain, so shouldn’t their poems be the same then? Why instead are their poems so different? Each is working out of a different perceptive mood. The state of their soul is different. One girl is in a state of innocence, while the other is in a state of experience, a more cynical state. So their world in which they see the storm, is now colored by what’s going on in their soul. Another example is whenever you’re mad, we always say that you’re seeing red! It’s as if everything you see is covered by that color. That is what it means for things to be as they are perceived. This is what it sometimes called the externalization of the internal, because what happens is you take something inside you, and externalize or project it onto the world. Now this concept lies behind the Romantic faith that: â€Å"if the doors of perception were cleansed, everything would appear as it is, infinite.† That’s something Blake says, and he was most radical in this idea. In other words, if we could just see it right, everything would be beautiful. Now we should say that this Romantic thing has a dark side to it as well. It very easily can fall into what we like to call the abyss of solipsism[3]. What is the latter? It’s the belief that the entire world is a projection of you. It’s kind of like a child that’s autistic, where they live in their own little world, as if the world is the way they see it. When a child plays peek-a-boo they cover their eyes and figure if they can’t see you, then you can’t see them. Thategocentrism is very dangerous to fall into, like this solipsism where you think the world is a reflection of yourself. Many don’t realize that the religion of Christian Science, though most perhaps don’t follow this and are just like regular Christians, their real doctrine is actually a bit more eastern than western. Pure Christian Science, Mary Baker Eddy, believed that disease is not really a physical thing, that it’s bad perception. So if we can just think of ourselves as being well, then we’ll actually be well. For even sin, disease, and evil, all are just bad perceptions. We don’t see the world right, which is almost a kind of Hindu concept. Again, most Christian Scientists probably don’t strictly follow that, so are more like regular Christians. Yet interestingly, this system is very close to Blake, this idea that you can change the world by the way you perceive it. Now this new, more radical epistemology, places the poet and his perceptions at the center of literary theory. Poetry is now to be regarded as self-expression, as a journey of the unique perceptions of an individual. Now what poetry really is, is self-expression. It’s what’s inside that’s coming out. So now, when we read a poem, what we want to read about, is his poem and his unique perceptions of the world. A break in decorum One more thing that â€Å"Lyrical Ballads† changed is that it shifted old 18th century notions of decorum, which declared certain subjects unfit for serious poetry. Recall that for the neo-Classicists, and also for the Classicists as well, poetry should be written about serious people, aristocrats, kings, knights, princes, all of that stuff. Well, the rustics treated by Wordsworth would have been subjects for comedy in the 18th century! Yet Wordsworth ennobles them to tragic heights! No one in the 18th century would write a serious tragic poem about Goody Blake or the Idiot Boy. They might write a comedy about that, but not anything serious. So this is a big change in the subjects for poetry. â€Å"Lyrical Ballads† also breaks with the neo-Classical world, by mixing the realms of the real and ideal. Indeed, it often sees the ideal in the real, the supernatural, the natural, and vice versa. In other words, a break in decorum, so that we’re mixing things. We shouldn’t be mixing real and ideal, supernatural and natural, but should keep those things separate. Wordsworth and Coleridge have no problem breaking decorum, which is one aspect of Romanticism. Finally, not only does â€Å"Lyrical Ballads† often take children as its subject, but it privileges their naà ¯ve sense of wonder, their freshness and innocence, over the refined urbanity and studied wit of the 18th century. Let’s move away from this elitist idea of refinement and urbanity. The whole city court-life of the 18th century is in many ways rejected by the Romantics. They want to move to a new way of seeing the world. So it’s not childish, but child-like. They want to see the world afresh and with wonder like a child does. Again, that’s a big break from the 18th century, which for the Romantics was artificial and unnatural. William Wordsworth’s Preface This space will be devoted to a close analysis to Wordsworth’s Preface to â€Å"Lyrical Ballads†. We shall explore how he radically redefines both the nature of poetry and the poet, as well as the function of poetry and the poet in society. We shall conclude with a brief look at Keats’ famous distinction negative capability and the egotistical sublime. â€Å"Lyrical Ballads† was published in 1798, and the preface does not come until the second edition of in 1800. The reason was that the first edition did very well, and many people said they’d like to know what these poets were thinking about, if there were a theory behind all this. Now really, Coleridge should have been the one to write the preface, as he was the much more critical and philosophical of the pair. Yet Coleridge had a way of putting things off and being a little bit slothful, so it fell to Wordsworth. Indeed, this may have changed history because although he was not first and foremost a critic, this sent him in a critical way he probably wouldn’t have gone if Coleridge hadn’t turned the buck over, so to speak, to Wordsworth. Now, in his Preface to â€Å"Lyrical Ballads†, Wordsworth redefines the nature and status of poetry, along expressive lines. Once again, these theories are interested in the relationship between the poem and the poet. Rather than treat poetry as an imitation of an action (mimetic theories), or as an object fashioned to teach and please a specific audience (pragmatic theories), Wordsworth, who was expressive, sees poetry as a personal reflection of the poet’s interactions with himself and his world. Again, this is the idea of poetry as self-expression, which is basically taken for granted today. So this concept is essentially invented by the Romantics, Of course, this is not to say that Wordsworth is unconcerned with imitating or teaching and pleasing. He is very much, as we’ll see later in this lecture. Yet these theoretical concerns, imitation, teaching, and pleasing, now are going to flow directly out of his view of the poet. So he’s interested in imitation, teaching, and pleasing, yet he now looks at those things from a new perspective or point of view, that of the poet. What is poetry[S1] ? As we saw in our previously, it’s not the rules of decorum anymore, but the visionary imagination of the poet that is now to become the source and end of poetry. In a famous phrase, Wordsworth defines poetry as â€Å"the spontaneous overflow of powerful feelings†. That is to say, as an externalization of the internal emotions, moods, and perceptions, of the poet where the poet takes what is inside of him and projects it, or externalizes it, onto the world. This spontaneous overflow of powerful feelings is where the feelings inside are overflowing and spilling onto the page, onto the world. Again, this is a radically different concept of what poetry is. Indeed, Wordsworth’s nature poetry is less a reflection on nature, than on the feelings and ideas excited in the poet as he contemplates nature. There’s a very bad stereotype that Romantics are all nature lovers, running around like â€Å"nature boy† and hugging trees. Now they care about nature, yet that’s not so much what their poems are about, as their experience of nature, their reflection on nature. So that’s a light misnomer, as they do care about nature, but the way we think of it, is really a misnomer. Wordsworth asserts that it’s really the feeling that gives importance to the action and not vice versa. In other words, the feeling is what we’re looking for, the action can be anything. So the action doesn’t determine the feeling, but the feeling determines the action. Notice that this turns Aristotle on his head. Recall he said plot was more important that character? Well if Wordsworth wrote about drama, which he did not, he probably would have said that character is more important than plot. It’s not the action, but the feeling that is at the heart of poetry. Rustic Versus urban Nevertheless, as I suggested before, there is a strong mimetic element to Wordsworth’s theory. Although he’s interested in the expressive, there is a mimetic element. He often wrote on rustic subjects, not so much because the country made him feel good, but because in such a setting, he felt that men were more in touch with elementary feelings and durable truths. It was these essential passions, this emphatic unmediated kind of life that Wordsworth wanted to capture and embody in his poetry. There is something that he wants to imitate, that he wants to incarnate, to embody in his poetry. It’s a kind of life or experience. He felt that rustic life, because it was in touch with nature, was in touch with something that was more eternal. We all know that in the countryside, things change very slowly, whereas in the city, it’s the new fad, the new fashion, it’s whatever is fashionable today. Romantics don’t like that! They want things that stay the same. It’s not to say that they’re more conservative, because they’re actually more liberal than the way we define it. Those words have changed in their meaning, but it’s saying they want to get at the essence of things, to what is emphatic, unmediated, direct and true. Wordsworth found that in the countryside, more than in the city. Indeed, for Wordsworth and all Romantics, the city court life of the 18th century poets, was something to them as artificial, insincere, and out of touch with the wellsprings of our humanity. Again, they don’t’ like the city, and Jean Jacques Rousseau agreed with that. We want to get away from the city, towards what is authentic. If you want to see a great Romantic movie, see the French flick Jean de Florette. It’s about a man who leaves the city to seek what he calls the authentic. So he is a true Romantic, seeking the authentic. To sum up, Wordsworth looks to both the freer life of the country, and within his own heart, for real passions and truths. So the way he can be both expressive and have a mimetic element, is that when he looked inside of his soul, he saw that same eternal nature that he saw in the countryside. Both of those things come together in Wordsworth’s poetry. Wordsworth agreed with Aristotle and with Sydney, that poetry is more philosophical than history, because it deals with both specific facts and general truths. So maybe we say he finds these specific facts in the countryside, but he wants to link them to general truths, to eternal things, those he finds that are even deeper than he sees in the country, and deep inside of himself. Again, another thing on what we’re trying to say here is that for Wordsworth, self-expression is not an end in itself, but a means to reach that which is most permanent and universal. You see, that we’ve gone too far. People believe that self-expression is an end in itself. They think that all they have to do is express themselves, and that’s worthy of a rt. The Romantics didn’t go quite that far. Again, they opened the door for it, but for Wordsworth, again, self-expression is not an end in itself. He’s using it to get at eternal truths. Again, that makes Romantics different than the post-Romantics of the modern era. That is, Wordsworth’s poetic verse, this is what we’ll call Wordsworth poetic version of Kant’s subjective universality. For Wordsworth believes that in describing his own feelings, the poet describes the feelings of all men. In other words, Wordsworth felt that by exploring his subjective experience, by getting his ideas onto the page, he felt he was also expressing what all men believe. That’s why Wordsworth believes that his self-expression is not cut-off from everything, but is linked into the eternal â€Å"unchangingness† of his beloved Lake District. We want to make this distinction between modern self-expression, and original Romantic self-expression. Language of poetry[S2] Just as Wordsworth sought to imitate the life and passions of his native Lake District, so he sought to imitate the simple, direct language of the country. He not only wants to capture their manners, view of life, and traditions, but he also wanted to imitate their way of speaking. Wordsworth rejected what to him was the phony poetic diction of the 18th century, with its purposelycontorted syntax and artificial poeticisms. When a Romantic reads Pope and others, he sees their poetic diction as phony. Now again, perhaps that isn’t very genial, because to an 18th century person, that’s what a poet is supposed to do. In other words, he’s supposed to write poetry that’s a totally different language. We would say with â€Å"thees and thous,† the sort of way the language and syntax are all turned and mixed around. In other words, to an 18th century person, he wants you to know that it’s poetry! Let’s put it that way. Yet again, the Romantics reject everything that to them seems artificial about the 18th century, and he believed their manners, their way of life, even their poetic diction, the way they wrote poetry, was to the Romantics, especially to Wordsworth, artificial. So Wordsworth adopted a more natural, less-mannered style, that mimicked the syntax of good prose. He called it the â€Å"real language of men,† a famous Wordsworthian phrase. He actually said that good poetry is not that different from good prose. It’s interesting because what he’s saying is that he doesn’t want a poetry with contorted syntax all over the place. He wants it pure, unmannered, and natural, the real language of men. Now, when 17 years later, Coleridge wrote his own version of the Preface, in his â€Å"Biographia Literaria†, he tried to go back and fix up the mistake that he made in not writing the Preface himself. By then, Wordsworth and Coleridge had gone through a falling out, unfortunately. So Coleridge would quibble with the phrase, the real language of men, saying that Wordsworth went too far in his rustic manners of speech, saying that’s not true. it seems that Coleridge is being a little unfair to Wordsworth, as Coleridge is taking it too literally. For just as Wordsworth tempered his expressivism with a mimetic focus on truth, in the same way he tempered his celebration of the so-called real language of men. The poet, Wordsworth asserts, should not slavishly imitate the rustic, as Coleridge seemed to think he meant. Yet through a process of selection, he should purge his natural speech of its grossness. In other words, poor people sometimes use a lot of profanity and whatnot. Wordsworth is not going to put that in, but will purge it and purify it. So again, Coleridge took it a bit too literally. When Wordsworth said real language of men, he meant a simple, unsophisticated kind of speech, but again, purified. Who is the poet[S3] ? Just as Wordsworth redefined poetry, both subject-wise and language-wise, in the same way, Wordsworth offers us a new vision of the poet himself. For Wordsworth and all the Romantics, the questions of what is a poem, and what is a poet, are considered synonymous.If you understand what the poem is, you understand what the poet is, and vice versa. So, just as poetry is to be written in the real language of men, the poet is to be a man speaking to men. That is to say, the poet is not to be viewed as a different creature, he is of the same kind as all other men, though he does differ in degree. In other words, the Romantics want to break from this 18th century idea of the coterie of poets. That is, poets as an elite little group who meet together and read to each other. They want to break from that idea. The poet is like every other man, like a man speaking to men, but he differs in degree. He’s like all men, but has a little bit more, again, breaking from the 18th century. So what is this degree that the poet has? What is this thing he has more of, than other people? Well. The poet possesses a more organic, comprehensive soul, than do other men. The phrase â€Å"organic, comprehensive† is interesting. In other words, he’s got a bigger soul, we might say, that can just take everything into it. Wordsworth says he has a more lively sensibility, and is more in-touch with his feelings. This modern idea that the poet should be all sensitive is very much a Romantic idea. That’s not to say that 18th century poets are insensitive, but the idea is that the Romantic ones have lively sensibilities, and they are in-touch with everything. Another way to put this is that the Romantic poets need little stimulation to experience deep emotion. They’re so sensitive to things, that the tiniest touch, a sunflower, opens his heart. Indeed, they are ableto feel absent pleasures as though they were present. They don’t even need it there, but the memoryof[S4] beauty will inspire the sensitive, comprehensive soul of the Romantic. Wordsworth says that he rejoices, in his own spirit of life, and seeks to discover that joy in the world around him. You know what? If he can’t find the joy there, he’ll create it. He’ll take the joy inside of him, and put it in the world. He wants joy around him[S5] . The Romantic poet also has a rich store of memories that he can tap for poetic inspiration. Romanticism is very much based on personal memory and bringing that up, being able to tap it. Also, they are not only able to call-up the memory, but they are actually able to relive their memory and the emotions attached to them. Much of Wordsworth’s greatest poetry is a memory of his childhood. Wordsworth was able to actually re-experience his childhood with all those emotions that were attached to it. That’s how sensitive he was, how in-touch with his feelings he was. Today, we would call it being in-touch with his feminine side. Actually Romantic poetry is much more feminine than masculine, and tends to be very popular with women, who always love Romantic poets, because they are more feminine, in-touch with that side. Another, a Romantic poet can sustain an inner-mood of tranquility and pleasure. Once he gets into that mood, he can hold onto it, at least for a little while, as he writes. A final aspect of the Romantic poet, is that he is a lover of his fellow man, who honors what Wordsworth calls the native, naked, dignity of man. He does this by humanizing all things in accordance with the human heart. Louis wrote his dissertation on Wordsworth, who is one of the people that drew him into English. The reason he loves him, is that he treats humanity with such respect, whether in the court or in the countryside, he loves humanity and believed we were all linked together. The 18th century people loved satire, such as Jonathan Swift, an 18th century character. Yet there is very little satire in Romanticism. They don’t want to cut down and criticize, but they want to bring together, so there’s a love of man. The Romantic poet is a friend of man, says Wordsworth, who binds all things together with passion and love. Whereas the scientist seeks truth as an abstract idea, the poet rejoices in the presence of truth, as our visible friend and hourly companion. For scientists, truth is abstract. For a Romantic poet, he is what a true philosopher should be. What does philosophy mean? It’s the love of wisdom. Well that’s what the Romantics are. They love this truth and seek it as if it were a real flesh and blood person. That’s why their poetry is so human. Indeed, it’s interesting Wordsworth prophesied that if science were ever to become so familiar an object that it would take on flesh and blood. Then it would be the poet and not the scientist who would help transform and humanize science into a kindred spirit. Now Wordsworth was living at the very beginning of the industrial revolution, and science was just taking over. Yet if Wordsworth lived today, where science and technology have become a part of our world, of who we are, he would probably write odes to science and technology. For he would believe that it would be his role as a poet,to take science and humanize it, and make it a part of who we are. So Wordsworth is not just rejecting science or those things, only because they weren’t really a part of people at that point, but once they do become a part of it, the Romantic poet will humanize it, and make it part of the human experience. Functions of poetry Status of Cities Finally, Wordsworth ascribes to the poet and poetry, a new social function, very different from the social function of the 18th century. Wordsworth warns against the ill effects of urbanization and industrialization[S6] . We remind you that this is just starting right now, and Wordsworth is credibly prophetic about it. He says that the massing of men into cities, and the repetitive drudgery of their jobs, produces in them an ignoble craving after extraordinary incident, and a degrading thirst after outrageous stimulation. Wordsworth felt this was terribly unnatural, pushing people into cities. Do you know that London was the biggest city since the Roman Empire. In other words, no city was as large as Rome, until London 1800 years later. So this is something new, the real massing of men into cities. This assembly-line work, over and over again, Wordsworth felt this to be terribly unnatural, and it killed the soul. What happens to these people is that their senses grow dull, and they need grosser, more violent, and more scandalous stimulants to satisfy their blunted psyches. So they need more and more, in order to rise them up. Now Wordsworth calls this state of emotional and spiritual deadness, this loss of the ability to be moved by simple beauty and truth, he calls it savage torpor. He sees people in the city, walking around sort of insensitive, cut-off, callous to the world, no longer picking-up on things, a degrading thirst after outrageous stimulation. The city destroys the souls of its inhabitants. They’re just banged over the head, again and again. So what happens is that they lose their subtlety, their ability to appreciate small or subtle things. For Wordsworth, this is a terrible thing. This is a killing of the soul, in a way like what Longinus[4] said about materialism and hedonism, which kills our soul. This again, is something that blunts our powers. Well as you might guess, Wordsworth then, saw it as the role of poetry to restore this lost ability to be sensitive, to really bring us back to ourselves. Wordsworth felt that poetry, by enlarging and refining our sensibilities, has the power to re-humanize us, to bring us back into the human community. Wordsworth is serious about this, and Romantic poetry has helped to bring them back in-touch with themselves, to make them stop and see the roses, the way Vincent van Gogh does in his painting. He says Romantic poetry restores our child-like wonder, and revives our ability to take joy and delight in the natural world, and in the quiet beatings of our heart. Again, there’s so much noise in the world out there, and the Romantics help us to be quiet and listen again, to he ar again, because we’ve grown deaf. For we have ears and do not hear, eyes and do not see. Now considering this new social function, poetry is more, not less, necessary in an industrial age, than in a rural pastoral age! Sometimes people will say that this is a technological industrial age, so we don’t need poetry! Wordsworth would say no, we need it more because people are more and more out of touch with themselves, so they need poetry even more. The rustics don’t need it as much, because they’ve got it all around them, so to speak. It’s in an industrial and technological age, when we really need it. Now we might note here, that although Wordsworth rejects the refinement and wit of the 18th century, he does promote a new aristocracy of sensitivity. You could say that he’s elitist in a way; he’s also heading towards being a bit elitist. So there is a kind of aristocracy, but it’s one of refinement and sensitively, rather than of courtly manners and whatnot. Wordsworth was educated at Cambridge, but you see him as a kind of m an of the people. He doesn’t come across as an academic in any way. So finally, Wordsworth says that though poetry does instruct, it does teach as we saw, it exists first and foremost to give pleasure. Wordsworth says it is through pleasure that poetry draws us back into touch with our world, our fellow man, and ourselves. So entertainment and pleasure are very important to the Romantics[S7] . In fact, in a weird way, it’s even more important than the neo-Classicists, because the Romantics believed that pleasure is actually something that unites them. Think of the joy, the happiness of a wedding, and the way we’re united by that joy. Well that’s what Wordsworth wanted, a joy and pleasure in the poetry. The pleasure that poetry gives, is no mere entertainment. In other words, it’s the very spirit through which we know and live. So in the same way that Schiller says we should not look down on playing in the play drive, Wordsworth says don’t look down on pleasure . That’s good, for poets should give pleasure. The final note now includes a bit about John Keats and something he says in one of his letters. He wrote no essays of literary theory by the way, but in letters he’s sent to people, there is literary theory embedded in it. In one of them, John Keats makes a distinction between what he called negative capability, and the egotistical sublime. This distinction offers an interesting critique on Wordsworth, and that’s why it is included here. Let’s define these terms. Whereas poets who posses negative capability are able to enter into the lives of other beings, and see the world from their perspective, those possessing the quality of the egotistical sublime, always mediate their visions of the world, through their own strong, dominant personalities. Let’s give an example. Shakespeare is the ultimate example of negative capability, where one can move out of themselves, towards other people, even losing themselv es in other people. Think about how Shakespeare loses himself in his characters. You cannot say, although people try to, but you can’t say that Hamlet, MacBeth, or Othello is Shakespeare. None of them are Shakespeare! He loses himself in his creations, in his characters. That’s negative capability. Milton and Wordsworth would be the other. Egotistical sublime means rather than moving out, you draw everything to yourself. Milton, even when he’s writing about God and paradise, is still writing about himself, in one way or another. In a way, Wordsworth is always writing about himself and his perceptions as well. Yet that doesn’t mean he’s callous, as it’s just about his perceptions. Now to link Wordsworth to the egotistical sublime, is not to say that he is arrogant or selfish. That’s not what he means. His personality is such that it both draws all things to itself, and colors all things by its perceptions. So egotistical does not mean like we think of it, as someone being all stuck-up, or something pompous. What it means is that his ego, his personality, is so strong, that he draws everything to it. One of the reasons we read Wordsworth, is because we’re interested in him, and his perspective on the world. Coleridge also noted in his Biographia Literaria – so that he would agree with Keats in this respect – that even in his poetic studies of others, Wordsworth is finally a spectator â€Å"ab extra† (Latin for a spectator from the outside). What he was saying was that although Wordsworth had sympathy, he never really had empathy. Wordsworth was able to feel for people, yet in a way, Wordsworth could never really enter into the rustic, and see the world through their eyes. That’s just a different kind of person than he was. A little bit more about negative capability now. Keats’ desire to move out of himself, this negative capability – because he wanted to be a negative capability person, not an egotistical sublime – is not so much a rejection of, as an antidote to, the Romantic belief that things are as they are perceived. That idea is more egotistical sublime, where everything is the way you perceive it. Keats is not so much rejecting th at, as he wants to find an antidote to it. Let’s explain. Keats noticed that this strong focus on the poet and his perception that we’ve been talking about, often leads to the Romantic disease of over self-consciousness. In other words, what happens is that the poet thinks so much, that he loses his ability to feel and experience the world directly. Sometimes because of this subjective epistemological perspective, what happens is the Romantics think too much. You all know, we’ll all been through this, when we think too much, it sort of ruins things. This is a terrible irony, because what happens is that the Romantic is forced to choose between that direct unmediated vision of the world that he wants and desires, and his own poetic practice, that says everything is a perception of reality. Do you understand that angst here? In one way, they want to be unconscious, unmediated, direct, and emphatic. While their process of poetry keeps making them self-conscious, overly so. So they can’t just enjoy anything, because they’re thinking too much! Keats wants to break away from that. Finally, let’s mention that in unit five, we’ll look at an anti-Romantic turn, a turn away from the Romanticists. Those people in the next unit, are going to reject the struggle between the unconscious and super self-conscious, in favor of a more impersonal, objective view of poetry. They’re going to use Keats’ negative capability as a springboard for this more impersonal view of poetry.

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Rich media Essay Example | Topics and Well Written Essays - 2000 words

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Group project - Essay Example ication of the value that an organization’s product or service has to offer, social media is one tool that is being used by organizations throughout the world to communicate their product’s value. The use of social media in order to enlighten internal as well as external customers regarding the value of a product as well as a service is regarded as social media marketing. Social media marketing has existed for several years since the internet became accessible by the common population. Organizations started to realize its great importance and impact when websites were introduced. The term social media marketing used in present day is mostly used to refer to the marketing activities that are conducted by marketers with the use of several social networking outlets. These outlets have completely redefined the practice of marketing and are no longer limited to the way marketing was performed with the use of internet websites. Several social media outlets have been created to further assist marketers in attracting new as well as retaining old customers. Some of the most famous social media marketing outlets that are explored by marketers throughout the world on daily basis includes the Facebook, Twitter, mobile phones, Google+ and various others. The introduction of these social media outlets has resulted in helping the marketers to perform their marketin g activities in a much effective and efficient manner. These media outlets help marketers in performing various roles that they were performing without these innovations but in a much comprehensive manner as compared to before the existence of social media. There are various organizations that have successfully implemented the use of social media in their businesses and have benefited a great deal. One such company is the Domino’s Pizza which is very successful running pizza chain. The organization published a video on the social media of YouTube and the video was focused on a prank. The video became highly

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Critical analysis of specific drug used in clinical Research Paper

Critical analysis of specific drug used in clinical practice-CO-AMOXICLAV - Research Paper Example 69). Co-amoxiclav is a commonly used antibiotic that works by ensuring that bacterial infections are killed. It is made up of two major ingredients that include amoxicillin (which constitutes penicillin), and the clavulanic acid (Brook, 2001, p. 253). In essence, amoxicillin is the penicillin antibiotic that works by destroying bacteria that are accountable for causing infections. It works by preventing the bacteria from creating or developing cell walls that cause severe infections. However, some bacteria have mechanisms of defending themselves by inactivating the amoxicillin. In this case, the clavulanic acid stops bacteria from generating a chemical that can resist the amoxicillin. The combination of these ingredients enhances the spectrum of action and restores the efficacy of the drug against resistant to the bacteria (Hochadel, 2006, p. 69). The active elements found in co-amoxiclav are amoxicillin trihydrarate as well as potassium clavulanante. The other constituents include microcrystalline cellulose, colloidal silicon dioxide, and even magnesium steate (Joint Formulary Committee, 2014, p. 360). The co-amoxiclav is available in tablets form effective for adults and liquid state that is suitable for children. The drug is administered within different dose strengths that are based on the infection that is being treated. In most cases, the bacterial infections clear after two to three days after using this medication (ODonohue, et al, 2002). Co-amoxiclav effectively treats open wounds caused by animal bites because it is an antibiotic. The drug consists of Augmentin injection, suspension, Augmentin-duo and also tablets with active components of amoxicillin and clavulanic acid (Kamphof ,Rustemeyer & Bruynzeel, 2002). The amoxicillin contains the penicillin-type antibiotic that is responsible for destroying bacteria. It works by preventing the bacteria to form cell walls that are central for the bacteria to survive. The cell walls inhibit unwanted

Ratios Tell A story assignment Essay Example | Topics and Well Written Essays - 1250 words

Ratios Tell A story assignment - Essay Example However, it is very difficult for one to examine the whole financial statements of a company. Ratio analysis makes it easier for everyone to understand the profitability, solvency, and efficiency position of the firm. Ratio Analysis is a tool used for quantitative analysis of the information from the financial statement of a company. In spite of the advantages, ratio analysis has several drawbacks too. It consider only historical data, the future performance of the company cannot be predicted. It helps to evaluate firm’s financial status on the basis of past and present financial data of a company. In this study, comparisons of ratios have been made on different companies according to their financial indicators. A ratio analysis has been conducted to compare the profitability, solvency and efficiency of Wal-Mart and Safeway. Ratio analysis helps to effective analysis of the financial statement. The financial status of the companies can be easily understood by the help of the r atio analysis. Safeway vs. Wal-Mart Safeway Inc is a supermarket whereas Wal-Mart is general merchandise. Wal-Mart can also be classified as hypermarket. Hypermarkets are similar to big-box stores. The business of hypermarket is decisive on high volume, and low margin of sales. Wal-Mart is a typical supercenter covers around 150,000 square feet to 235,000 square feet area. It is the combination of supermarket and departmental stores, mainly situated in suburban or out of town locations. More than 2 lac brands can found here. Whereas Supermarket is a store based upon self service. It presents a huge range of food and household merchandise, divided into sectors. The range of foods and products are limited here rather than supermarket. There is a huge difference between the inventories of these two companies. It is because Wal-Mart sells more than 2 lac of different type of products whereas Safeway is limited with its narrow range of food and household products. Net PP&E are almost sam e (60%) in case of both the companies, because both of them are involved in retail business. The cash of Safeway is also less than Wal-Mart is due to the size of the business. Wal-Mart is more capable of generating cash in a higher volume to its variety of products. Adobe vs. Hewlett-Packard Adobe Systems Inc. is a software development company and Hewlett-Packard Company is a computer manufacturing company. In a computer manufacturing company, heavy processes are driven for manufacturing new products. The workers are needed to perform a specific task. After the completion of one task the next task can be performed by the next worker. A software development company includes research, development of new product, prototyping, modification, reuse, re-engineering, and maintains of other activities. Hewlett is having fixed assets near about 2 times higher than Adobe. As Hewlett is a manufacturing company it needs more instruments and equipments than Adobe. In case of both short term and L ong term debt, Adobe has none of these two because it is a service based company. It does not need extra money to run its business. In case of Hewlett the value of both short term and long term debt is higher. As the company runs factories, it needs money from outside to run its business. Amazon vs. Consolidated Edison, INC Amazon.Com is an internet retailer and Edison Inc has its business on electric utility. When a

Art history Essay Example | Topics and Well Written Essays - 500 words - 4

Art history - Essay Example Aerial perspective is the technique of creating a work of art that shows how atmospheric conditions influence perception of distance objects. Objects closer to the horizon have lighter tones, and less detailed than objects far from the horizon. A good example is looking at the sky whereby the part directly above a person looks bluer, but looking towards the horizon the color fades and appears lighter. Evidence of application of aerial perspective can be seen in architectural drawings such as a city plan. Artists realized that moisture and dust in the atmosphere caused the light passing through it to scatter. The most scattered is the short wavelength, which is blue, and the least scattered is the long wavelength, which is red. This results in far looking objects to appear bluer, paler, and hazier. Landscape painters utilized this principle to present the atmosphere between the viewer and distant objects such as mountains. The atmosphere makes distant objects appear with less distinct edges and outlines than objects nearer to the viewer. Among the first painters to utilize this technique was Leonard Da Vinci who invented the term aerial perspective. In the painting of by Masaccio, Tribute Money, there is evidence of change in color and value of the composition as the viewer’s eyes move from the foreground backwards. As the viewer looks backward, the hills in the painting become lighter and lighter, and also bluer. Moreover, the objects in the background appear cooler than the foreground objects.

Air and Land Pollution Assignment Example | Topics and Well Written Essays - 500 words

Air and Land Pollution - Assignment Example Besides the adverse effects of land pollution on the human health, there are other effects of land pollution. These effects include changes in the climatic cycles, effects on the wildlife; environmental impacts such global warming among other effects.There are possible measures that should be put in place so as to combat the effects of land pollution. First, people should be made aware about waste recycling and reuse. Farmers should be encouraged to reduce the usage of fertilizers and pesticides in their agricultural activities. People should buy biodegradable products and dumping sites should be located away from residential places.Deforestation is situations where there are large number of trees cut down without plant more. Deforestation can lead to ecological imbalances and climate changes. Global warming is gradual rise in average temperatures on earth surface and ocean.Air pollution is the accumulation of substances in the atmosphere that are a threat to human and animal health. There have been increased cases of air pollution all over the world and mostly in developed countries. Polluted air contains one or more hazardous contaminants or pollutants that are dangerous to general health. The increased air pollution has been as a result of quick growth in urban population, increased industrialized and the increased demand for motor vehicles and energy. Other causes of air pollution are poor production technology, poor environmental regulation, poorly maintained cars and congested.

From dependence to independence Essay Example for Free

From dependence to independence Essay A Taste Of Honey is a twentieth century play set in the 1950s. It is known as a kitchen-sink drama and was written by Shelagh Delaney at the age of 18 and was first performed in May 1958. A kitchen-sink drama originated in the literature in the 1950s and 1960s. Its aim is to create a true picture of the hard life and troubles of the working class life. In A Taste Of Honey the two main characters are always falling out with each other and the people around them. The conditions they live in are cramped and poor in bedsits or flats. An example of a kitchen-sink drama is in Look Back In Anger by John Osborne and Saturday Night And Sunday Morning by Alan Sillitoe. Plays and dramas in the fifties were performed for the middle and upper classes but then came the debut kitchen-sink drama; Look Back In Anger, which was aimed at the working class. A kitchen-sink drama play uses everyday common language to reflect the lives of the working class people portrayed. A Taste Of Honey is set in Salford, Manchester. It is about the life and relationship between a young girl, Jo, and her mother, Helen. They move around a lot, and have just moved into a shabby one-bedroomed flat in Salford. Helen is a semi-whore who lives off money which has been given to her by her men friends. Helen also drinks a lot. Jo is fifteen years old and she is very talented in an artistic way and enjoys drawing, but she blames her mother, who she refers to as Helen, for disrupting her education. Helen and Jo move into a shabby rented flat in Salford and its very cramped and small. Jo isnt happy but Helen doesnt mind. Jo tries to make the flat look and feel more liveable in by deciding to plant some bulbs. Helens not bothered though, and is happy that at least they have a roof over their heads. She has a what you see is what you get attitude towards life and lives by a day-to-day basis. Helen also uses a lot of sarcasm, for example, when Jo is complaining about the flat, Helen replies, Everything in it is falling apart, its true, and weve no heating- but theres a lovely view of the gasworks. Helen is a single parent and theres no mention of any relatives throughout the play. Single parent families were not accepted in the 1950s and if a couple wasnt married, it was seen as living in sin and frowned upon. A Taste Of Honey is aimed at adults and older teenagers as there is a lot of crude and rude humour and bad language, reflecting their working class lives for example, Helen: Take your bloody money and get out. Peter: Thank you. Helen: You dirty bastard. Also, teenage pregnancies, race and sexuality were big issues in the fifties. Homosexuality was a criminal offence, even if the couple were of a consent age. Many homosexuals were locked up, and underage sex was strongly frowned upon, and abortions were very difficult to obtain. Women had to resort to back-street abortions, which were very dangerous and could be fatal, so thats why there were a lot of teenage pregnancies. In the fifties, there were very few black people and they were given low paid jobs in the service industries and hospitals. These three issues are all part of the story. Jo has a teenage pregnancy, Jimmie is black, and Geof is homosexual. There were no equal opportunities, for example, men got paid more than women in exactly the same jobs. Housing conditions in Salford were poor. Most houses were small, cramped and dirty. Many rented bedsits or flats often shared amenities like bathrooms and toilets, and this is the case in A Taste Of Honey. We share a bathroom with the community and this wallpapers contemporary. What more do you want? In A Taste Of Honey, Jo doesnt call her mother mother. She calls her Helen. This shows that she doesnt have much respect for her mother and wishes to live her own life, and not to be ruled over by someone who is not a good mother figure. I think Jo is lonely, as she hasnt settled down in a school yet so she hasnt had the chance to make any friends. Helen also treats Jo as if she is just something thats there. She refers to Jo as she and her. Wouldnt she get on your nerves? Helen also drinks a lot, and even though Jo isnt treated as a real person, she still wishes her mother would stop. Drink, drink, drink, thats all youre fit for. With Jo wanting Helen to stop drinking, I think this shows that Jo is scared, that if the drinking carries on and Helen gets ill or something happens to her, then Jo will be alone. Helens favourite past-times, which Jo disapproves of, are her drinking habits and sleeping around. Helen is not a good mother and she knows this herself, Have I ever laid claim to being a proper mother? Helen hardly knows her daughter. This is made obvious when Jo decides to have a bath in the morning because its dark outside, and Helen replies, Are you afraid of the dark? whereas in any normal family, the parent would know if their child was afraid of anything with living with them for fifteen years. Jo hates school. She has been moved from school to school and never settled in any of them, so she cant be bothered with it, but she is very talented in drawing. When Helen finds some of Jos drawings, her only reply is, I thought you werent good at anything. Helen starts to encourage Jo by saying its very good, but then her sarcasm returns when she says, I think Ill hang this on the wall somewhere. Now, where will it be least noticeable? When we meet Peter, he enters with a cigar in his mouth. He seems very cocky and seems the sort of person who doesnt really care for other people, as he is self-centred. He keeps telling Jo to go away, and tells Helen to get rid of her, because he just wants Helen for sex. Jo doesnt want to leave the two alone, and keeps interrupting because she is afraid that Peter will get the attention off Helen that Jo has always wanted. Also, Jo knows that Helen will abandon her and go off with new men she meets, as she has done it before. When Helen goes out the room and Jo is left alone with Peter, she starts to question him. Jo sees some photographs in Peters wallet and demands to know who they are of. Can I see the other photos? She then starts to ask why hes marrying Helen and asks if he fancies her. Do you fancy me? I think she asks this because she knows that her mother is beautiful, and she gets lots of attention off men, so Jo wants to see if she could be just like her. Helen is somewhat an idol to Jo, because she always asks people if they think Helen is beautiful, and she wants to be just like her always getting attention from men. Jo, in a way, is jealous of Helen. I think Jo is fairly independent for her age, as she is certain about what she wants to do. She wants to leave school and start working as soon as she can. This shows that she acts older than she really is and is mature for her age. In scene 2, we are introduced to Jos boyfriend. In this part of the play, we know him as Boy, but later on we find out his name is Jimmie. He is a black sailor in the navy and he asks Jo to marry him. Boy is twenty-two, and Jo lies about her age and tells him she is eighteen. He questions her about what Helen will think about him because hes a coloured boy. Boy: She hasnt seen me. Jo: And when she does? Boy: Shell see a coloured boy. I think Boy is worried about meeting Jos mother, as racial prejudice was a big issue in the fifties. Jo tells him, though, that her mother is not prejudice and will not mind, but at the end of the play when Helen finds out that the baby will be black, she starts to get mad. When she finds out, she says, Oh dont be silly Jo. Youll be giving yourself nightmares. She thinks Jo is pulling her leg but she is serious. When she finally realises that it is true, she doesnt care what people will think of Jo, but what people will think of herself. Can you see me wheeling a pram with a Oh my God, Ill have to have a drink. Boy has to go away for six months, and he reassures her hell be back. I think Jo thinks she loves Boy, but doesnt expect him to return, because when he says he is going, Jo says her Hearts broke. Boy offers comfort by saying; You can lie in bed at night and hear my ship passing down the old canal. But when Boy starts to flirt with her in a naughty way, she says, I may as well be naughty while Ive got the chance. Ill probably never see you again. I know it. I dont think that its true love between Jo and Boy, as Jo is young and every time they say they love each other, their replies to one another is always how, and why. Boy: I love you. Jo: How do you know? Whereas if they really did love each other, they wouldnt ask for reasons why. Jos friend Geof, is very considerate and caring. We meet Geof in Act 2, Scene 1 after him and Jo have been to the fairground. Geof is a homosexual and he has been kicked out of his flat by the landlady because of this, so hes been spending time at Jos. By this time, it is summer and Jos pregnancy is obvious. Helen has moved out after marrying Peter and left Jo alone. Geof comes into Jos flat after the fair and is about to go but Jo literally begs him to stay. Geof, dont go. Dont go. Geof! I think Jo is scared to be alone, that she doesnt know what she would do alone with the birth getting nearer. Geof starts looking through Jos drawings and criticises them by saying he doesnt like charcoal and that the drawings are exactly like Jo, with no design, rhythm or purpose. When Geof starts telling Jo that a lot of money will be needed for the baby, she tries to ignore the fact that shes pregnant and tells Geof to shut up, but Geof isnt saying this to worry her, but to get her prepared and face reality. He cares for her and because Helen doesnt know about the pregnancy, Geof thinks she has a right to know that shes going to be a grandmother but Jo objects. Jos relationship with Geof is a love similar to that of a brother and sister, as he is more into looking after her. I think Jo really cares for him too, as she begs him to stay over and she has a laugh with him as well as being flirty at the same time. Jo: Do you like beer? Geof: Yes. Jo: Gin? Geof: Yes. Have you got some? Jo: No, but if I had, Id give it all to you. Id give everything I had to you. When Jo and Geof go to bed, Geof questions Jo about Jimmie. Geof: A black boy? Jo: From darkest Africa! A Prince. She exaggerates as though it was a dream, or a fairytale. Just before they go to bed, Jo laughs and tells Geof, Youre just like a big sister to me. A few months later, Jo and Geof are getting ready for the arrival of the baby and Geofs making a baby gown while Jo wanders about the room. It is not something that the audience would expect a man or brother to be doing. It would more likely be a sister. I think Jo is nervous because the birth is very near and she is restless. She is very excited when the baby kicks, and tells Geof. Jo always seems to flirt with Geof, playfully putting her arms around him, but when Geof is serious about him and Jo, she backs off. Geof: Let me kiss you. Jo: Let go of me. Leave me alone. I think this is where Jo becomes more mature and independent, as she knows what she wants. I think Ive had enough. Im sick of love. But then Jo realises that she cant really cope, that the baby is perhaps more than she can handle and her hormones are getting the better of her. Ill bash its brains out. Ill kill it. I dont want this baby, Geof. I dont want to be a mother. She realises that she wants Jimmie back, she misses him so much, and she wants the real father to her baby. Every Christmas Helen used to go off with some boyfriend or other and leave me all on my own in some sordid digs, but last Christmas I had him. Geof thinks he is only welcome in Jos flat until she finds her next Prince and in my opinion, Geof is hurt. When Helen comes to see Jo with Peter, Peter is prejudiced against Geof and calls him a fruit cake parcel. He is drunk and wants to go to the pub with Helen, and so he starts making his own fun by calling the flat Jo lives in, and calling Jo a slut. Jos attitude towards Geof towards the end of the play changes for the better. From the way they both talk to each other you can see they have both grown up. Jo is more open to Geof about her relationship with Helen. You know I used to try and hold my mothers hands but she always used to pull them away from me. She had so much love for everyone else but none for me. When Jo says that, it actually makes the audience feel sorry for her, and disgusted with Helen, because Jo didnt have a genuine mother figure. She also tells Geof about how Helen got pregnant with her. She tells him about how she was married to a Puritan, but wanted some fun so she had a frolic in a hay loft one afternoon with a daft man. This shows that she feels secure with Geof and more confident with him as she tells him everything that happened and wants him to feel sorry for her and to understand her because she didnt have a good childhood. Jo starts to value Geof, as she realises he cares more than Helen. At the end of the play, Helen tries to hint that she wants Geof to leave so she can move back in. she thinks she could look after Jo better than Geof, even after the months she has missed. There wouldnt be much room for two of us on the couch, would there? The only hint of love from Helen for Jo throughout the play is when Jo is having contractions and Helen strokes her hair, saying everything will be all right. This is the only time in the play when Helen is shown to be supportive of Jo. It shows Jo is independent and has matured, because when Helen doesnt know how to use the stove, Jo tells her, whereas this time last year, it was the other way around. When Geof leaves, and Helen finds out about the baby being black, she says shes going for a drink. This part reflects the beginning, when Helen abandons Jo at Christmas. Unfortunately just when Jo needs her mother the most, she leaves her yet again. When shes out the door, Jo leans against the doorpost, remembering the good times with Geof and smiling to herself, as she recites a rhyme that Geof taught her. This shows that she is now dependant on herself, and knows she can cope by herself, because she was left alone the year before, and knows she can do it again. Jos Taste Of Honey was when she met Jimmie, but in my opinion, I think her Taste Of Honey was the time she spent with Geof, because he taught her a lot of things in life, and throughout the play you can see how she has matured, and adopted a more serious attitude towards life.

Advantages And Disadvantages Of Using Networks Computer Science Essay

Advantages And Disadvantages Of Using Networks Computer Science Essay Introduction to network Computer network or network is collection of computers, printers and other devices connected with each other through a connection medium and other suitable peripherals. The purpose of the connection is mainly transfer or share data, share of resources such as printers, applications etc. The connected computers and devices may be in the same building or can be Located in different part of the city, country or world. Appropriate connection medium, peripherals, software enable computers to transfer, and receive data such as text, pictures, video, sound through email, file transfer (ftp-file transfer protocol), web pages(http -hyper text transfer protocol) etc from one computer to another computer in the network securely. History of networking The first idea of computer networking was developed by J.C.R Licklider, a computer scientist in 1962. He was later appointed by U.S. Department of Defence at their research project called ARPA (Advanced Research projects agency). ARPA was funding research for developing computer network to MIT. In 1966 first ARPAnet plan for packet switched network unveiled and in 1969 first official computer network was built between University of California Lon Angels (UCLA), Stanford Research Institute (SRA), University of California Santa Barbara (UCSB) and University of Utah. The first message was sent from UCLA to SRI. In 1973 Arpanet goes global; University College London and few other European organizations joined the network. In 1982 standardized Internet technology protocols TCP/IP (transmission control protocol and Internet protocol) were developed which enable internetworking among single sets of networks efficiently and commercial Internet services started to evolve. In 1991 World Wide W eb was developed and Internet became popular and expanded rapidly including dramatic rise of email users, text based discussion forum etc. Advantages and Disadvantages of using networks Advantages Disadvantages Share of Expensive Resources: Printer, fax machines, modem and other connected resources can be shared. File and application sharing: Major advantage of network. User can access any file remotely from his computer to another computer with appropriate security measures. Applications also can be used without having installed in every computers of the network. Cost saving: Sharing application by installing its network version saves cost of many copies of individual application. Sharing devices such as printer, fax etc saves cost. Secured: Files and application are password protected in network, which means only authorised person can access it. It is more secured than traditional file system. Speed: Message, Data, file can be transferred almost instantly to any part of the world. Easy management: Software can be installed in server, also managing and troubleshooting can be performed in server. This eliminates the need of installing and managing software in hundreds of computers in an organization. System failure: Servers or connection faults stop accessing files or data. This can lead to loss of data and resources. Security issue: data and file can be theft by hacker. This is the main drawback of computer networking. Computer viruses, spyware attack can lead to system failure, data and resources loss. Expensive Equipment: Networking equipments are expensive compare to traditional file system and communication method. Answer of criterion P1 (b) Remote Access Remote access means accessing and using any file or application from a computer to another computer connected in the network. Both computers may located in same building or thousands miles away. Generally files or applications are accessed over Internet, intranet or LAN with an authentication process which determine the level of access of the user. For example, a sales staff of Barclays bank accessing loan authorisation database from his home through Internet. Intranets Intranet is a private computer network between an organization using Internet protocol and tools such and HTTP, file transfer application to share information or application within the organizations. Typically, authorised users of an organization gain access files or applications in Intranet through a web page with their user name and password. Staffs of the organizations also maintain internal communication in Intranet via email. Email is accessed via an email client such as Microsoft outlook, Eudora etc. this email clients use POP3 (post office protocol) and SMTP (simple mail transfer protocol) for receiving and sending mail. When an email is sent, the email client connect to the server after providing valid user name and password and verify the address of the recipient, if the address is correct it leaves the email on the server. When recipient checks his email, his email client connects to the POP3 server. POP3 server also requires a user name and password. After logging in email client bring the copy of email message to users computer and generally delete the message from the server. User than read or search email message in his computer. Internet Internet is the largest network in the world. It interconnects world wide networks of organisations, billions of computer users in one single network using Internet protocol (TCP/IP). Internet is a global data communication system with the largest resources of information and services such as World Wide Web, Email, file transfer protocol etc. Email in Internet works using SMTP, POP3, and IMAP. Users use email software or web page email program such as yahoo, hotmail etc for sending and receiving mail. This program connect user to the server for sending and receiving email similarly discussed in Intranet section. In Internet SMTP server has communication between other SMTP servers in Internet. When an email sent SMTP server check the address and send the mail to recipient email server. Similarly when recipient checks the email using POP3 it does the same as discussed earlier. IMAP (Internet mail access protocol) is more advanced protocol which provides better features than POP3. In IMAP email is kept in the server. User can organise email in different folders and they stays in the server. It enables users accessing mail from any computer any time as email resides in the server. LANs (Local Area Networks) Network in a limited geographical area such a home, office, school in same building or in different building within short distance. Each connected computer or devices are called node. Currently most wired LAN connects using Ethernet technology. Fig: LAN WAN (Wide Area Network) WAN connects networks over a large geographical area such city, state or over countries. It uses routers and combination of communication channels such as public communication link, air waves, etc. Fig: WAN MANs (Metropolitan area network) MANs connect two or more LAN within a same city or town. It normally connects two or more branch of an organisation within the same city using routers, switch, and hub. It often connects through public communication link. Fig: MANs Networked application An application software which can be shared on a network from connected computer by an authorise user. Networked application is normally installed on server of a network, and authorise users of that network (LAN/WAN) can access and work with that application from their workstation. This application utilizes Internet or other network hardware infrastructure to perform useful functions. Answer of Criterion P2 Description of Devices/ Hardware/ software Number of unit and unit price Price Performance Security Utility Workstation: COMPAQ Presario CQ5305UK-m Desktop PC with Monitor CPU- Intel Core2 Duo 2.1 GHz OS; Windows 7.0 15  £359  £5385 20 work station is connected using netgear switch provides a full duplex very high 100 mbps data transmission speed over a 100baseTX connection with UTP CAT6 cable. Dell powerEdge server with Windows server 2008 R2 standard edition gives efficient and secured file sharing and print server functions, remote access, application sharing. Windows server 2008 R2 edition has an increased efficiency and service with windows 7.0 clients operating system. Microsoft Windows 2008 server R2 edition network OS have enhanced security features to prevent server form hackers, and gives a solid dependable environment for networking. Kaspersky Business space security software provides real time protection to the server and work stations against harmful virus, spyware, and other harmful internet treats. its constantly monitor and scan all open or modified files and application. It isolate any infected workstation on the network to prevent the server from being infected and clean the workstation. This LAN will enable the users of this organization share file and information whenever they needed from their work station. They are able to print any document from their printer using network printer. Sharing printers and applications saves companys cost and increased productivity. Server: DELLâ„ ¢ PowerEdgeâ„ ¢ T110   CPU: Intel Core i3 2.93 GHz Net OS: Windows Server 2008 R2 standard edition + 20 CALs (client access license) 1  £1359 Switch: NETGEAR JGS524 Gigabit Switch -24 ports 1  £237 Cables: 200 m UTP ( CAT 6 )    £42 Connector: Network connector RJ-45 2 pack ( 25 in a pack)  £4 each  £8 UPS: (UPS provides uninterrupted power supply to the server and prevent server failure due to an event of power cut). APC Smart-UPS 2200VA 1  £588 Security Software: Kaspersky Business Space Security for 20 workstation and 1 windows 2008 server. 1 year subscribtion  £587 Answer of Criterion P3 Overview of network Operating system A network operation system is a set of software that control and manages computers, printers and other devices connected in a network. it allows computers to share file and devices connected in the network. It is installed on a computer called server which centrally maintain the network. There are many Net OS from different vendors in the market. Among them most popular are Windows NT, Windows Server from Microsoft, Unix Novel Netware from Novel Inc. Apple Share from Apple Regardless of vendors all Net OS works by providing following functions and services to the client and server File and print sharing Accounts administrations for users Security Some basic features of a network operating system are- Add , remove and modify users, workstations, devices in the network Add, Remove and configure application software to be used and shared by the users on the network Control and manage users and their access Allow and control users to share data, application and devices such as printer, fax etc. Allows users to transfer data from one computer to another computer in the network Mange security and privilege. Security Implications of network use The computer connected in a network is vulnerable to intruder such as hackers and intrusion programs. Also virus, malware, spyware, worms on the network attack the system. Those attacks may results valuable information theft, system failure and data loss or even irrecoverable damages to the system. Intruder gain access and control of the system by using some methods as described below- Back door and remote administered program Spam email Email virus Trojan Horse program Hidden files To keep the system secure there are some security measure should be taken. System needs to be password protected, password should be changed regularly and shouldnt be disclosed to anyone System should have latest software update. Antivirus, firewall, anti spyware should be installed and should be updated regularly. Suspicious email shouldnt be opened. File or program shouldnt be opened from unknown sources Disable hidden file extension Disconnect from network when pc is not in use. Software Licensing Issues Software licensing is an agreement between user and software manufacturer. software using conditions and distribution limitations. Software is intellectual property and protected by copyright laws. When a software is obtained from any sources users enters into some legal bindings set out by the manufacturer or distributor on how this software may be used. These includes but not limited to numbers of users, distribution rights and limitation, resale rights and limitations, reproduction and modification limitations etc. Most of the commercial software comes with license when purchased off the selves. Some software license is bundled with specific hardware or new system, call OEM License. There are different categories of software license- Propitiatory: Software own by a company or individuals and not free or open sourced. Redistribution or reproduction is generally not allowed or limited Freeware and Open source software: Generally free and permits user to modify, reproduce and distribute according to their own preference Shareware, Trial ware: is propitiatory software but provided free to user to use for a limited period of time for testing. Reproduction is not permitted but distribution may be permitted with certain conditions Constrains on Capacity and performance Every Network has limited capacity of transferring and receiving data. this capacity (bandwidth) depends on the several factors such as device and medium used, price etc. each users of a network share the bandwidth and everyone is effecting the performance of the network. For example, if user sends a very large video or animation file to another computer in the network which most likely to use most of the capacity of the network, which will make the network very slow to other users. Thus performance is affected, in some cases packet or data losses may occur due to overloading of network. When a packet is lost, retransmission of packets attempted and this cause delay of receiving and sending data. Answer of Criterion P5 Relationship of Various Protocols, devices of network with OSI-7 layered model Application (Layer 7) Http-Hyper text Transfer Protocol Telnet FTP- File transfer protocol Presentation (Layer 6 Jpeg, Gif, avi, mov, mpeg etc Session (Layer 5) NetBios Names, RPC, AppleTalk, Winsock Transport (Layer 4) TCP, UDP,SPX Network (Layer 3) IP, IPX, AppleTalk DDP Router Data link (Layer 2) Frame Relay, HDLC, ATM, IEEE 802.3/802.2/802.5 Ethernet Switch, Bridge Physical layer (Layer 1) Ethernet, 802.3, 802.5, Token ring Repeater, Hub Ethernet: Most commonly used protocol for LAN. Ethernet fits into the Data link layer and Physical layer of OSI model and deal with the hardware of the network. it define about the type of media, connectors, characteristics, use of wires, shape of connectors etc. HDLC: High-level Data link Control used for point-to-point WAN link. TCP/IP: Transmission Control Protocol/ Internet protocol. These pair of protocol allows one network to communicate with another by creating logical address, segmentation of large data into small packets, data encapsulation, error recovery etc. UDP: User datagram Protocol. Transmit data from one host to another without establishing a prior connection. It simply transmits data without knowing if the data is transmitted correctly thus unreliable. ICMP: Internet Control Message Protocol carry error recovery data, control data such as destination unreachable, echo request, etc between two host Http: Hyper text transfer protocol, FTP: File transfer protocol SMTP: Simple mail transfer protocol