City of God Analysis

City of God Analysis The films studied for this essay City of God (2002) and Favela Rising (2006) have taken favelas from the marginality of Brazilian society and transported them into the consciousness of the international public. Favelas have become a cultural icon of Rio de Janeiro, as famous as the postcard images of Copacabana beach and the statue of Christ the Redeemer on Corcovado mountain. Since 1992 tourists have been able to sign up for â€Å"favelatourâ€Å" and see first hand the favela of Rocinha via one of the multiple tourism agencies competing for business in what has become one of Rios most popular tours. [1] City of God Fernando Meirelles film City of God (2002) is based on the Brazilian novel of the same name by Paulo Lins (1996). City of God (Cidade de Deus) is the name of the favela where Lins grew up, and the novel is based on a true story taken from interviews and research conducted by Lins in the favela over a period of 8 years regarding the state of drug trafficking and gang warfare. The film has attracted much critical acclaim due to its confrontation of the issues within the favela as well as the gritty realism with which it was shot and unabashed depiction of violence within the favela. The film is narrated by one of two central characters, Rocket, and tells the story of the lives of himself and Lil Ze, children who grew up in the Cidade de Deus in similar circumstances yet who chose separate pathways in life. In the film the character Rocket symbolises hope, as he dreams of becoming a photographer, and this is used as a vehicle within the film to portray imagery of the favela to both the media in Rio de Janeiro within the story, and to the viewer. Lil Ze is a child with the taste for crime that grows up to be the favelas most powerful and notorious drug dealer. The lives of the two are intertwined and ironically Rockets dreams of becoming a photographer are realised through his access to life in the favela and his depiction of the crimes perpetrated by Lil Ze and his gang. The films opening and closing sequence include a 360 degree rotational shot of Rocket in the centre of a face off between the gangsters and the police, unsure of where to turn. This is symbolic of the story of the film in that his life can take one of either direction. The narrative is then broken down into a series of vignettes which tell the story of the favela and the central characters, and ultimately which path Rocket decides to take. I argue that this film was imperative in raising awareness of both the existence of as well as the issues within the favelas in Rio de Janeiro, and was one of the first cultural representations to emerge from Brazil to show the darker side of the city and an alternate reality to what is commonly perceived about Rio, that is postcard images of beaches, sunsets and samba. Via this cultural vehicle I argue that it was possible to begin to conduct businesses in the city such as favela tour and favela party due to interest from foreigners in seeing and experiencing a slice of life in the favelas. Which raises the question: Did this film glorify life in the favelas, or did it depict a realistic perspective of reality? How has consciousness raising of the foreign public since affected the inhabitants of these urban spaces and has this effect been positive or negative? I argue that one of the key strengths of the film is realism. The actors are amateurs recruited from the favelas, and the central character Rocket (Alexandre Rodrigues) is from the Cidade de Deus favela itself, which lends authenticity and personal perspective to the characters. The film was shot inside a real favela rather than a film set, taking the viewer directly into the urban space of favela inhabitants. There are several key themes in the film which I will outline below and which raise points of discussion related to the reality of life for favela inhabitants. Alongside the theme of choice, the film raises the questions of what options children who grow up in this environment have for survival. One of the most shocking and criticised features of the film is its portrayal of violence executed by young children in the favela. The characters The Runts are a group of children in the favela aged younger than 8 who view crime and becoming part of a drugs ring the only option for their future. Their youth is emphasised in a scene where they are discussing wanting to take over the most powerful drugs ring in the favela whilst sat in a fenced off cubicle which could be likened to a childrens playpen. This scene culminates in possibly the most memorable and shocking scene in the film, where a child wishing to be initiated into Lil Zes gang is forced to decide between which two children from t he Runts he wants to shoot and kill. We are faced with his indecision coupled with his detachment from the situation he is placed in. One of the children whose life is being decided bursts into tears, and with a close-up shot of his face we are immediately drawn to his extreme fear of the situation he is in, as well as his age, which could not be more than 5 years old. The child character who pulls the trigger. Steak and Frites, is later depicted in the house of the rival gang being questioned as to why he wants to be involved in the gang warfare, and says: â€Å"I smoke, I snort. I have killed and robbed. Im a manâ€Å". At the termination of the film when the Runts have murdered Ze and are discussing how they will take over his business and become the leaders of the favela, their lack of education is highlighted when one of the group asks for the purposes of creating a hit list of those they intend to murder who here knows how to write? and one of them responds a little. Either these children have had no access to education, or more concerned with their survival in the favela consider schooling to be an unnecessary part of life. An important aspect of the manner in which the film is shot, and a characteristic for which the film has received much criticism, is that of detachment. How the viewer feels towards the acts of violence and the characters they are enacted upon is a metaphor for how society in Rio de Janeiro feels towards the favelas- unemotional, detached, separate. That what happens inside the favela is their own business and does not affect those who live outside. The majority of characters in the film are presented in a one dimensional manner and are not depicted displaying emotion. Thus when they are murdered they become another number of the large headcount in the film. Characters are filmed from a distance and the lack of facial close-ups imbues the viewer with this sense of emotional detachment. The one exception to this is portrayal of the gangster Benny, Lil Zes best friend, who decides he wants a life outside of crime and the favela. We view him preventing Ze from shooting those who owe him money, his kindness in letting people out of debts owed to him, his desire to give Rocket a camera to pursue his dreams, and intimate scenes with his girlfriend. When Benny is killed by an addict and thus prevented from leaving the favela we are confronted with the only moment of remorse in the film; this is the only moment where Ze shows emotion, where the camera shots linger at the scene of the death, and where the viewer is in a sense instructed to feel grief for his loss. His death is also paramount in depicting the difficulty of trying to be a good character within or trying to leave the life of the favela. The final key theme of the film I would like to discuss is that of police corruption in Rio, which is clearly depicted in the film as integral to the survival of drug rings and proliferation of access to weapons. At the climax of the film when the two rival druglords Lil Ze and Carrot are captured by police, we witness two important events: Carrot is kept in custody by the police who say he will be a present for the media, whereas Ze is let go and through Rockets camera lens we see that police have been providing him with weapons and drugs in return for money. Favela Rising On August 30th 1993, a group of approximately 30 masked officers from Brazils Policia Militar entered the favela Vigario Geral and using machine guns and hand grenades killed 21 residents, including 8 members of an evangelical Christian family inside their home (NYT 1993). Henceforth known as the Vigario Geral Massacre, this was said to be in revenge for the murder of four policemen at the hands of the Comando Vermelho drug faction several days earlier. Day to day life within favelas is often referred to as wartime in a country officially at peace. Residents are accustomed to daily gun battles and being under the control of the armed drug factions. Police corruption is viewed by many as the prime reason this war is able to take place. As depicted in City of God and Favela Rising, and as told by favela residents under interview, Brazils military police provide the weapons to drug factions, and facilitate the trafficking of drugs in and out of the favelas. A 1993 robbery of an armoured van in Sao Paolo perpetrated by members of Comando Vermelho was found to have been possible using metal piercing bullets from automatic weapons legally available only to the Policia Militar. (NYT 1993). The documentary XXXX shows film footage of police transporting weapons into the favela. Violence within a Political Democracy Brazils military dictatorship ended in 1985 after 20 years of rule, however under the democracy many Brazilians feel less safe. (Caldeira) Since democratic rule, police violence has reached critical levels and events indicate serious degradation of democracy, with high levels of violent crime, police crimes against citizens, and human rights abuses a regular occurrence. Public space in Rio de Janeiro is often characterised by assaults of different types, muggings, and general lawlessness, creating a culture of fear and suspicion (Caldeira). Policies attempting to bring violence under control, such as Operaà §Ãƒ £o Rio in 1994 where military police were sent into the city on a mass scale, are replacing democratic initiatives at state level with assertion of civil order in an episodic manner. Public opinion polls found general support for the operation, with a general attitude that suspected criminals should not be subject to the same human rights conventions as normal citizens (Calde ira). Violence against civilians in favelas should also be considered a failure of democracy to protect their rights. Violence towards favela inhabitants can be seen as the result of a mixture of public attitudes towards criminal activity and middle and upper class attitudes towards favela inhabitants coupled with a police system which effectively serves only the elite. Public attitude plays a large role in the politics of policing and providing assistance (or lack thereof) to favelas. Volunteer worker XXXX in the film Bus 174 spoke of the public opinion polls in relation to the police shooting of 8 street children at Candelaria, where people said the shootings were a positive event, and that â€Å"society needs to be cleaned of this dirtâ€Å". **QUOTE CALDEIRA HOLSTON P699 CRIMINALISATION OF THE POOR*** ***ALSO ALTERNATIVE JUSTICE IN FAVELAS P713*** Development of Brazils Urban Spaces Industrialisation in Brazil began in the early 20th century and has always had significant links with urbanisation, directly influencing the composition and evolvement of the urban network. The primary urban centres of Rio de Janeiro and Sao Paolo received the largest amounts of investment during the course of Brazils economic development, resulting in mass amounts of migration from rural areas. The National Census in the year 2000 (IGBE) documented 82% of Brazils 174 million residents live in cities. Furthermore, 80% of the total population live in 25% of the municipalities, indicating strong spatial concentration. (Xavier). Despite being one of the more important economic centres of Brazil (together with Sao Paolo constituting 20% of Brazils GDP (Acioly) ) the metropolitan region of Rio De Janeiro is marked by discernible social and wealth disparities between inhabitants. The needs of low income families unable to afford rent and living in favelas and cheap land on the periphery of the city mean continuous large volumes of transit of inhabitants between the periphery and the centre, where they have access to employment and services, creating severe socio-spatial stratification at the metropolitan level. In the 1990s, confronted with increasing social tensions and the recession of the entire country, favelas and low rent land became the focus of violence, with drug trafficking establishing a power parallel to official local controls, to the detriment of municipal regulations and law. The residents associations (AMs) which were very active in the 1980s fell under continuous intimidation and fear, and were often physically in the centre of shoot-outs between gangs and police. History of Favelas in Rio The Portuguese founded Rio de Janeiro in 1565 and by the end of the 16th century the hilled regions of the city were already substantially populated. Swamplands surrounding the hills were drained and soon also attracted settlers. Until the late 18th century the primary crop of the economy was sugarcane grown on the peripheries of Rio, which greatly influenced the spatial structure of the city. (Xavier). Following the relocation of the Portuguese Royal family to Rio in 1808 and the naming of Rio as the capital of Brazil, the population increased 25%, 50% of whom were slaves. (Xavier). There was a need for construction of housing for the higher income migrants and Portuguese nobility, with houses built closer to the periphery of the city, shaping the beginning of the patterns of segregation in Rio as rich and poor lived separately and in greatly different standards of housing yet within the same city centre. In 1888 slavery was abolished and freed workers from the coffee plantations migrated in large numbers to Rio. The word favela originated in the first low income residence to be constructed in the city centre, named Morro da Providà ªncia and later â€Å"Morro da Favelaâ€Å" by residents who were primarily ex soldiers and ex-slaves whom were not capable of integration into the citys economy. (Xavier). Government initiatives to modernise Rio led to large low income residential areas including those on hillsides being demolished, displacing predominantly the citys poor and forcing them further to the peripheries to resettle. By definition a favela is a squatter settlement, usually self-built by its inhabitants illegally on land lacking any infrastructure and without any urban plan for its development. The last official estimate for the number of favelas in Rio de Janeiro was 605 (PCRJ, IPP) but unofficial estimates read that 100 more have arisen since then. The typical location of favela construction is hillside areas, though in the 21st century they have increasingly been built in swampy land areas such as near the higher income Barra de Tijuca expansion zone. (Xavier 8) Rios first urban plan was developed in the late 1920s, named Plan Agache, following a segregated functionalist principle to organise the city (Xavier). In this plan the southern beachside areas of Ipanema, Leblon and Gavea were reserved for the upper classes, while the working classes were relegated to the suburbs, and the first plans for total eradication of the favelas were made. This was the first official document to describe favelas as a problem which must be eradicated; they were viewed as an epidemic which was blighting the most expensive land in Rio. As a result of this first urban plan dividing lower, middle and upper classes into distinct sections of the city, the only option left for the poor who did not fit these categories was to move into squatter settlements, either on the city outskirts or in dangerous and therefore undesirable locations such as steep hillsides. Alongside the explosive population growth and industrialisation of the following decades, Rios transport an d housing systems were unable to cope with the rise in migrants to the city, leading to the increasing spread of favelas into the city centre into environmentally fragile areas such as the hillsides separating the upper class suburbs. Living conditions in Rio display exceptionally poor distribution, demonstrated by the discrepancies in living conditions between the rich and the poor. There is a high level of socio-spatial inequality, with income being concentrated in a miniscule proportion of the population; the poorest 50% of Rios population earn only 13% of its income, while 12% of income is earned by the richest 1%. (IPEA). The social inequality prevalent in Rio de Janeiro is not applicable only to the physical make-up of the city but in the social configuration. Those located in the periphery in a physical sense are not only spatially remote; even when located in the centre of the city nest to a high income suburb, the favelas are in contrast with the â€Å"formal cityâ€Å". (Xavier). This inequality resonates in the difficult quotidianity of life for favela residents, who constitute 17% of Rios 5.8 million residents according to the 2000 census (IGBE). Segregation Telles (1995) in his study of the structural sources of socioeconomic segregation in Brazilian metropolitan areas concludes that the extent of urbanisation and predominantly population size is the key to understanding socioeconomic spatial inequalities in Brazil, and explains the majority of variations in segregation between different metropolitan areas. In dividing up income and race groups in Rio de Janeiro based on data from the 1980 census of Brazil it can be clearly seen that there is the smallest proportion of non-white households in the largest income group, and this percentage grows proportionately as the income levels are lowered. Due to issues of race and class being strongly correlated in Brazil, segregation (found to be largest between Rios lower and middle classes) becomes racialised. Thus racial segregation is partially ascertained by the higher numbers of non-whites in poorer socio-economic groups. However in the specific case of Rio, Telles finds class identities to b e stronger than racial identities, and this is explained by Rios particular spatial factors, for example the idiosyncratic mountainous landscape which played a part in the formation of Rios favelas. Bibliography Xavier, Helia Nacif Magalhaes, Fernanda (2003) Urban Slums Report: The Case of Rio de Janeiro Understanding Slums: Case Studies for the Global Report on Human Settlements UN IPEA/PCRJ/PNUD (2000), Relatà ³rio de Desenvolvimento Urbano A distribuià §Ãƒ £o de renda na cidade do Rio de Janeiro Rio de Janeiro, RJ Prefeitura da Cidade do Rio de Janeiro PCRJ, IPP (2000) Anuà ¡rio Estatà ­stico da Cidade do Rio de Janeiro 1998, Instituto Pereira Passos, Rio de Janeiro, RJ Website: http://www.armazemdedados.rio.rj.gov.br News Articles Brooke, James: 21 Shot dead in Rio Slum; Policemen are Suspected New York Times Section A p3 Column 1 August 30 1993 www.favelatour.com.br

Holdens Mentality in J.D. Salingers The Catcher In The Rye :: Catcher Rye Essays

Holden's Mentality in J.D. Salinger's The Catcher In The Rye A young man going through puberty, not knowing what he is doing or where he is headed, becoming increasingly insane, in a world in which he feels he doesn't belong in, and around a bunch of "phonies." This would describe the position of Holden Caulfield, the controversial protagonist and main character in The Catcher In The Rye (1951) written by J.D. Salinger. The book, all narrated by Holden in first person, in its very unique and humorous style, is about Holden, and all the troubles he has encountered through school, family, friends, and basically life. Holden has been expelled from a private school in Pennsylvania because of failing four classes, and decides to go to New York for three days before going home to his disappointed parents. At the beginning of the novel, Holden seems to be like any other 16-year-old young man. But the novel progressively displays through various examples of symbolism that Holden has many problems coping with the world around him. These symbols represent Salinger's ideas and concepts. Holden likes to reminisce about his childhood and visiting the Museum of Natural History in Central Park. He loved to visit the museum, for many reasons, and he even said that he got very happy when he thought about the museum. He tells us of the symbolic details in the museum, by saying, "The best thing, though in that museum was that everything always stayed right where it was. Nobody'd move. Nobody'd be different. The only thing that would be different would be you"(121). Holden likes this kind of world, and wishes that he lived in it. He wishes things would stay unchanged and simple. Holden is almost scared by change, and can't handle the conflicts in his life. Another very symbolic example in the book is the title itself. On the first night of his three-night excursion, Holden decides to sneak into his house and visit his sister, Phoebe, who he adores very much. Phoebe asks Holden what he would like to do with his life. Holden ponders the question and tells Phoebe about the poem, "Comin' Through The Rye" by Robert Burns. He tells Phoebe," I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody's around--nobody big, I mean--except me.

Fcuk Swot

SWOT Analysis Prepared for: Prepared by: 2 September 2008 Introduction I have created this SWOT analysis on French Connection’s Regent St. branch. I have identified and discussed the strengths/weaknesses of the store, and examined the opportunities and threats it may face. Strengths French Connection targets a fashion-oriented customer typically aged 18 – 35 and produces fashion-forward, well made, on trend, accessible clothing. Positioning is in the upper end of the mass market so that pricing reflects the good quality and fashion element of the offer. It is a well-known brand that all young adults can identify. The brand holds a large share of the competitively priced clothing industry, with a large capital they are able to advertise and market the products on television, Internet and large billboards across the globe. During my visit in the Regent St. branch, I found a nice, clean and well presented store. The strong shop window invites for a quick browse. The good layout gives grate opportunities for positioning best sellers, new collection and add-ons. Most of current trends are presented in the new collection. Very good designs in women’s wear satisfying different tastes and needs. Effective merchandising in women’s area, good stock presentation is giving great ideas for matching items and for whole outfits. Good range from classy to casual. Staff has good a product knowledge. Management seems committed and confident. Comfortable shopping ambiance. Down stairs till area good selling point. The location offers a wide range of customers. (high footfall) Weaknesses Poor selection of men’s wear. Men’s Visual merchandising is not as strong as the women’s, although in the shop window they were presented better then the lady’s. Unfortunately I found the men’s area half as effective as the women’s. I know most of the company’s profit is coming from women’s wear but I think there are a lot of potential male customers out there and a little bit more focus on men’s wear would bring them in more often. Customer service: During my visit I was approached once after 15 minutes browsing in the store. The staff seemed demotivated and there was no interaction with customers on the shop floor nor by the till. After trying on an item wasn’t offered a different color in the same style, a different style in the same color or an add-on. Lack of selling techniques) Also I wasn’t informed about witch items are on sale or where can I find them and they are quite â€Å"hidden† so found it a bit difficult to identify them. (Lack of promoting sales in store) Staff left their sections unattended leaving no possibility for me asking for help. (Lack of attention to the shop fl oor) Store’s interior needs a refit with a trendier design. Changing room on the ground floor is tight and during peak hours just disappointment for customers. Kid’s section upstairs easy to miss out for customers who don’t even know there’s a selection for kids. Ground floor till area poor of add-ons, found just a small box of bangles. Opportunities More staff meetings and training on selling techniques, customer service, customer relations (keeping regular customers is one of the first priorities). Doing role plays during quiet times to build confidence. Customer service checklist twice a week monitoring staff performance with regular feedbacks. (constructive criticism. ) More team spirit. On the maping plan assign staff to sections so they’re responsible for it for the day. Great visual merchandising opportunities due to store layout. Monitoring sales week by week and merchandise accordingly. Staff (Men mostly) wearing latest trends this way giving examples for customers what to look for. Sales assistant who’s greeting customers by the entrance promoting sales or at least inform customers where to find items on sale and the new collection. Because of the location lot of tourists are visiting the store, they are a good amount of potential sales. (With the right atmosphere and service it’s easy to get them spending). Under the staircase in the men’s section is a good area for positioning better selling products because that is the only spot what you can see from the upper level when you’re looking down if there’s more to see downstairs. Ground floor changing room more organized and approachable. Local competitors have poor products. Can surprise competitors. Threats †¢ Customers leaving store without purchasing an item. †¢ Theft (Staff not paying attention), high stock loss. †¢ Loosing regular customers and potential regular customers. †¢ High staff turnover. †¢ Poor reputation among customers. ———————– fcuk fcuk

William Shakespeare Essays - Kings Men, William Shakespeare

William Shakespeare Essays - Kings Men, William Shakespeare William Shakespeare William Shakespeare William Shakespeare was born in the Hole Trinity Church in Stratford-upon-Avon in Warwickshire on April 23, 1564. He was the first son and third child of John Shakespeare, a leather tanner and a maker of gloves, and Mary Arden Shakespeare. Williams parents were married around 1558 and had a total of eight children, three of which died in childhood. Williams family had been living in the area of Warwickshire for many years and was respected. Williams father was at one time prosperous and elected to municipal offices. He was a member of the Stratford council in 1557 and appointed mayor in 1568. John was not without fault, though, and four times from 1570 to 1572 he faced prosecution for money lending and illegally buying wool. He fell into hard times financially and stopped buying property, went into dept, and even mortgaged part of his wifes inheritance. Despite financial difficulties in the family, the boy Williams education was not neglected, and he went to the local school in Stratford. Some scholars questions whether a single could have written all the great literature attributes to Shakespeare, citing his schooling as proof that he was poorly educated, but their assumption is probable false. ( ) The teachers in school the William had attended had degrees from Oxford, and the education that the boy received was likely very good. Exactly what young William did after his years of schooling is not really clear, but we do know that during the winter of 1582, at the age of 18, he married Anne Hathaway, the eldest daughter of Richard Hathaway. She was 26, much older than her teenage husband, and pregnant by him. BURNS2 The church announcement of the marriage was waived on November 28, 1582 and less than six months later their first child, Susanna, was baptized in Stratford church on May 26, 1583. Early in 1585, Anne gave birth to twins: Hament, their only son (who died young), and Judith, their second daughter. With a wife and three kids to maintain, and still dependent on his father one of the London acting companies that had been touring in Stratford. Shakespeare moved to London in 1585, where he was very successful. He was an actor and a writer and even owned his own playhouse. He was very respected man there. He was the first playwright to have his formal biography written and published with his works. By 1592 William was firmly established in the big city of London. He was all ready the author of ten plays and successful enough to inspire jealous and be called an upstart crow by a fellow dramatist, Robert Greene. ( ) Between 1592-1594 all the theatres were closed by an outbreak of the plague. So during this time Shakespeare turned to poetry, writing sonnets and two long narrative poems: Venus and Adonis and The Rape of Lucrece. When the theatres reopened in 1594, Shakespeare joined the newly - formed Lord Chamberlain's Men, and was entitled to a share of the profits. We was an acting troupe under the patronage of QueenElizabeth

How to Make Glow-in-the-Dark Alum Crystals

How to Make Glow-in-the-Dark Alum Crystals Alum crystals are among the quickest, easiest, and most reliable crystals you can grow. Did you know you can make them glow in the dark by adding a common household ingredient to the crystal growing solution? Glow in the Dark Alum Crystal Materials Fluorescent highlighter pen (I used yellow, but you can use another color for different colored glowing crystals. Check to make certain the highlighter will glow under an ultraviolet or black light. Pretty much all yellow highlighters glow, as do most other colors. Many blue pens will not glow.)Alum (sold as a pickling spice)Water Grow Glowing Alum Crystals Carefully cut open the highlighter and remove the strip that contains the ink. You may want to wear gloves since highlighter can stain your fingers.Pour 1/2 cup of hot tap water into a clean container.Squeeze the highlighter strip into the water to color it with the fluorescent ink. Discard the ink strip when you are finished.Slowly stir in alum, a little at a time, until it stops dissolving.Loosely cover the jar with a coffee filter or paper towel (to keep dust out) and allow the jar to sit undisturbed overnight.The next day, you should see small alum crystals at the bottom of the container. If you dont see crystals, allow more time. You can let these crystals grow, though they will compete with each other for material. Alternatively, you can use one of these crystals to grow a large single crystal. Growing a Large Single Crystal If crystals are present, pour the alum solution into a clean jar. Collect the small crystals, which are called seed crystals.Tie nylon line around the largest, best-shaped crystal. Tie the other end to a flat object (e.g., popsicle stick, ruler, pencil, butter knife). You will hang the seed crystal by this flat object into the jar far enough so that it will be covered in liquid, but wont touch the bottom or sides of the jar. It may take a few tries to get the length just right.)When you have the right string length, hang the seed crystal in the jar with the alum solution. Cover it with the coffee filter and grow a crystal.Grow your crystal until you are satisfied with it. If you see crystals starting to grow on the sides or bottom of your jar, carefully remove your crystal, pour the liquid into the clean jar, and put the crystal in the new jar. Making the Crystal Glow When you are satisfied with your crystal, remove it from the crystal growing solution and allow it to dry. Just shine a black light (ultraviolet light) on the crystal to make it glow. Depending on the ink you used, the crystal may glow under fluorescent light or sunlight. You can display your crystal or store it. You can wipe dust from a display crystal using a cloth, but avoid dampening it with water or else you will dissolve part of your crystal. Crystals kept in storage may be wrapped in paper for added protection from dust and changed in temperature and humidity. True Glow in the Dark Crystals If you want the crystals to really glow in the dark (no black light), then you stir phosphorescent pigment into a solution of alum and water. Usually, the glow will remain on the exterior of the crystal rather than get incorporated into the crystal matrix. Alum crystals are clear, so another way to make the crystals glow is to mix phosphorescent pigment with clear nail polish and simply paint regular alum crystals. This also protects the crystals from damage by water or humidity, preserving them.

Titration Lab Report Example | Topics and Well Written Essays - 750 words

Titration - Lab Report Example In the case of the titration of NaOH with dilute HCl and dilute H2SO4 this point is marked by the sudden and stable change in the color of the base-indicator mixture following titration with the acid. This experiment will determine the volume of the acid used when the end point is reached after 0.1M sodium hydroxide is titrated with hydrochloric acid and sulphuric acid of unknown molarities using phenolphthalein indicator. While wearing safety glasses and a lab coat 100 cm3 of NaOH (aq) was collected in a large beaker. A burette was clamped firmly and filled with dilute HCl  ­(aq) until the bottom of the meniscus of the acid was on the zero line. 25.00 cm3 of the NaOH solution was pipetted (with caution) into a conical flask and then four drops of phenolphthalein indicator added. This flask was then placed on a white tile that was placed directly underneath the burette’s tap. Acid from the burette was added rapidly into the conical flask until the red colour disappeared. The volume of the acid added was noted down as the rough value. The burette was then filled again with dilute HCl (aq) to the zero mark and another 25.00 cm3 of NaOH (aq) cautiously pipetted into a second conical flask and four drops of phenolphthalein added. The acid was then added rapidly until within 2 cm3 of the reading noted earlier, at which point it was added slowly until the colour of the solution in the conical flask just disappeared. The volume of acid used was recorded. These last two steps of the experiment were repeated two more times, after which the entire experiment was repeated again, using dilute H2SO4 (aq) instead of dilute HCl (aq). In this experiment, phenolphthalein was used as the indicator. During the titration, the acid was allowed to mix with the base. In doing so, the pH values changed from basic (>7) towards 7. At the end point, the pH was neutral as this is the point when there are equal amounts of base and acid in the mixture. The chemical equations

The Ethical View of Utilitarianism Essay Example | Topics and Well Written Essays - 500 words - 9

The Ethical View of Utilitarianism - Essay Example Utilitarianism is the ethical view that every action is either right/wrong on the basis of the impact that it will create, more specifically if it will produce the greatest good for the greatest number of people.   Deontology, on the other hand, is the ethical view that at least some actions will be right/wrong regardless of the consequences that they produce. Both theories follow different directs and have their own constraints and thresholds. The constraint of deontologists follows from their view that there may be circumstances in which one would be prohibited from taking an action even though it might trigger greatest amount of human happiness. In Engineer Bill’s case, from deontologist’s point of view, Sarah should be saved even though saving Sarah might mean killing a hundred other people in the train. However a utilitarian would opt for saving the train. (Rainbow) In Janitor Joe’s case unless Joe himself volunteers to give his body parts, it will be ethically wrong to forcefully kill him just to save others. In Engineer Bill’s case both Sarah and train were unexpectedly put under circumstances where Bill is left no other option but to choose. Here in Janitor Joe’s case other options can also be looked into and it makes no sense to impose death on someone even if it is at the cost of so many others. In the case of evil Hobo, Bill must save Sara. This is because Sarah has been deliberately framed into such a situation where she is being catapulted towards death. In this case, while utilitarianism may save the life of many but morally and ethically deontologists perspective holds more weight. The threshold for the deontologist is a limit over the amount of harm that the moral allows him to make while threshold for the utilitarian limits him on the amount of harm he can cause. Every situation is different and sometimes the mo ral action needs to be carefully weighed. In each of the aforementioned situation the context in which a particular ethical action followed was very important.