USS Hancock (CV-19) in World War II

The Story Of An Hour By Katherine Mansfield - 992 Words

When one thinks of marriage, it is natural to imagine a happy couple, hand-in-hand, walking towards the sunset. Many literary pieces offer a contrasting opinion of marriage, depicting trials and tribulations, heartbreak, and unhappy endings. Katherine Mansfield s Bliss and Kate Chopin s The Story of an Hour offers a look into the darkness and angst that can lie within a marriage between two lovers. Both of these works depict the perspectives of the women from these unions. Bliss and The Story of an Hour explore the pain and angst that can hide beneath the surface of what appears to be a happy marriage. Katherine Mansfield s Bliss takes the reader through a day in the life of Bertha Young as she prepares to host a dinner party with beloved friends. Bertha is filled with energy and bliss- absolute bliss!- as though you d suddenly swallowed a bright piece of that late afternoon sun and it burned in your bosom†¦(Mansfield 130). As the reader begins to read this short story, they wou ld have no indication there was a storm brewing within Bertha s marriage. The story continues with Bertha preparing herself for her husband s arrival and the arrival of her guests. Particular attention is paid to one guest by the name of Pearl Fulton, who Bertha had fallen in love with †¦ as she always did fall in love with beautiful women with something strange about them (Mansfield 132). Her husband voted her dullish, and ‘cold like all blond women, with a touch, perhaps, ofShow MoreRelatedMiss Brill by Katherine Mansfield and Story of an Hour by Kate Chopin1219 Words   |  5 PagesBliss and Miss Brill by Katherine Mansfield and Story of an Hour by Kate Chopin On studying the texts Bliss and Miss Brill by Katherine Mansfield and Story of an Hour by Kate Chopin I have associated all the stories with a sense of female repression. All the short stories feature a main female character and this character is being repressed in various ways such as by another character or their lives in general. In all the stories the awareness of repression appears towards the end mainlyRead MoreThe Theme Of Loneliness1549 Words   |  7 PagesIn â€Å"A Clean, Well-Lighted Place,† by Hemingway and Miss Brill by Katherine Mansfield what they both have in common is the literary device theme loneliness. Theme is the general idea or insight revealed in a narrative. These two stories are also different from the style of writing these two authors wrote how to tell their stories. Loneliness is introduced in the beginning of the short story â€Å"A Clean, Well-Lighted Place† by Hemingway. The deaf old man, with no wife and only a niece to care for himRead MoreThe Story Of An Hour By Kate Chopin955 Words   |  4 PagesThe story of an hour by Kate Chopin provides many examples of â€Å"inside† and â€Å"outside†. My first impression I get of Mrs. Mallard when she is told that her husband has been killed in a train accident was normal. Mrs. Mallard had just found out that she lost her spouse and she grieves which is normal in such a situation. But the thing that obstructed my impression of her was when she went to her room. She started to stare out the open window and came to the sudden realization that she was free. â€Å"WhenRead MoreAnalysis Of Katherine Mansfield s The Fly1159 Words   |  5 PagesIn Katherine Mansfield’s, â€Å"The Fly,† an older gentleman referred to as â€Å"the boss† struggles with a fight, h owever it was a fight with his own thoughts and despair. Although The Boss is able to forget in the end, who is to say that this has not happened before, or will not happen again. The sadness he feels for his son will always be there, but he just cannot bring it to the surface. Although the fly drowns as if to symbolize his despair, his need to cope is gone. The boss as depicted by KatherineRead MoreAnalysis Of The Poem Katherine Mansfield 2012 Words   |  9 PagesIntroduction: Katherine Mansfield was a well acclaimed author born in 1888. Her literature was in the form of short stories spanning no more than several passages long. Many dub her as an innovator in literature for her distinctive use of realism and symbolism which at the time was foreign to short stories and writing in general. Most authors at the time fabricated fictional worlds with fantastic characters in their stories but Mansfield was more interested in writing and emerging her audience intoRead MoreThe Garden Pa rty Analysis3917 Words   |  16 PagesTHE GARDEN-PARTY The Garden Party is a 1922 short story by Katherine Mansfield. It was first published in the Saturday Westminster Gazette on 4 February 1922, then in the Weekly Westminster Gazette on 18 February 1922. It later appeared in The Garden Party: and Other Stories.[1] Its luxurious setting is based on Mansfields childhood home at Tinakori Road, Wellington. Plot summary The Sheridan family is preparing to host a garden party. Laura is supposed to be in charge but has trouble withRead MoreThe Representation of Marriage in The Story of an Hour and Bliss1378 Words   |  5 PagesThe representation of marriage: The Story of an Hour and Bliss Far from being an ideal state, the representation of marriage in Kate Chopins short story The Story of An Hour and Katherine Mansfields Bliss suggests that it is impossible for women to be fully realized as human beings and as wives. Marriage deprives women of power, of the ability to be fully sexual, and of the ability to achieve a sense of competence in the world. In Chopins short story, the narrator longs for freedom fromRead MoreThe Garden Party Analysis3908 Words   |  16 PagesTHE GARDEN-PARTY The Garden Party is a 1922 short story by Katherine Mansfield. It was first published in the Saturday Westminster Gazette on 4 February 1922, then in the Weekly Westminster Gazette on 18 February 1922. It later appeared in The Garden Party: and Other Stories.[1] Its luxurious setting is based on Mansfields childhood home at Tinakori Road, Wellington. Plot summary The Sheridan family is preparing to host a garden party. Laura is supposed to be in charge but has trouble with theRead MoreThe Theme of Death is Crucial in Literature733 Words   |  3 Pagespeople react towards it . Whether its in The Story of An Hour by Kate Chopin, The Masque of the Red Death by Edgar Allan Poe, The Lottery by Shirley Jackson, or even The Garden Party by Katherine Mansfield, death appears to be unavoidable. Although these are different short stories, death is applied, but the authors interpretations differentiate. Within The Story of An Hour, Chopin talks about death and illustrates the significance of it. This story implies that death may actually be a blessingRead MoreAn Improbable Exciting Yankees V. Red Sox Baseball Game1586 Words   |  7 Pagest-shirts featuring the faces of athletes. Food vendors lined the sidewalks and worked quickly to serve the ever-growing lines circling their carts. Dad, Kenny, Rebecca, and I continued to move through the street in our haste to get to the car which, hours earlier, had decided to stop working entirely. The farther we moved from the stadium, the thinner the crowds became. Eventually, after about twenty minutes of walking through Boston, we had wandered far enough that there were only a few other people

Design of the Gunma Museum of Modern Art Free Essays

Gunma Museum of Modern Art The Gunma Museum of Modern art is located in the Gunma Prefecture in Japan. The building of the museum took 3 old ages from 1971 to 1974. [ one ] Arata Isozaki ( born 1931 ) was chosen to explicate the architectural designs of the Gunma Museum. We will write a custom essay sample on Design of the Gunma Museum of Modern Art or any similar topic only for you Order Now [ two ] The museum is recognized as one of his most impressive signifiers of architecture and summarizes many of Isozaki ‘s architectural ideas every bit good as his accomplishments. Even today twenty old ages after its construct, it still holds an of import significance every bit far as Isozaki ‘s architectural point of view and take on conceptual every bit good as modernistic architecture. The beginnings of conceptual art are said to hold originated with Marcelle Duchamp, the â€Å"Father of Conceptual Art† . [ three ] Duchamp ‘s work had a immense impact on and influenced Isozaki. It was against this background, and the munition of 1960 ‘s conceptual art that Isozaki ‘s drama on dematerialization was manifested through the creative activity of the gunma museum. In add-on to dematerialization, the marked architecture has a great accent on regular hexahedrons for the conceptual model of the museum. Isozaki placed himself in the same comparative postion. With respect to the function of the object in conventional art as American conceptual creative persons had done in the late sixtiess. [ four ] Artists sought to make off with the object and cut down it to a simple dematerialized geometric entity. His subsequent infatuation with grid surfaces would look to hold been inspired by the superstudio group ( who began there activities in Firenze in December 1966 ) and sol lewitts minimalist sculptures, but it was an avenue which increased instead than lessened the dematerialization of his signifier. Isozaki made it clear at the beginning that it was his purpose to avoid all historical mentions and connexions with anterior designers. He has said in an interview, †i was believing much more conceptually compared to richard meier ‘s bronz developmental centre in new York, I was believing how to destruct the traditional sense of tradition and balance- those proprotions based on the humanistic system of the aureate mean from Greece, and the kiwari†the Japanese modular system† for wood constructions. Le corbusier developed proportions related to the Greek aureate subdivision and kenzo Tange trid to unite the kawari traditional proportions with the fibonnaci series to do proportions like lupus erythematosus corbusier. I wish to get away from these traditional systems of proportion. My purpose was to contradict any significances originating from the surface any connexion with alvar Aalto and gunnar aspeld were post- design.† Herein lies the significance of the cosmopolitan grid. Its intent was to heighten the dematerialization of signifier and deny the material nature of the artefact. Dematerialization became a major concern of conceptual creative persons in the late sixtiess every bit merely in importance by the accent proccess ; what it amounted to was the purpose to do architecture as unsubstantial, unseeable, and missing weight as the mental constructs from which the signifiers sprang. This gives the visual aspect that the museum rests lightly on the green plane of lawn in Gunma-no-mori Park. The edifice was non tethered to the Earth, and the square frame of each regular hexahedron that goes across the underside is indistinguishable to the side and top members. There was no differentiation in footings of proportion between top, bottom and sides ; there was no up or down, no narrowing of the square in acknowledgment of the anisotropy of infinite to get by with the weight of the edifice mass. The aluminum-covered regular hexahedrons appear to be weightless, drifting every bit light as helium-filled balloons. The exterior of his concrete three-dimensional model with glistening trecherous surfaces realised by the medium of brooding aluminium home bases. In taking regular hexahedrons and take a firm standing that the strengthened concrete construction have the same dimensions throughout and the beams and columns the same subdivision, Isozaki ignored gravitation. †¦an abstract neoplatonic system that is unconnected with the demands of gravitation pure shapes like the regular hexahedron therefore connote a gravity-free environment such as outer infinite where stuffs have no weight. The suggestion of lightness was strengthened by covering the surface of the edifice and concealing the construction of columns and beams under a tight tegument of 2 millimeters thick aluminium panels, composed of indistinguishable square units. This unvarying square grid is expressed limitless extension in resistance to the three-dimensional frame whose function was to specify the museum. Buildings are of class made from heavy stuffs such as concrete, steel and glass, and are hence capable to a much greater extent than picture and sculpture to the pull of gravitation. Engineers have developed optimum subdivisions, beams that are deeper than they are broad to defy flexing minutes, columns that are square or unit of ammunition to defy the different types of compaction tonss, and frames designed to do the most economic usage of stuff. The museums three-dimensional thesis had it roots in the earlier Oita Prefectural library and nakayama house of 1964 and it late resurfaced in the New oita prefectural library ( 1994 ) . Subsequent designs have elaborated parts of the original gunma museum strategy giving prominence to some facets at the disbursal of others. Thus the quickest and most thorough debut to Isozaki ‘s architecture is a visit to the Gunma museum. Page 22 The Gunma Museum is non symmetrical, but it looks as though it should be. It is uncomplete as it stands. From left to compensate it consists of four parts, two of which are indistinguishable A, B, C: . To finish the bilateral symmetricalness all that is needed is to add two more parts, A, B, C: C, and ( B, A ) to it. Mentally, we are prompted to provide the mirror or impudent image. The presence of ‘C’ – an indistinguishable row of regular hexahedrons on the right side, equilibrating the left side of the symmetricalness axis, strengthens the given of bilateral symmetricalness. Page 23 Isozaki violated its implied bilateral symmetricalness and this induces an air of instability. Symmetry signifies well-proportioned, well-balanced, and it denotes a harmony of the several parts. Beauty is normally associated with symmetricalness and the grasp of form. This was ignored with the add-on of a regular hexahedron to the chief entryway facade. Alternatively of finishing the bilaterally symmetricalness Isozaki broke it. There were purely practical grounds for this – the most obvious was the propinquity of Masato Otaka’s 1979 Gunma Prefactural Museum of History 15 m off. Page 20The auditorium is located on the first floor opposite the chief step. The chief step is enclosed on two sides by walls faced in reflecting marble in between which is an unpolished cardinal strip of unthinking rock that is somewhat narrower than the step. The step rises through the spread between two rows of 12 m regular hexahedrons sandwiched between the entryway hall and disposal that ploughs its manner though the museum. The breadth of the step is hard to gauge because it is reflected in the polished marble walls on either side, giving the semblance that it extends boundlessly. * Exterior Design Page 17 On the exterior, the Museum of Modern Art was stripped back so that small else remained besides the grid and sleek mirror-like sheath of square aluminium panels. The erasure of anything which might add significance was deliberate. Although the museum is deliberately impersonal and its construction assimilated within the annoyer aluminium tegument, it is non passive- instead, it urges us to oppugn what is the nature of architecture by coercing architecture on this juncture to interrogate itself. The usage of the frame as a metaphor for a museum devoted to modern art is extremely implicative in these footings. First, it detaches the museum from the landscape and limits it, proclaiming it to be a kingdom set aside from the mundane while labeling it a topographic point specifically devoted to the art experience, at the same clip that it designates it a semisynthetic infinite. It creates a new focal point in order to direct attending to the art. In Japan the frame acts as a gesture which draws the audience into its drama of semblance and, conversely, it is a agency of taking the interior into the landscape. Isozaki conceived his basic three-dimensional model as a impersonal spacial entity for plants of art, with the model puting the plants apart from the environing park. Yet it besides draws the park equivocally indoors, while stressing that the act of sing a work of art is a specialised aesthetic act in that it places the work in a new unnaturally delimited context. Peoples tend to reject any absence of intending – where there is nil they frequently invent something in its topographic point. The more empty and blank an object is, the more it draws in intending from outside itself. The shimmering immateriality of Isozaki’s museum, its general emptiness and the upseting feeling of non-existence which emanates from it, challenges the person to add something of his ain. Ultimately we, as users and viewing audiences, provide the message and imbue objects with significance. Isozaki hence magnified the frame in its function as a device for specifying the infinite of a picture to the point that it included the museum. By extension, the museum can be seen as a cultural frame of art. Like the frame around a work of art, the museum alerts the visitant to the presence of art by extinguishing anything that might distance the person or decrease the familiarity of that experience. P13-14- A ; gt ; isozaki was therefore runing on two degrees ; utilizing a basic construction compromised of the gunma museums three-dimensional model to modulate the infinite additively giving rise to the primary signifier. At the same clip, he deployed secondary ancillary or auxiliary constructions within the basic tructure to make multiple beds and such things as sculpturer aiko miyawaki ‘s stepped tokonoma-like object at the far terminal of the entryway hall.art today is no longer tied to one topographic point, instead it is transported around the Earth traveling from one exhibition site to another. Once art is removed from its original context and placed inside a museum, and so migrates signifier museum to museum, it loses its connexion with a specific clip and topographic point. Paintings and sculptures arrive in crates complete with their ain frames and bases and small else. the art museum might so, seem every bit little more than a big container and recepticle, for hav ing displaying, and sing progressively nomadic plants of art. Isozaki decided that the gunma museum should run mostly as an enveloping model with no explicit or associatory iconography of its ain. He reasoned back since its chief map was to expose plants of art, the museum was a phase, and, as such, it needed the equivalent of a apron arch to border the work of art in the same manner the apron arch frames the phase play in theatre in the West or the phase of a Japanese noh theater. A three-dimensional model enveloping infinite in 3 dimensions hence seemed a suited metaphor for the art museum. Squares balance the co-ordinates. Because the sides of a square are equal, no dimension is overriding and this produces an consequence of hush and repose instead than dynamic instability. 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Plagiarism and Its Consequences in Tertiary Education

Question: You are required to research, analyse, discuss and provide recommendations on the following topic, through the writing of an academic style report. Topic: Plagiarism and its consequences in tertiary education, and how Plagiarism can be minimised. Answer: Abstract Plagiarism is a term being used in the current tertiary educational institutions across the globe. The actions of plagiarism in the educational systems include the activities of the students to copy entire or part of the works submitted by other students and submit the same as their own. There are a number of impacts of plagiarism on the quality of education provided by the tertiary educational institutions along with the effects on the reputation of the institutions. The report analyses several consequences of plagiarism in the tertiary educational institutions. These consequences of plagiarism are of different magnitude and intensity depending on the frequency and quantity of the plagiarised content present in the work submitted by the student. There are a number of ways of minimising plagiarism in tertiary education, some of which are analysed in this report and are also mentioned as recommendations to the educational institutions. These consequences of plagiarism along with the p reventive measures are considered to be one of the most focused module in any of the tertiary educational institutions across the globe (Bretag, 2013). Introduction The topic under analysis is, Plagiarism and its consequences in tertiary education, and how Plagiarism can be minimised. This topic focuses on the term plagiarism, which can be defined as the action of presenting others work as own work in educational institutions. The topic focuses on the plagiarism in the tertiary level of education across the world and its effects on the quality of the education. Various programs such as management degrees in the tertiary education provide the students with a number of assignments, which allows the students to utilize the knowledge gained in the prior lessons. The question of the topic focuses on the importance of minimising plagiarism in the tertiary education and the impacts of the inclusion of plagiarism in the educational activities. The educational institutions across the globe give a lot of importance to the removal of plagiarism and gives it a lot of importance as it directly impacts the quality of education provided by the institution. Thi s report tries to analyse the term plagiarism first and then tries to reveal several ways of minimising it in the tertiary educational system (Gipp, 2013). Plagiarism As mentioned earlier, plagiarism is considered to be the action of a student presenting or copying the creative work of another person as his or her own. This action can directly be compared to the theft of the intellectual property of an individual. The students of the tertiary educational system are assigned with a number of assignments and research papers to allow the teachers to evaluate the knowledge gained by the students in the lessons along with their capabilities to apply the same in the real-time scenarios. These research papers and assignments allocated to the students in the educational institutions require them to go through the study materials and utilize their creativity to apply their knowledge to real-time scenarios. This in turn makes some students to either copy some statements or entire contents from someone elses work and present the same as their own. This is considered to be plagiarism in the tertiary educational system (Masic, 2012). Consequences of plagiarism The educational institutions providing various tertiary educational programs to the individuals across the globe are very strict in terms of plagiarism in the assignments and research papers of the students. There are a number of consequences faced by the students due to the inclusion of plagiarism in their research papers and assignments in the tertiary education. Some of these consequences are mentioned in this section. Preliminary warnings/actions Generally, the teachers in the tertiary educational institutions take assignment-specific actions against the student in case of the presence of plagiarism for the first time or to a minimal extent. In such cases, the student is asked to redo the entire assignment or is given zero for the corresponding assignment, which is reflected in the final grade of the educational program. In some cases, the student is also allowed to redo the plagiarised parts of the assignment and resubmit the modified assignments (George, 2013). Failure in the corresponding course Some of the institutions are very strict in terms of minimising plagiarism in the educational system. In some of such institutions, the student is failed for the corresponding course of the program, for the submission of plagiarised work. Generally, the teacher considers a minimum and maximum limit of plagiarism contained in a submitted work before failing a student for the corresponding course (Bretag, 2013). Extreme actions Some of the educational institutions across the globe take extreme measures against plagiarism and to prevent the same in the work submitted by any of the students. In such extreme actions, the students are stripped of their ability to get a degree from the corresponding college and are not allowed to continue the corresponding educational program. Such extreme actions are generally taken against a student due to repeating instances of plagiarism in the assignments and research papers (Rodriguez, 2013). Training and other educational activities Some of the educational institutions allow the students to go through various training and seminars to learn more about the effect and consequences of plagiarism. These students are generally unaware of the plagiarism in their work and not aware of the consequences of the same (Chaddah, 2014). Minimising plagiarism There are a number of ways in which the presence of plagiarism in the tertiary educational institutions. Some of these ways are mentioned in this section. Increasing student engagement The more the students are engaged in the class activities and the assigned activities, the less is the chance of having plagiarism in the assignments and research papers. The more engagement of the students in the constructive activities in the class allows them to have a better sense of the study materials and the assigned work (Kalani, 2013). Developing questionnaires Developing questionnaires based on the subject allows the teachers to evaluate the knowledge of the students on the subject matter. This in turn ensures that the work submitted by the students dont contain any plagiarism (Baugher, 2013). Teaching about plagiarism The students should go through effective training activities to understand the effects and consequences of the presence of plagiarism in the work they submit. This in turn allows the students to have better understanding of plagiarism (Barrn-Cedeo, 2013). Using computerized tools to submit work and assignments There are a number of tools like TurnItin, which can be utilized by the educational institutions for the submission of the assignments. These tools ensure that the plagiarised work in the submitted assignments are found in an efficient manner. This in turn causes the students to avoid having plagiarised content in their work (Broussard, 2015). Conclusion The term plagiarism is gaining a lot of focus and importance in the tertiary educational institutions across the globe due to the increasing presence of the plagiarised contents in the assignments and research papers submitted by the students. The educational institutions across the globe manage the plagiarism in different ways in their courses and programs. These consequences of plagiarism range from very minimal actions to very high penalties. These consequential actions are taken against the students based on the frequency of the presence of plagiarised content in their work and the magnitude of the plagiarised content in the work submitted by the students. There are a number of ways in which the plagiarism in the tertiary educational system can be minimised and the educational institutions across the globe follow some of these ways based on a wide range of factors (Anglil-Carter, 2014). Recommendations Some of the recommendations to minimise plagiarism in the tertiary educational programs are mentioned in this section. The students can be allowed to work only on computerised platforms designed to track the activities and identify the plagiarism in the work. It should be mandated for the students to generate a plagiarism report using any of the tools available in the market, while submitting their work (Ghajarzadeh, 2013). The students should be asked to explain the process or methodology used for the completion of the assigned work. This allows the teacher to be cleared regarding the presence of plagiarism in the submitted work. The student should be asked to provide explainable and open references for the work submitted to the tertiary educational institutions, to ensure the minimal chances of plagiarism. References Anglil-Carter, S. (2014). Stolen language?: Plagiarism in writing. Routledge. Barrn-Cedeo, A., Vila, M., Mart, M. A., Rosso, P. (2013). Plagiarism meets paraphrasing: Insights for the next generation in automatic plagiarism detection. Computational Linguistics, 39(4), 917-947. Baugher, M. E. C. (2013). Plagiarism Scanning of HVACR Submissions: Making Sure Your Paper is in the Clear. HVACR Research, 19(6), 647-648. Bretag, T. (2013). Challenges in addressing plagiarism in education. PLoS Med, 10(12), e1001574. Broussard, L., Hurst, H. (2015). Plagiarism Prevention and Detection: A Challenge. Nurse educator, 40(4), 168. Chaddah, P. (2014). Not all plagiarism requires a retraction. Nature, 511(7508), 127-127. George, N. G., Thuku, J. K., Kamau, J. (2013). Plagiarism in Face of Turnitin Service: the Kenyatta University Experience. Ghajarzadeh, M., Mohammadifar, M., Safari, S. (2013). Introducing Plagiarism and Its Aspects to Medical Researchers is Essential. Anesthesiology and pain medicine, 2(4), 186-7. Gipp, B., Meuschke, N., Breitinger, C., Lipinski, M., Nrnberger, A. (2013, July). Demonstration of citation pattern analysis for plagiarism detection. In Proceedings of the 36th international ACM SIGIR conference on Research and development in information retrieval (pp. 1119-1120). ACM. Kalani, V., Twinwal, A. (2013). Plagiarism and its Consequences. Masic, I. (2012). Plagiarism in scientific publishing. Acta Inform Med, 20(4), 208-213. Rodriguez, V. (2013). Plagiarism, its consequences, and how to avoid it.