Unknown lab report flow chart and conclusion based on my results Essay

Unknown lab report flow chart and conclusion based on my results provided - Essay Example A third test also gave a positive result, so it was concluded that the first test gave a false negative result. This was determined since the negative result was inconsistent with the rest of the test results (not consistent with the other data from the Enterotube tests. The only Genus that is Catalase positive is the Genus Corynebacterium. The Voges-Proskauer test was used to narrow down potential species within the Bacillus Genus. The VP test was negative and was repeated twice in order to be certain of its accuracy and reliability. According to Bailey & Scotts "Diagnostic Microbiology" manual, B. stearothermophilus only grows at above 65 degree C. and our incubation growth temperature was at 37 degree C, so that microbe can be eliminated from consideration. The Citrate test was negative on three trials, which eliminates Lactobacillusand leaves only Corynebacterium. Starch hydrolysis carried out proved positive therebyeliminating Corynebacterium kutsceri and leaving us with Corynebacterium xerosis. Consequently the identity of unknown microorganism is Corynebacterium

Macbeth Essay Example for Free

Macbeth Essay Macbeth is a play that is written by William Shakespeare, who is a famous poet and playwright. William Shakespeare’s play Macbeth is a tragedy. The earliest account of its performance was from 1606. Tragedies contain distressing events that involve the main character or characters. These types of plays usually contain the death of a liked character or the main character or characters. Macbeth’s genre is a tragedy due to some of its themes. One theme of the play that portraits a tragic event is the theme of ambition. This is where Macbeth gets the idea of being king, but for him to become king he kills multiple times by committing a murder himself or getting others to kill on his behalf, like with the killing of King Duncan, Banquo, Lady Macduff and her child, which are tragic events due to death. The other theme is prophecy where the supernatural exists with the three witches, who give the prophecy to Macbeth about him becoming king, and that’s where Macbeth’s ambition starts, which turns into evil and also leads to tragic events. There is also the theme of reality that shows a tragic event as this leads to the death of Macbeth. Due to his belief in his own invincibility and he is killed by Macduff. A Greek philosopher called Aristotle said that all tragedies must have these characteristics: a man of high social standing, experiences a downfall, because of the flaw it is revealed only as a result of a tragic action of the narrative. Macbeth fits Aristotle characteristics by its structure of the play. It fits the characteristics by this: rising action of exposition is the very begging at the play. The complication, which is the witches’ prophecy, that leads to the rising action of the murders of people in the play. The climax is when Macbeth is the king. The falling action followers by Macbeth kills more to retain his title of king and Lady Macbeth dies and the catastrophe which is where Macbeth gets killed due to his ambition turning evil, and the resolution which is where Malcolm becomes king. The structure fits Aristotle characteristics as Macbeth the man with high social standing, experiences a downfall, which is the climax of killing for his ambition, which then, leads to a result of tragic action of which Macbeth the main character is killed. In the play Macbeth, Shakespeare uses different types of language like verse, which is written as poetry. Most of it is blank verse and rhymed couplets. He also uses prose, which is everything that is not in poetry. In the play, Shakespeare uses a blank verse, which has ten syllables with five stresses in each line. Shakespeare uses rhymed couplets in Macbeth to let the audience know it’s the end of a scene due to the fact the theatres in the 16th and 17th century did not have curtains or lightening effects like ours today due to show the end of a scene. In Macbeth act 2 scene 3 Malcolm says at the end of the scene. â€Å"But shift away: theres warrant in that theft. Which steals itself, when theres no mercy left† Here is a rhyming couplet as the pairs of line rhyme by the words theft and left, by this rhyming couplet signals the audience and actors back then that it is the end of the scene. Macbeth also has prose language in the play. Shakespeare uses prose for those characters that have comic and low statuses, as the prose structure does not have a formal structure of poetry and it can mean many manners of ideas. In Macbeth prose is used when Lady Macbeth is sleep walking in Act 5 scene 1 when she says â€Å"Yet heres a spot. † The use of prose here shows Lady Macbeth is ill and going mad by her losing her high status as she speaks in prose which is normally used by low status characters. Macbeth also uses paradox in some of his lines like with the witches saying at start in scene 1 act 1, â€Å"Fair is foul, foul is fair†. This quote from Macbeth is where the witches are saying things are not what they seem, but Macbeth writes the line differently than that in paradox, which is when it contrasts itself. Therefore, it makes the line more interesting to listen to, and it get us the audience to think more what is being meant, as it can be very ambiguous. The meaning of this line is more embraced, as it does seem things are not what it seems when the line is paradox. In Macbeth there is a lot of imagery text like with metaphors, which are something, called something else like with this quote Angels are bright still, though the brightest fell: Though all things foul would wear the brows of grace†. This is when Malcolm describes Macbeth as a fallen angle, which implies Macbeth is perfect, and cannot do wrong and shows Malcolm thinks very highly of Macbeth. When Shakespeare uses metaphors it gives a great image to the audience, as you can see it gives us a better picture of what Malcolm feelings are of Macbeth. In Macbeth imagery text is used by similes as well, which is something is described as something else like here, â€Å"And on thy blade and dudgeon gouts of blood, which was not so before. This is where the floating danger which Macbeth see in front of him turn bloody and the simile describes the blade as â€Å"dudgeon gouts of blood† which says it has lots of blood on it. When Shakespeare uses similes it gives a powerful image of what something looks like as the blade give the image of loads of blood rather than just a bit. Also Shakespeare uses personification in Macbeth which is something is described as human like â€Å"Stones have been known to move, and trees to speak. Here the environment is being described like humans saying the stones move and the trees speak which is give a very unusual image to the audience but make them more engaged to watch and listen. Macbeth is a play that is loosely based on events in the past in the year of 1040-1057 in Scotland. The events are based on a real person called Macbeth, who ruled as king in Scotland in 1040-1057. He did overthrow the previous king Duncan. The real Lady Macbeth was a granddaughter of another king, who was actually murdered by king Duncan’s grandfather. Malcolm and Donald Bain were sons of King Duncan, with Malcolm becoming king after the death of Macbeth. You can see Shakespeare’s play had the similarities of the past with the some of the character names and their position like the real Macbeth became king after Duncan who died who was king previously, but the difference is that there was no murder of King Duncan in the past like there is in the play. But I think Shakespeare would have got the idea of murder of Duncan by the real Lady Macbeth’s grandfather who was killed by the real King Duncan’s grandfather. The audiences of 1606 who watched the play would have been shocked of the death of Macbeth in the play as they see him in war and succeeding, they see him being loyal to the king, and that he could have been seen as a hero. However, when he turns evil by killing for his ambition to come true he is seen as villain in some audiences eyes, but they also see him die. This would shock the audience as their hero turned into evil and died. This may make the audience think whom they can actually trust; especially the king would at that time have been King James, in case the same happened to him like King Duncan in the play. King James of Scotland would have seen Macbeth and I think his thoughts of the play may have shocked him. It would have shocked him as he would have empathised with king Duncan, and when he see him getting killed by what he had believed to have been a loyal friend, this would of worried him. King James would rethink his loyal friends, and would have been cautious in case a loyal friend would kill him as King Duncan was killed. The witches at the start of the play would have affected the audiences as in 1611; witchcraft was seen as real and very scary, so this would have attracted the audience’s attention and spooks them a bit. In England at 1563, there were laws placed against witchcraft by Queen Elizabeth. In 1603 queen Elizabeth died, and when the play was performed I think the first scene of the witches would have irritated some people due to the fact that it was disrespecting their previous queen Elizabeth’s law against witchcraft. I think some audiences may have thought Shakespeare was a witch of some sort, for writing witchcraft into his play Macbeth, which may lead to people to think his plays was good though witchcraft was being used to write them. I also think male audiences in 1606 would have been offended by Lady Macbeth overruling and controlling a man in the play which is Macbeth, when she orders him to kill King Duncan. In 1606 women were lower and that men were leaders and were not suppose to be controlled by women. But in the play it shows Lady Macbeth controlling Macbeth which I think may made male audiences angry, for seeing a women controlling a man. I think women audiences in 1606 would have been shocked by Lady Macbeth controlling of Macbeth, as this was not reality for them. I think this play may have offended women by the fact that Shakespeare’s character Macbeth did what a women told him to do and ended up being killed, which could imply the message do not listen to women as it turn out bad. Today’s audience of men or women would not be offended by the play of Macbeth and Lady Macbeth as there is equal rights today between both genders, and that women can tell a man what to do as this is reality these day. As well audiences today would not be spooked by the witchcraft scenes as people today do not believe in witchcraft due to science proving a most of it wrong. Nevertheless, I do think the death scene of killing of Macduff’s son would have offended both audiences. A scene of a child being killed is chilling for both audiences of today and in 1606. The first scene that I will analyse that guides the audience to a tragic event is the one which is Macbeth’s soliloquy, act 2 scene 1. In this scene Macbeth imagines a dagger floating towards Duncan’s chamber where he is sleeping. Macbeths talks to himself saying â€Å"is this a dagger, which I see before me? â€Å" Macbeth cannot believe what he is seeing and questions himself. Before this scene Lady Macbeth tells Macbeth to commit murder by killing the king Duncan. This scene results in the murder of king Duncan who was a noble, great king. The language in the quote asks a question with the question mark and the word â€Å"is†, Macbeth here is imagining a dagger, which the audience could not see due to no props, so with Macbeth questioning himself shows the audience that Macbeth is imagining something. The audience listening to Macbeth question himself would put them on edge, as they would see a person having a strange hallucination in front of their eyes. The question Macbeths asks is rhetorical, as he does not expect an answer as he talking to himself. With Shakespeare using a rhetorical question here I think it helps the audience understands Macbeth is seeing something in his imagination. If this scene was staged with Macbeth more in a panic, worried and scared rather than just confused when imagining the dagger, this would make audiences more disturbed I think, and would have caused them to share some of the emoion of macbeth. Macbeth‘s character could have even cried during this scene which would have shown more emotion of fear. The audience would perceive the character of macbeth as frighted and much more hesitant to commit murder and therefore would have felt sorry for him at one point. The second scene that i will analyse that guides the audience to a tragic event is the one which features the killing of Macduff‘s child, which is in Act 4 scene 2. Before this scene happens, you have Macbeth ordering for Lady Macduff and her child to be killed. At the end of the secne the son is killed, with murderers following Lady Macduff to kill her as well. The child says to his mother which is Lady Macduff â€Å"He has killed me, mother: Run away, I pray you! â€Å". Here the child is shouting to his mother to run, so she does not get killed. The language shakespeare uses here is quite emotive. For a start the boy is shouting as by the exclamation mark, this will get the auidence attention from watching the play as its more dramatic. Its also dramatic by the words â€Å"pray youâ€Å" as the boy is asking God for her safety. This makes the audience upset here becuase as the boy who is himself doomed, does not want his mother to die, which we know it is going to happen. Its quite emotive as the boy shows affection for his mother and not wanting her to be murdered, this give the audience strong feeling of sadness. The way this scene is staged is that Lady Macduff runs off set with the murderers following her. It would be much more upsetting for the auidence to watch her be killed in front of her son. Audiences watching this scene would now have seen macbeth as even more evil as they have now watched another murder which he ordered to be committed. The most chilling scene for myself would have been the murder of Lady Macduff and her child, as i think its upsetting for seeing a child being killed. I think that Macbeth is greedy and evil has he had his ambition come true for others missfortune which i think is greedy, and doing murder of a innocent child is just plain evil in my opion. Overall i think the play macbeth has a good, easy to follow story line.

Panoramic Poe Essay -- essays research papers

The written word has been the vehicle by which generations have articulated their hopes, fears, aspirations, and nightmares. Amidst these ideas, the author must weave together history, culture, environment and atmosphere to produce a setting in which their ideas will develop. This setting is crucial to many stories, including Edgar Allan Poe’s â€Å"Cask of Amontillado.† Poe shrouds the reader in the warmth of a celebration and the coldness of death with only his words as a guide.   Ã‚  Ã‚  Ã‚  Ã‚  Poe starts out by introducing the reader to a carnival like atmosphere reminiscent of Mardi Gras. There are people in multi-colored jester outfits, people wearing masks, and the overall feeling of festiveness. This jovial atmosphere is greatly contradicted by the Montresor’s vengeful mood. The contrast of mood to setting creates a sense of chaos, somehow signifying an underlying madness in the character.   Ã‚  Ã‚  Ã‚  Ã‚  Another important aspect of the carnival setting is the wine. At the carnival itself, liquor is free flowing and most people have indulged themselves, including Fortunato, Montresor’s bane. This particular feature in the setting allows Poe to set up the events that unfold in the story. Fortunato, intoxicated and somewhat vain, insists upon seeing the Amontillado rather than have Montresor take it to someone else. At this point, the carnival setting has served its purpose in setting the mood and the circumstances of the story.   Ã‚  Ã‚  ...

A Game of Thrones Chapter Five

Jon There were times—not many, but a few—when Jon Snow was glad he was a bastard. As he filled his wine cup once more from a passing flagon, it struck him that this might be one of them. He settled back in his place on the bench among the younger squires and drank. The sweet, fruity taste of summerwine filled his mouth and brought a smile to his lips. The Great Hall of Winterfell was hazy with smoke and heavy with the smell of roasted meat and fresh-baked bread. Its grey stone walls were draped with banners. White, gold, crimson: the direwolf of Stark, Baratheon's crowned stag, the lion of Lannister. A singer was playing the high harp and reciting a ballad, but down at this end of the hall his voice could scarcely be heard above the roar of the fire, the clangor of pewter plates and cups, and the low mutter of a hundred drunken conversations. It was the fourth hour of the welcoming feast laid for the king. Jon's brothers and sisters had been seated with the royal children, beneath the raised platform where Lord and Lady Stark hosted the king and queen. In honor of the occasion, his lord father would doubtless permit each child a glass of wine, but no more than that. Down here on the benches, there was no one to stop Jon drinking as much as he had a thirst for. And he was finding that he had a man's thirst, to the raucous delight of the youths around him, who urged him on every time he drained a glass. They were fine company, and Jon relished the stories they were telling, tales of battle and bedding and the hunt. He was certain that his companions were more entertaining than the king's offspring. He had sated his curiosity about the visitors when they made their entrance. The procession had passed not a foot from the place he had been given on the bench, and Jon had gotten a good long look at them all. His lord father had come first, escorting the queen. She was as beautiful as men said. A jeweled tiara gleamed amidst her long golden hair, its emeralds a perfect match for the green of her eyes. His father helped her up the steps to the dais and led her to her seat, but the queen never so much as looked at him. Even at fourteen, Jon could see through her smile. Next had come King Robert himself, with Lady Stark on his arm. The king was a great disappointment to Jon. His father had talked of him often: the peerless Robert Baratheon, demon of the Trident, the fiercest warrior of the realm, a giant among princes. Jon saw only a fat man, red-faced under his beard, sweating through his silks. He walked like a man half in his cups. After them came the children. Little Rickon first, managing the long walk with all the dignity a three-year-old could muster. Jon had to urge him on when he stopped to visit. Close behind came Robb, in grey wool trimmed with white, the Stark colors. He had the Princess Myrcella on his arm. She was a wisp of a girl, not quite eight, her hair a cascade of golden curls under a jeweled net. Jon noticed the shy looks she gave Robb as they passed between the tables and the timid way she smiled at him. He decided she was insipid. Robb didn't even have the sense to realize how stupid she was; he was grinning like a fool. His half sisters escorted the royal princes. Arya was paired with plump young Tommen, whose white-blond hair was longer than hers. Sansa, two years older, drew the crown prince, Joffrey Baratheon. He was twelve, younger than Jon or Robb, but taller than either, to Jon's vast dismay. Prince Joffrey had his sister's hair and his mother's deep green eyes. A thick tangle of blond curls dripped down past his golden choker and high velvet collar. Sansa looked radiant as she walked beside him, but Jon did not like Joffrey's pouty lips or the bored, disdainful way he looked at Winterfell's Great Hall. He was more interested in the pair that came behind him: the queen's brothers, the Lannisters of Casterly Rock. The Lion and the Imp; there was no mistaking which was which. Ser Jaime Lannister was twin to Queen Cersei; tall and golden, with flashing green eyes and a smile that cut like a knife. He wore crimson silk, high black boots, a black satin cloak. On the breast of his tunic, the lion of his House was embroidered in gold thread, roaring its defiance. They called him the Lion of Lannister to his face and whispered â€Å"Kingslayer† behind his back. Jon found it hard to look away from him. This is what a king should look like, he thought to himself as the man passed. Then he saw the other one, waddling along half-hidden by his brother's side. Tyrion Lannister, the youngest of Lord Tywin's brood and by far the ugliest. All that the gods had given to Cersei and Jaime, they had denied Tyrion. He was a dwarf, half his brother's height, struggling to keep pace on stunted legs. His head was too large for his body, with a brute's squashed-in face beneath a swollen shelf of brow. One green eye and one black one peered out from under a lank fall of hair so blond it seemed white. Jon watched him with fascination. The last of the high lords to enter were his uncle, Benjen Stark of the Night's Watch, and his father's ward, young Theon Greyjoy. Benjen gave Jon a warm smile as he went by. Theon ignored him utterly, but there was nothing new in that. After all had been seated, toasts were made, thanks were given and returned, and then the feasting began. Jon had started drinking then, and he had not stopped. Something rubbed against his leg beneath the table. Jon saw red eyes staring up at him. â€Å"Hungry again?† he asked. There was still half a honeyed chicken in the center of the table. Jon reached out to tear off a leg, then had a better idea. He knifed the bird whole and let the carcass slide to the floor between his legs. Ghost ripped into it in savage silence. His brothers and sisters had not been permitted to bring their wolves to the banquet, but there were more curs than Jon could count at this end of the hall, and no one had said a word about his pup. He told himself he was fortunate in that too. His eyes stung. Jon rubbed at them savagely, cursing the smoke. He swallowed another gulp of wine and watched his direwolf devour the chicken. Dogs moved between the tables, trailing after the serving girls. One of them, a black mongrel bitch with long yellow eyes, caught a scent of the chicken. She stopped and edged under the bench to get a share. Jon watched the confrontation. The bitch growled low in her throat and moved closer. Ghost looked up, silent, and fixed the dog with those hot red eyes. The bitch snapped an angry challenge. She was three times the size of the direwolf pup. Ghost did not move. He stood over his prize and opened his mouth, baring his fangs. The bitch tensed, barked again, then thought better of this fight. She turned and slunk away, with one last defiant snap to save her pride. Ghost went back to his meal. Jon grinned and reached under the table to ruffle the shaggy white fur. The direwolf looked up at him, nipped gently at his hand, then went back to eating. â€Å"Is this one of the direwolves I've heard so much of?† a familiar voice asked close at hand. Jon looked up happily as his uncle Ben put a hand on his head and ruffled his hair much as Jon had ruffled the wolf's. â€Å"Yes,† he said. â€Å"His name is Ghost.† One of the squires interrupted the bawdy story he'd been telling to make room at the table for their lord's brother. Benjen Stark straddled the bench with long legs and took the wine cup out of Jon's hand. â€Å"Summerwine,† he said after a taste. â€Å"Nothing so sweet. How many cups have you had, Jon?† Jon smiled. Ben Stark laughed. â€Å"As I feared. Ah, well. I believe I was younger than you the first time I got truly and sincerely drunk.† He snagged a roasted onion, dripping brown with gravy, from a nearby trencher and bit into it. It crunched. His uncle was sharp-featured and gaunt as a mountain crag, but there was always a hint of laughter in his blue-grey eyes. He dressed in black, as befitted a man of the Night's Watch. Tonight it was rich black velvet, with high leather boots and a wide belt with a silver buckle. A heavy silver chain was looped round his neck. Benjen watched Ghost with amusement as he ate his onion. â€Å"A very quiet wolf,† he observed. â€Å"He's not like the others,† Jon said. â€Å"He never makes a sound. That's why I named him Ghost. That, and because he's white. The others are all dark, grey or black.† â€Å"There are still direwolves beyond the Wall. We hear them on our rangings.† Benjen Stark gave Jon a long look. â€Å"Don't you usually eat at table with your brothers?† â€Å"Most times,† Jon answered in a flat voice. â€Å"But tonight Lady Stark thought it might give insult to the royal family to seat a bastard among them.† â€Å"I see.† His uncle glanced over his shoulder at the raised table at the far end of the hall. â€Å"My brother does not seem very festive tonight.† Jon had noticed that too. A bastard had to learn to notice things, to read the truth that people hid behind their eyes. His father was observing all the courtesies, but there was tightness in him that Jon had seldom seen before. He said little, looking out over the hall with hooded eyes, seeing nothing. Two seats away, the king had been drinking heavily all night. His broad face was flushed behind his great black beard. He made many a toast, laughed loudly at every jest, and attacked each dish like a starving man, but beside him the queen seemed as cold as an ice sculpture. â€Å"The queen is angry too,† Jon told his uncle in a low, quiet voice. â€Å"Father took the king down to the crypts this afternoon. The queen didn't want him to go.† Benjen gave Jon a careful, measuring look. â€Å"You don't miss much, do you, Jon? We could use a man like you on the Wall.† Jon swelled with pride. â€Å"Robb is a stronger lance than I am, but I'm the better sword, and Hullen says I sit a horse as well as anyone in the castle.† â€Å"Notable achievements.† â€Å"Take me with you when you go back to the Wall,† Jon said in a sudden rush. â€Å"Father will give me leave to go if you ask him, I know he will.† Uncle Benjen studied his face carefully. â€Å"The Wall is a hard place for a boy, Jon.† â€Å"I am almost a man grown,† Jon protested. â€Å"I will turn fifteen on my next name day, and Maester Luwin says bastards grow up faster than other children.† â€Å"That's true enough,† Benjen said with a downward twist of his mouth. He took Jon's cup from the table, filled it fresh from a nearby pitcher, and drank down a long swallow. â€Å"Daeren Targaryen was only fourteen when he conquered Dorne,† Jon said. The Young Dragon was one of his heroes. â€Å"A conquest that lasted a summer,† his uncle pointed out. â€Å"Your Boy King lost ten thousand men taking the place, and another fifty trying to hold it. Someone should have told him that war isn't a game.† He took another sip of wine. â€Å"Also,† he said, wiping his mouth, â€Å"Daeren Targaryen was only eighteen when he died. Or have you forgotten that part?† â€Å"I forget nothing,† Jon boasted. The wine was making him bold. He tried to sit very straight, to make himself seem taller. â€Å"I want to serve in the Night's Watch, Uncle.† He had thought on it long and hard, lying abed at night while his brothers slept around him. Robb would someday inherit Winterfell, would command great armies as the Warden of the North. Bran and Rickon would be Robb's bannermen and rule holdfasts in his name. His sisters Arya and Sansa would marry the heirs of other great houses and go south as mistress of castles of their own. But what place could a bastard hope to earn? â€Å"You don't know what you're asking, Jon. The Night's Watch is a sworn brotherhood. We have no families. None of us will ever father sons. Our wife is duty. Our mistress is honor.† â€Å"A bastard can have honor too,† Jon said. â€Å"I am ready to swear your oath.† â€Å"You are a boy of fourteen,† Benjen said. â€Å"Not a man, not yet. Until you have known a woman, you cannot understand what you would be giving up.† â€Å"I don't care about that!† Jon said hotly. â€Å"You might, if you knew what it meant,† Benjen said. â€Å"If you knew what the oath would cost you, you might be less eager to pay the price, son.† Jon felt anger rise inside him. â€Å"I'm not your son!† Benjen Stark stood up. â€Å"More's the pity.† He put a hand on Jon's shoulder. â€Å"Come back to me after you've fathered a few bastards of your own, and we'll see how you feel.† Jon trembled. â€Å"I will never father a bastard,† he said carefully. â€Å"Never!† He spat it out like venom. Suddenly he realized that the table had fallen silent, and they were all looking at him. He felt the tears begin to well behind his eyes. He pushed himself to his feet. â€Å"I must be excused,† he said with the last of his dignity. He whirled and bolted before they could see him cry. He must have drunk more wine than he had realized. His feet got tangled under him as he tried to leave, and he lurched sideways into a serving girl and sent a flagon of spiced wine crashing to the floor. Laughter boomed all around him, and Jon felt hot tears on his cheeks. Someone tried to steady him. He wrenched free of their grip and ran, half-blind, for the door. Ghost followed close at his heels, out into the night. The yard was quiet and empty. A lone sentry stood high on the battlements of the inner wall, his cloak pulled tight around him against the cold. He looked bored and miserable as he huddled there alone, but Jon would have traded places with him in an instant. Otherwise the castle was dark and deserted. Jon had seen an abandoned holdfast once, a drear place where nothing moved but the wind and the stones kept silent about whatever people had lived there. Winterfell reminded him of that tonight. The sounds of music and song spilled through the open windows behind him. They were the last things Jon wanted to hear. He wiped away his tears on the sleeve of his shirt, furious that he had let them fall, and turned to go. â€Å"Boy,† a voice called out to him. Jon turned. Tyrion Lannister was sitting on the ledge above the door to the Great Hall, looking for all the world like a gargoyle. The dwarf grinned down at him. â€Å"Is that animal a wolf?† â€Å"A direwolf,† Jon said. â€Å"His name is Ghost.† He stared up at the little man, his disappointment suddenly forgotten. â€Å"What are you doing up there? Why aren't you at the feast?† â€Å"Too hot, too noisy, and I'd drunk too much wine,† the dwarf told him. â€Å"I learned long ago that it is considered rude to vomit on your brother. Might I have a closer look at your wolf?† Jon hesitated, then nodded slowly. â€Å"Can you climb down, or shall I bring a ladder?† â€Å"Oh, bleed that,† the little man said. He pushed himself off the ledge into empty air. Jon gasped, then watched with awe as Tyrion Lannister spun around in a tight ball, landed lightly on his hands, then vaulted backward onto his legs. Ghost backed away from him uncertainly. The dwarf dusted himself off and laughed. â€Å"I believe I've frightened your wolf. My apologies.† â€Å"He's not scared,† Jon said. He knelt and called out. â€Å"Ghost, come here. Come on. That's it.† The wolf pup padded closer and nuzzled at Jon's face, but he kept a wary eye on Tyrion Lannister, and when the dwarf reached out to pet him, he drew back and bared his fangs in a silent snarl. â€Å"Shy, isn't he?† Lannister observed. â€Å"Sit, Ghost,† Jon commanded. â€Å"That's it. Keep still.† He looked up at the dwarf. â€Å"You can touch him now. He won't move until I tell him to. I've been training him.† â€Å"I see,† Lannister said. He ruffled the snow-white fur between Ghost's ears and said, â€Å"Nice wolf.† â€Å"If I wasn't here, he'd tear out your throat,† Jon said. It wasn't actually true yet, but it would be. â€Å"In that case, you had best stay close,† the dwarf said. He cocked his oversized head to one side and looked Jon over with his mismatched eyes. â€Å"I am Tyrion Lannister.† â€Å"I know,† Jon said. He rose. Standing, he was taller than the dwarf. It made him feel strange. â€Å"You're Ned Stark's bastard, aren't you?† Jon felt a coldness pass right through him. He pressed his lips together and said nothing. â€Å"Did I offend you?† Lannister said. â€Å"Sorry. Dwarfs don't have to be tactful. Generations of capering fools in motley have won me the right to dress badly and say any damn thing that comes into my head.† He grinned. â€Å"You are the bastard, though.† â€Å"Lord Eddard Stark is my father,† Jon admitted stiffly. Lannister studied his face. â€Å"Yes,† he said. â€Å"I can see it. You have more of the north in you than your brothers.† â€Å"Half brothers,† Jon corrected. He was pleased by the dwarf's comment, but he tried not to let it show. â€Å"Let me give you some counsel, bastard,† Lannister said. â€Å"Never forget what you are, for surely the world will not. Make it your strength. Then it can never be your weakness. Armor yourself in it, and it will never be used to hurt you.† Jon was in no mood for anyone's counsel. â€Å"What do you know about being a bastard?† â€Å"All dwarfs are bastards in their father's eyes.† â€Å"You are your mother's trueborn son of Lannister.† â€Å"Am I?† the dwarf replied, sardonic. â€Å"Do tell my lord father. My mother died birthing me, and he's never been sure.† â€Å"I don't even know who my mother was,† Jon said. â€Å"Some woman, no doubt. Most of them are.† He favored Jon with a rueful grin. â€Å"Remember this, boy. All dwarfs may be bastards, yet not all bastards need be dwarfs.† And with that he turned and sauntered back into the feast, whistling a tune. When he opened the door, the light from within threw his shadow clear across the yard, and for just a moment Tyrion Lannister stood tall as a king.

Problem-Posing Vignette

Understanding the Dynamics of Culture Shock as a Tool for Vignette ReflectionAfter I finished my Bachelor of Science in Mathematics, I taught for one year in primary school. After which, I taught in the King Saud University which relatively offers better income than my previous work. In order to upgrade my educational skills, I went to the University of Wollongong in Australia to take Masters of Education in Educational Leadership. However, since my arrival in the said university, unexpected things came up. These â€Å"unexpected† things I classified as â€Å"problems† since they were disrupting my psyche (ability to understand why things happen in such a way) and to an extent my studies. These problems ranged from the difficulty of learning English to the so-called culture shock.Useful paragraph to set the sceneBut the problem of learning English could be resolved through a thorough study of the language. This was not the case when it comes to culture shock. For one, u nderstanding culture shock would involve a clear understanding of the cultures that the students in the university belong.Identification of a couple of problemsWhen I took a taxi from the Sydney airport to my place of stay, I noticed that driving was done on the other side of the road unlike in Saudi Arabia. I really thought that I could not drive in Australia, but in due time I was able to do so. Added to that, I also noticed that many people in Australia liked to walk, unlike in Saudi, where all people have cars to use. It was pretty odd for a developed nation not to require its citizens to use cars as a mode of transportation. Maybe it was the preference of most of the people in Australia to walk than use car as a mode of transportation. Whatever the case, I was bound to examine the dynamics of this odd experience.Detail of experienceWith regard to the issue of gender, in Saudi Arabia, it is the norm that boys cannot study together with girls. In Australia, especially in the univ ersity, boys and girls are usually involved in group studies, that is, boys and girls can study together without the restriction of law or custom. One of the â€Å"greatest† culture shock that I experienced was the time when girl students of the university (my classmates) study with me. Corollary to that, I also noticed that in Australia, women can teach men on a wide variety of subjects which is generally prohibited in Saudi Arabia.Hence, there were many times that women were teaching me; some were connected to my subjects, others issues essential to my field of specialization. Lastly, I really thought that books in Australia are much cheaper than in Saudi Arabia. But such was not the case. Books in Australia are actually more expensive compared with the books in Saudi Arabia. I was really caught up on this experience since Australia being a developed country can afford its citizens cheap books, but it was not the case (thinking that since Australia encourages promotes educa tion at all levels, it necessarily follows that it will provide cheap educational materials). More detail of experienceNow, my primary concern was to how to adapt or at least understand the justification of my experience. Since I came from a different cultural setting, it was hard for me in the start to cope up with the habits and customs of the Australian people. For an ordinary Australian or European, this is not really a problem since their cultural settings are almost similar. In Europe, boys are usually mixed with girls during study periods.I do not know about the prices of books in Europe, but certainly it would not be a problem for the Europeans if the books in an Australian university are cheaper or more expensive than the books in a European university. Walking as a preferred mode of transportation was not really a big deal for Europeans or Asians perhaps. Most of them usually walk as in the case of major European or Asian cities. But in Saudi Arabia, things are quite diffe rent. There are laws that prohibit boys from studying with girls. Girls are also prohibited from teaching boys, and with regard to walking, the Saudi government advises its citizens to use car as mode of transportation.Initially, I had this fear that I might not be able to interact effectively with the students of the university because I belong to a different ethnicity, but because of continued acquaintance with the students, gradually I was able to understand the justifications of the cultural setting to which I am now seating. It was really odd for me that because of continued interaction with them, the culture shock that I experienced when I first came in Australia was melting away. Indeed, almost all of the â€Å"culture shocks† were for me just common events here in Australia. Now, there are definitely reasons or justifications for events that what meets the eye in the first instance. First, it is the perception of â€Å"oddness†, and then there is understanding. I was able to conclude that continuous interaction with people who came from different ethnicities or cultural settings can help reduce culture shock.The more one interacts and talk to people, the more one understands the concerns of those people. Nonetheless, if biases are removed in the daily interaction with people in the university, one cannot discern the true meaning of the cultural setting presented to you. As such, without much effort, my culture shock was gradually reduced. I just noticed that I was beginning to understand the dynamics of the events that I previously experienced. Reflecting on the past also helped me assessed my understanding of the issues presented to me. Thus what I did not really understand in the past was tested through real-life interaction. Thus, the things or situation I termed as â€Å"culture shock† were becoming common things for me. Now there are two questions that should be presented: â€Å"How do I absorb â€Å"culture shock†? an d â€Å"How can I help my friends or anyone who wants to reduce the effect of culture shock?†

Service of the Goddess essays

Service of the Goddess essays Charles Joseph Natoire painted The Toilet of Psyche around the year 1735. The New Orleans Museum of Art (NOMA) houses this composition in the French Art Exhibit. This painting is approximately 78 in. by 66.5 in. The media used is oil on canvas. Natoire painted this artwork two-dimensionally because of its flat surface and style of brush strokes. This piece of art shows the goddess, Psyche, being served and pampered by many other female servants. This artwork is realistic because of the way the artist portrays the people and objects in such a natural and authentic way. All the objects in the painting are recognizable. For example, the woman holding the vase in the lower left corner is sitting in water while holding a platter with a vase on it. Although the painting consists of mostly organic figures since the predominant objects in the artwork are people, the vases and columns in the top right corner, are two of the few geometric figures. Charles Joseph Natoire shows a variety of shapes in this painting. Geometric shapes are used with the trays and vases that are being held by the servants. Geometric shapes are also used in the columns, which is a combination of ionic and Corinthian orders. Organic shapes are shown throughout the entire painting. The human figures and the drapery that are displayed on the women are excellent examples of organic shapes. Hanging above the goddess and her servants is drapery that is displayed to be organic. The eight human bodies in the painting are portrayed as positive space. The negative space is the drapery, trees, clouds and beds. There are several different lines in this artwork that portray the line of sight. For example, the way the servants are looking toward their goddess or the object they are holding. There are many implied lines with the drapery and the beds, also with the clothes against the bodies shown. Actual lines are shown with the outline of the columns and around the pool. Simul...

Quick Saponification of Methyl Salicylate Reaction

Quick Saponification of Methyl Salicylate Reaction Making your own soap can be a time-consuming process, but you can demonstrate the saponification reaction quickly and easily by reacting oil of wintergreen and sodium hydroxide to make sodium salicylate. This takes mere minutes. Key Takeaways: Saponification of Oil of Wintergreen Saponification is the chemical reaction that produces soap. However, it can be used to form other useful compounds.Oil of wintergreen can be reacted with sodium hydroxide to yield sodium salicylate. The reaction is a saponification.Sodium salicylate is used as an aspirin alternative. Ingredients All you need is the strong base sodium hydroxide (NaOH) and oil of wintergreen. Oil of wintergreen is easiest to find online. Oil of wintergreen2 M sodium hydroxideBeakers or test tubes How to Perform a Quick  Saponification of Methyl Salicylate Reaction This demonstration is about as easy as it gets! First, get your materials together.Pour 2M sodium hydroxide into the oil of wintergreen, while stirring.Sodium salicylate will be formed by the saponification reaction. It will appear as a thick white solid.Here is the reaction: HOC6H4COOCH3 NaOH → HOC6H4COO-Na CH3OH Tips for Success Oil of wintergreen is methyl salicylate. If you have difficulty finding it under one name, then try the other.This demonstration is intended to be performed by persons with training in the handling and use of chemicals. Proper safety precautions must be used, particularly when handling NaOH.