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Science/ Black Holes term paper 19763. Sister Wedding? The Search for Black Holes: Both As A Concept And An Understanding. For ages people have been determined to explicate on everything. Our search for explanation rests only when there is scottsboro boys a lack of questions. Our skies hold infinite quandaries, so the quest for answers will, as a result, also be infinite. Since its inception, Astronomy as a science speculated heavily upon speeches discovery, and Essay about, only came to concrete conclusions later with closer inspection.

Aspects of the speeches skies which at one time seemed like reasonable explanations are now laughed at as egotistical ventures. Time has shown that as better instrumentation was developed, more accurate understanding was attained. Now it seems, as we advance on scientific frontiers, the new quest of the boys heavens is to sister wedding find and Essay, explain the sister speeches phenomenom known as a black hole. The goal of Essay Child, this paper is to explain how the concept of a black hole came about, and give some insight on how black holes are formed and might be tracked down in our more technologically advanced future. Wedding? Gaining an understanding of Child Soldiers, a black hole allows for a greater understanding of the wedding speeches concept of spacetime and maybe give us a grasp of both science fiction and science fact. Hopefully, all the clarification will come by the close of this essay. A black hole is plato definition probably one of the most misunderstood ideas among people outside of the astronomical and physical communities. Before an understanding of how it is sister wedding speeches formed can take place, a bit of an film amish introduction to wedding speeches stars is scottsboro trial necessary. This will shed light (no pun intended) on sister speeches, the black hole philosophy. A star is an enormous fire ball, fueled by a nuclear reaction at its core which produces massive amounts of heat and pressure.

It is formed when two or more enormous gaseous clouds come together which forms the core, and as an Essay about aftereffect the conversion, due to that impact, of wedding speeches, huge amounts of fad of, energy from the two clouds. The clouds come together with a great enough force, that a nuclear reaction ensues. Sister? This type of energy is created by fusion wherein the atoms are forced together to form a new one. In turn, heat in excess of millions of degrees farenheit are produced. This activity goes on decline, for eons until the point at sister wedding, which the nuclear fuel is exhausted. Here is scottsboro boys trial where things get interesting. Sister? For the scottsboro entire life of the star, the nuclear reaction at its core produced an enormous outward force. Interestingly enough, an sister wedding exactly equal force, namely gravity, was pushing inward toward the of justice center. The equilibrium of the two forces allowed the star to maintain its shape and not break away nor collapse. Eventually, the fuel for wedding speeches, the star runs out, and it this point, the outward force is about overpowered by the gravitational force, and wedding speeches, the object caves in on itself.

This is a gigantic implosion. Depending on the original and film amish, final mass of the sister wedding star, several things might occur. Plato Of Justice? A usual result of such an implosion is a star known as a white dwarf. Speeches? This star has been pressed together to plato definition form a much more massive object. It is wedding said that a teaspoon of matter off a white dwarf would weigh 2-4 tons. Upon the first discovery of a white dwarf, a debate arose as to how far a star can collapse. And in the 1920’s two leading astrophysicists, Subrahmanyan Chandrasekgar and Sir Arthur Eddington came up with different conclusions. Dichromatic? Chandrasekhar looked at the relations of mass to radius of the sister speeches star, and dichromatic fad of, concluded an upper limit beyond which collapse would result in wedding speeches, something called a neutron star. This limit of 1.4 solar masses was an accurate measurement and in 1983, the Essay about Nephrolithiasis Nobel committee recognized his work and awarded him their prize in Physics.

The white dwarf is massive, but not as massive as the next order of wedding speeches, imploded star known as a neutron star. Often as the nuclear fuel is perform types of work? burned out, the star will begin to shed its matter in wedding, an explosion called a supernovae. When this occurs the star loses an enormous amount of mass, but that which is left behind, if greater than 1.4 solar masses, is a densely packed ball of neutrons. This star is so much more massive that a teaspoon of it’s matter would weigh somewhere in the economic decline ottoman, the area of sister wedding speeches, 5 million tons in earth’s gravity. The magnitude of such a dense body is about unimaginable. But even a neutron star isn’t the wedding extreme when it comes to a star’s collapse. Plato? That brings us to sister speeches the focus of this paper. It is felt, that when a star is massive enough, any where in the area of or larger than 3-3.5 solar masses, the collapse would cause something of to sociologists, why do typically different types of work?, a much greater mass.

In fact, the mass of sister, this new object is speculated to according to sociologists, why do different be infinite. Such an entity is what we call a black hole. After a black hole is sister wedding created, the gravitational force continues to pull in space debris and all other types of matter in. This continuous addition makes the hole stronger and more powerful and obviously more massive. The simplest three dimensional geometry for a black hole is Essay Nephrolithiasis a sphere. This type of sister wedding speeches, black hole is according to sociologists, why do men and women typically types of work? called a Schwarzschild black hole.

Kurt Schwarzschild was a German astrophysicist who figured out the critical radius for a given mass which would become a black hole. This calculation showed that at sister speeches, a specific point matter would collapse to an infinitely dense state. This is known as singularity. Describe Decline Of The? Here too, the pull of gravity is sister wedding infinitely strong, and space and plato definition of justice, time can no longer be thought of in sister, conventional ways. At singularity, the Essay about laws defined by speeches, Newton and Einstein no longer hold true, and a myterious world of Essay, quantum gravity exists. In the sister Schwarzschild black hole, the according men and perform different types of work? event horizon, or skin of the black hole, is the boundary beyond which nothing could escape the gravitational pull. Speeches? Most black holes would tend to be in according to sociologists, why do men and women perform different, a consistent spinning motion, because of the original spin of the star. This motion absorbs various matter and spins it within the ring that is formed around the wedding speeches black hole. This ring is the Women Field Essay singularity. Sister Speeches? The matter keeps within the Discrimination Field Essay Event Horizon until it has spun into the center where it is concentrated within the core adding to the mass. Speeches? Such spinning black holes are known as Kerr Black Holes.

Roy P. Definition? Kerr, an Australian mathematician happened upon the solution to the Einstein equations for black holes with angular momentums. This black hole is sister speeches very similar to the previous one. Women Typically Perform Types Of Work?? There are, however, some differences which make it more viable for real, existing ones. The singularity in sister wedding speeches, the this hole is more time-like, while the scottsboro boys trial other is more space-like. With this subtle difference, objects would be able to wedding speeches enter the Essay about Soldiers black whole from sister wedding, regions away from the equator of the dichromatic fad of event horizon and wedding, not be destroyed. The reason it is women typically different of work? called a black hole is because any light inside of the sister singularity would be pulled back by why do men and women typically different types of work?, the infinite gravity so that none of sister, it could escape. As a result anything passing beyond the film amish event horizon would dissappear from wedding, sight forever, thus making the the economic decline of the ottoman black hole impossible for humans to sister speeches see without using technologicalyl advanced instruments for measuring such things like radiation. The second part of the Essay about Soldiers name referring to sister speeches the hole is due to the fact that the film amish actual hole, is where everything is sister wedding absorbed and where the center core presides. This core is the definition of justice main part of the black hole where the mass is concentrated and appears purely black on sister speeches, all readings even through the use of radiation detection devices.

The first scientists to Essay really take an in depth look at sister wedding speeches, black holes and the collapsing of stars, were a professor, Robert Oppenheimer and definition of justice, his student Hartland Snyder, in wedding speeches, the early nineteen hundreds. Women Discrimination Field Essay? They concluded on the basis of Einstein's theory of relativity that if the sister wedding speed of light was the utmost speed over any massive object, then nothing could escape a black hole once in it's clutches. It should be noted, all of Women Discrimination in The Medicine Field, this information is speculation. In theory, and on Super computers, these things do exist, but as scientists must admit, they’ve never found one. So the sister speeches question arises, how can we see black holes?

Well, there are several approaches to Nephrolithiasis this question. Sister? Obviously, as realized from describe decline of the ottoman, a previous paragraph, by sister, seeing, it isn’t necessarily meant to be a visual representation. Essay About? So we’re left with two approaches. The first deals with X-ray detection. In this precision measuring system, scientists would look for areas that would create enormous shifts in energy levels. Sister Wedding? Such shifts would result from gases that are sucked into the black hole. Describe The Economic Of The Empire.? The enormous jolt in wedding, gravitation would heat the gases by describe the economic decline of the ottoman, millions of degrees. Such a rise could be evidence of wedding, a black hole. The other means of detection lies in another theory altogether.

The concept of describe decline ottoman empire., gravitational waves could point to black holes, and sister wedding speeches, researchers are developing ways to read them. Gravitational Waves are predicted by Essay about, Einstein’s General Theory of wedding speeches, Relativity. They are perturbations in describe ottoman, the curvature of sister speeches, spacetime. Scottsboro Trial? Sir Arthur Eddington was a strong supporter of Einstein, but was skeptical of sister wedding, gravity waves and in The Field, is reported to have said, Graviatational waves propagate at wedding, the speed of dichromatic fad of, thought. But what they are is sister wedding important to a theory.

Gravitational waves are enormous ripples eminating from the core of the black hole and other large masses and are said to the economic ottoman empire. travel at the speed of light, but not through spacetime, but rather as the backbone of spacetime itself. These ripples pass straight through matter, and their strength weakens as it gets farther from the source. Sister? The ripples would be similar to Essay Child a stone dropped in water, with larger ones toward the sister center and fainter ones along the outer circumference. About Child Soldiers? The only wedding speeches problem is that these ripples are so minute that detecting them would require instrumentation way beyond our present capabilities. Because they’re unaffected by matter, they carry a pure signal, not like X-rays which are diffused and distorted. In simulations the dichromatic fad of black hole creates a unique frequency known as it natural mode of sister wedding speeches, vibrations. This fingerprint will undoubtedly point to Women Discrimination in The Essay a black hole, if it’s ever seen. Sister? Just recently a major discovery was found with the help of The Hubble Space Telescope. This telescope has just recently found what many astronomers believe to be a black hole, after being focused on a star orbiting an about empty space. Several picture were sent back to wedding speeches Earth from the telescope showing many computer enhanced pictures of Essay about Child Soldiers, various radiation fluctuations and other diverse types of readings that could be read from the area in which the speeches black hole is dichromatic fad of the 1950s suspected to be in.

Because a black hole floats wherever the star collapsed, the speeches truth is, it can vastly effect the to sociologists, why do women typically different types of work? surrounding area, which might have other stars in it. It could also absorb a star and speeches, wipe it out of according women typically perform different of work?, existance. When a black hole absorbs a star, the sister wedding star is first pulled into scottsboro trial the Ergosphere, this is the sister wedding area between the event horizon and singularity, which sweeps all the describe the economic decline ottoman empire. matter into the event horizon, named for it's flat horizontal appearance and wedding speeches, critical properties where all transitions take place. The black hole doesn’t just pull the star in like a vaccuum, rather it creates what is known as an accretion disk which is a vortex like phenomenom where the star’s material appears to go down the drain of the Essay about Child black hole. Sister? When the star is passed on Discrimination in The Medicine Field, into the event horizon the light that the star ordinarily gives off builds inside the ergosphere of the speeches black hole but doesn’t escape. At this exact point in time, high amounts of radiation are given off, and with the proper equipment, this radiation can be detected and dichromatic, seen as an image of emptiness or as preferred, a black hole. Wedding Speeches? Through this technique astronomers now believe that they have found a black hole known as Cygnus X1. Essay? This supposed black hole has a huge star orbiting around it, therefore we assume there must be a black hole that it is in orbit with. Science Fiction has used the black hole to come up with several movies and fantastical events related to the massive beast. Tales of time travel and wedding, of parallel universes lie beyond the hole.

Passing the according to sociologists, why do men and women different event horizon could send you on that fantastical trip. Some think there would be enough gravitational force to possible warp you to an end of the sister speeches universe or possibly to a completely different one. Dichromatic The 1950s? The theories about wedding speeches, what could lie beyond a black hole are endless. The real quest is to first find one. So the describe decline ottoman question remains, do they exist? Black holes exist, unfortunately for the scientific community, their life is sister restricted to ottoman empire. formulas and super computers. Sister Speeches? But, and there is a but, the scientific community is describe of the empire. relentless in their quest to build a better means of tracking. Sister Wedding? Already the advances of hyper-sensitive equipment is describe the economic decline ottoman showing some good signs, and wedding, the accuracy will only get better.

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Introduction to sister wedding, Andre Bazin, Part 1: Theory of Film Style in its Historical Context. Andre Bazin, film critic, theorist, philosopher, and humanist wrote a series of essays between the years 1944 and 1958, before he died at the young age of the economic ottoman empire. 40. The majority of them were anthologized in their original language in the four volume set Qu’est- ce que le cinema? Selections from wedding speeches these four volumes were trans­lated by Hugh Gray and presented in two English volumes: What is Cinema? Other major works translated into English include Jean Renoir, Orson Welles: A Critical View, and French Cinema of the Occupation and the Resistance.

A recent collection of essays translated into English is Bazin At Work : Major Essays And Reviews From The Forties And Fifties , edited by Bert Cardullo. Discrimination In The. Other crucial non- anthologized articles are found in the journals Esprit, Cahiers du Cinema and Les Temps Modernes . Given the breadth of his work, I have limited myself in this introduction to speeches, his theoretical work and the economic decline ottoman, omitted his critical work on genre/cycles (the Western, Neo-realism) and/or specific films. In my exposition of these writings I do not purport to be exhaustive, but rather to arrive at an understanding of Bazin’s cinematic beliefs. By expounding, commenting on, and making necessary connections I will attempt to synthesize a complex man and his works into a manageable form. Any element of criticism is a residue of the sister wedding speeches, rigorous thought process propelled by his writings. THE ESSENCE OF CINEMA. Bazin sees cinema as “an idealistic phenomenon” and only consequently technical. Being a humanist he believes that the idea precedes the the 1950s, invention and hence is superior to the technical means used to achieve it. Wedding Speeches. He categorizes the early pioneers (Muybridge, Niepce, Leroy, Demeny, Joy, Edison, Lumiere) as “ingenious industrialists” at best. Later, in his now famous essay “The Evolution of the Language of describe the economic decline of the ottoman Cinema” he would extrapolate this formula of “idea necessitating technical means” into sister speeches complexity of plato subject matter necessitating a new form/style. To Bazin the cinema is inherently realistic ­because of the mechanical mediation of the camera.

This is not the same as saying that cinema is wedding speeches “objective” in Essay about Child any sense other than relative, and that cinema is untouched by ideological and cultural factors, as many of Bazin’s critics have said. What Bazin does do with this fact is place cinema above painting – the camera vs. the brush- as a medium for duplicating reality. Further, cinema’s ability to record the event in time, making “an imprint of the duration of the object” elevates it above photography. Although the potential for wedding speeches human intervention is describe decline of the always present, even granting the mechanical intervention, Bazin believes that the filmmaker owes it to wedding speeches, the complexity of reality to refrain from false subjective manipulation and overwrought formalist mediation. The “myth” of total cinema Bazin speaks of is a reflection of the 1950s humanity’s psychological and indeed ethical, obsession in the arts with depicting reality. 1 Possibly as a means of countering mortality, humanity has forever been attempting to preserve his/her likeness in one form or another. As Prakash Younger notes in his involved argumentation in sister speeches his Offscreen essay, there is an plato ethical and sister, moral link between the Women Essay, real world and sister wedding, the practice of artistic creation and spectatorial reception of art which informs the “aesthetic” practice and theory of Bazin. Boys Trial. This moral and ethical link does not circumvent the ideological, but stands as a way through the “impasse” of the ideological, or, to once again quote Prakash, “pseudorealism” to get at the “true realism.” As time evolved so did the means of artistically replicating reality, from cave drawings, to mummification, to sister wedding, engraving, to painting, to photography, and to plato, its (thus far) most convincing form, cinema. In the task of duplicating reality cinema has surpassed all other forms of representation. Bazin envisions each rung on cinema’s evolutionary ladder as a step toward a more realistic depiction of the world (sound, color, depth of speeches field, 3- D,etc.).

Since Bazin believes that the origins of an art reveal its nature, cinema’s quest for realism supports his claim for an objective and pure cinema. This “myth” which grew out of Child Soldiers cinema’s beginnings stands as the touchstone cinema has progressively evolved toward. Much of the sister, confusion concerning Bazin’s writings – and indeed a major concern in the canon of film theory- is traceable to the relationship between the filmed image and its life counterpart. How does Bazin explain this relationship? He describes it in the following terms: 1) The photographic image is “a kind of Soldiers decal or transfer”; 2) “The photographic image is the object itself, the object freed from the conditions of time and sister wedding speeches, space that govern it”; 3) Photography embalms time; 4) “The photograph as such and the object in itself share a common being, after the fashion of Discrimination in The Field Essay a fingerprint”; 5) “In no sense is it the speeches, image of an object or persons, more correctly it is its tracing”; 6) “The photograph proceeds … to scottsboro trial, the taking of a veritable luminous impression in light – to a mold. Wedding. As such it carries with it more than mere resemblance, namely a kind of identity …”; 7) “The cinema … makes an imprint of the duration of the object.” 2 The words Bazin uses are essentially synonyms: decal, transfer, fingerprint, tracing, mold, imprint. The reverberations suggest a quasi- mystical relationship between the subject and film amish, its photographic double. Given Bazin’s strong Catholic background it may or may not be begging credulity to wedding speeches, mention at this point an underlying presence of religious reverberation in lines two and six.

Line two says that the photographic image is the object itself, only “freed” from time and space. By “freeing” the object Bazin is implying a form of salvation or transgression to a higher moral/spiritual plateau. Line seven emits a spiritual echo through the words “a veritable luminous impression in plato light.” Could the photographic reproduction be in a symbolic sense the soul of its real life counterpart? Even when, in his article “La Technique du Citizen Kane ,” 3 Bazin defends Welles against George Sadoul’s charges of unoriginality he concludes with the spiritualistic thought that Welles, the modern artist, has left behind (through his films) “a resonance the likes of which we have never known before” (my translation). Wedding. I offer this as a possible interpretation for the consistently allegorical tone of Bazin’s writings concerning the boys, relationship between the wedding, subject/object and its filmic double. THE EVOLUTION OF THE LANGUAGE OF CINEMA : an describe the economic of the ottoman empire. Exploration of cinema style.

In this section I will lay out Bazin’s seminal discussion of the historical evolution of film style. I should stress that my aim here is to explicate this trajectory rather than situate it within Bazin’s broader theoretical ideas. I admit that even the few criticisms I make with regard Bazin’s critical application of realist style can be smoothed over by relating Bazin’s analysis of cinematic language to his larger philosophical and theoretical aims. With the championing of realism as the eventual goal, Bazin wrote a thoughtful historical overview of the evolution of film language. The major tenet coming from this overview is that the jump from silent to sound cinema was not the major evolutional point in sister speeches film language. That breakthrough point would arrive several years later (1940-41).

Bazin’s starting point for his historical overview is the silent period. Employing a stylistic and semi-auteur approach he groups all directors between the years 1920 to scottsboro trial, 1940 into two groups: one which base their integrity in the image (the imagists) and another which base their integrity in speeches reality (the realists). The imagists are broken down into scottsboro two camps, those working with the wedding, plastics (lighting, decor, composition, acting) and those working with the editing (the montagists). The realists do not distort time (like the montagists) or space (like the expressionists) but attempt to depict true reality. The major exponents of the realist camp are F.W.

Murnau, Eric Von Stroheim, Robert Flaherty, Carl Dreyer, and Jean Renoir. The montagists are also broken down into two camps, distinguished mainly by a time frame: 1920- 30 (Abel Gance, D.W. Griffith, Sergei Eisenstein) and 1930- 40 (the American classical “invisible” style, influenced largely, I believe, by the economic decline of the, Vsevelod Pudovkin). The end of the silent period brought the two “image” camps to their apex in the form of German Expressionism (the plastics) and sister speeches, the Soviet Post-Revolution cinema (the montagists). The jump from the silent to sound cinema did not give evidence to decline, any immediate effects on shooting or editing styles. By the late 30’s sound moved editing toward realism, switching the operative cutting style from sister symbolic/expressive to the 1950s, dramatic/analytic. Editing style became more or less standardized. Cinema reached a point of classical perfection where content fused with form. By now, 1939, cinema had reached the point where most technical innovations were established (color, track, dolly, crane, zoom, sound, panchromatic film stock) and the next evolutionary advancement, if there was to be one, would not be propelled by a technical matter but a thematic one: the subject matter and the effect it imposed on technical/formal aspects. The result of this was, according to Bazin, the most important aesthetic revolution in film history, the arrival of the mise-en-scene style. In brief then, here is Bazin’s evolution of film language: a) Plastics (lighting, decor, composition, acting) b) Montagists (editing)

2) The Realists:(long take, on location shooting, objective approach) By 1928 the sister speeches, Imagists peak with a) expressionism and b) Soviet cinema. Early sound films do not show immediate advancement of either style. By the late 30’s sound technique leads montage toward realism. By the late 30’s we witness the perfect fusion of form/content, sound/image. Film reaches its “equilibrium- profile” ( Jezebel , Stagecoach , Le Jour se leve ). By 1939 all major technical advancements are established; the definition, next step in evolution of style is spurred by subject matter. a) Pure objective realism (Neo- Realism, Documentary) b) Spatial Realism (Jean Renoir, Orson Welles, William Wyler). The implication in Bazin’s historical evolution is that by the 1940’s the imagist style had been completely engulfed by speeches, the realist style. The imagists, having had their glory days in the silent period, were confronted by the realists and, after a realist maturation period in the 30’s, over­taken by them.

A graph would read: A new type of Realism evolves, splitting up into two camps, as did the Imagists during the silent period, and totally dominating 1940: a) Spatial realists; and b) Pure objective realists. This historical progress toward realism is in describe decline of the ottoman perfect accordance with Bazin’s notion of the cinema continually inching forward toward the pure “myth” of total cinema. The force of History does not always obey, and sister speeches, this movement does not hold true for long. Definition. There is some historical truth in Bazin’s schema because, indeed, the imagists did dominate during the sister wedding speeches, silent period, as did the realists during the later 30’s, but Bazin’s contention of the post 1940 period being dominated by the realist style is quickly but into question by film-noir, a movement/style derivative of German Expressionism. Essay About Child. Nowhere in What is Cinema Vol. 1 2 do we see even a passing remark at film noir or the expressionistic-like Universal horror films of the 30’s. This oversight is surprising, especially with the evidence already building around Bazin toward the evolutionary direction which the dialectics of realism/formalism would take: toward a harmonious existence where the sister, two become more or less equal and interchangeable operative modes of a complex art form.

4. I would also add that Bazin underplays the importance of sound transition to emphasize his spatial-temporal ontological theory of realism. He realized how important a step sound was toward realism, eliminating the Women Discrimination in The Field, need for expressivity and “denaturalization” that was a large part of silent cinema. However, Bazin overlooks just how important a psychological role sound played in achieving the impression of reality, and sister wedding speeches, the impression of decline of the ottoman space and depth that were so important to him. Wedding. Sound added immensely to realism in Women in The cinema but Bazin, perhaps so as not to sister wedding, interfere with his spatial/temporal claim, downplays it.

He clearly emphasizes the psychological role with regard to the visuals, so the omission may be a result of Discrimination Field Essay sound theory not yet entering into the general discourse of film analysis. This aural component is still excluded by many people today when discussing the claim to sister wedding, realism cinema has over other arts. I must mention a final slender point of disagreement. By including Murnau and scottsboro boys, Dreyer as realists Bazin is falling into the same trap that Siegfried Kracauer does when he accepts certain fantastical/formalistic scenes when they are in the proper “realist” context, such as a dream or a specific point of view (Tudor 94). Bazin is on shaky ground when he removes Nosferatu and The Passion of Joan of Arc from the sister wedding speeches, expressionistic mode on the frail basis of Nosferatu ‘s on-location photography and Dreyer’s refrain from the use of make-up for dichromatic fad of the 1950s his actors (Bazin, What is Cinema Vol.1 109-110). What then becomes of Nosferatu ‘s sinister shadows, fast motion and negative photography, and expressionistic acting, and The Passion of Joan of Arc ‘s abstraction of space and extreme reliance on sister wedding speeches, close-ups? In neither case do the slim realist tendencies compensate for the overwhelming artistic intervention, as does Welles’ spatial realism for example. Both films fail to describe of the ottoman, completely qualify for either of Bazin’s realistic camps –the documentary- like “pure” realism or the sister speeches, spatial realism.

Although one can argue that Nosferatu is ‘more realist’ than other expressionist films of the fad of the 1950s, time, and that The Passion of Joan of Arc is so unique and iconoclastic in style, that the affect on the spectator is one of realism. Having pointed toward Bazin’s preference for sister speeches the mise-en-scene style I will now discuss his reasons for that choice. The depth of about Soldiers field/long take style, known as mise-en-scene, attracted itself to Bazin for two essential reasons: a) It maintained the sister wedding, unity of film amish space and the relationship between the objects within that space. b) It gave the spectator, according to sister wedding, Bazin, the freedom to direct his/her own control over the viewing process, including what to look at, in what order, for how long, and to make their own synthesis of that viewing process. Together they maintain the scottsboro boys, ambiguity – the wedding speeches, existential ambiguity present all around us in life- of that space. Mise-en-scene can incorporate two styles, one being a documentary­-like process where the camera “allows us to Discrimination in The Medicine, see” the event (Neo- Realism) and a second more aesthetic rendition of reality where the realism derives almost exclusively from the sister, respect for spatial unity (Welles, Andrei Tarkovsky, and film amish, Theo Angelopoulos). An integral part of the mise-en-scene style is the presence of depth of field.

Bazin wrote entirely on speeches, this aspect in the article “Pour en finir avec la profondeur de champ” (“My Final Words on Depth of Field”) ( Cahiers du Cinema . 17-23). This article begins by stating that depth of dichromatic fad of field belongs only incidentally to sister wedding, the technical domain (my translation): If depth of field interests us it is only incidentally as a technical progress of a shooting style and, essentially, as a revolution of dichromatic fad of mise-en-scene or, more precisely, ‘decoupage’ (19). Here he sets down the kernel for the balance of the article. Bazin examines a frame from the sister wedding, 1910 film Onesime (Louis Feuillade) and sees in its composition in depth and soft focus the Women Discrimination Field Essay, seeds for the later more refined depth of field style. The shot in questions has the title character framed in left, extreme close-up, with a secondary character visible in the right background of the frame (my translation): Something outside of Feuillade’s genius allowed him to sister speeches, spontaneously discover a prophetic frame, a rough outline of boys a Renoir or Wellesian shot. In this case, the discovery was not out of genius, but out of necessity – he did not have a choice (20).

Given the technical state of sister wedding 1910 the shot succeeds partly; both planes are visible but the film amish, background is sister soft. Again, giving the state of cinematography (to render a clear, legible image) and the state of audience awareness the softness of the background appears as a default. With the ameliorization of the depth of field shooting style and the parallel advancement of audience awareness, soft focus becomes a technique (rack focus and softening of decline of the ottoman a part of the image for an effect) and takes on a different meaning, that of decoupage. 5 The soft focus effect is (my translation) … an indirect means in which to place value in the shot which is being focused; it transcribes in speeches the frame the dramatic hierarchy which montage expresses in time. In this new complex perception the clarity of the background is no longer indispensable; soft focus is no longer experienced like an im­probability: it becomes contrast and not contradiction ( Cahiers du Cinema 22). In a pre-montage context Feuillade foreshadows the true sense of depth of film amish field – the ability to preclude montage through decoupage in depth. 6 According to Bazin decoupage in depth approaches a realism in an ontological sense, restoring to objects their existential density.

All elements, actor/object and foreground/background are fused into one perceptual pattern (Bazin, Orson Welles , 80). A final quote serves, perhaps more than any other, as a testament to Bazin’s burning stance as “realist” theorist (my translation): In classical style when a character becomes secondary he is usually eliminated from the scene. Welles maintains that his play not be so precise, but to keep the character “alive” so as to allow the spectators to continually dispense their attention. Sister Wedding. We must constantly be on the lookout for principal actions which can produce itself “behind our backs” so to speak. In The Medicine Field Essay. Here a part is taken from reality; a way of posing reality homogenous, of considering it indivisible and accruing equal weight to all coordinates of the screen. All the decor and all the sister wedding, actors in the total image are equally offered to Essay about Soldiers, the action and at the same time to our attention. If they remain outside it is nothing but a hazard as equally unpredictable as an isolated result of the numbers game (Bazin, Les Temps Modernes 947). Unlike Eisenstein, who wrote voluminously on montage and comparatively little on its antithesis, Bazin wrote substantially on montage. Bazin describes editing as a “series of either logical or subjective points of view of an event.” Dealing with sound films, he lists three motives for cutting: 1) As a purely logical descriptive analysis of the narrative 2) As a psychological analysis from a character’s point of wedding speeches view and 3) As a psychological analysis from the audience’s point of view. (Strangely, he shortly thereafter refers to them as “arbitrary”) ( What is Cinema Vol.

1 , 92). Bazin opposes classical and expressive editing on the following counts. The simple geographically and psychologically logical (dramatic) cutting within a scene does not add anything to the intent of a scene, only adding emphasis. So why bother? If the scene has only one simple meaning why insult the audience’s intelligence with needless and obvious close-ups? Contrarily, if the scene is complex why presuppose only one meaning? Expressive editing invents meaning through juxtaposition of the images and Essay Child Soldiers, not through the images themselves. This is trickery; it removes the freedom on the part of the spectator to select for him or herself and removes whatever existential ambiguity may be present in the scene. Therefore it is not faithful to reality, either spatially, temporally, or morally.

Bazin is not against editing which forms the sister wedding speeches, basis of film structure, that is cutting necessary to join unconnected scenes/sequences, but is against optical illusions (superimpositions, dissolves, process shots), needless pedestrian editing within a single scene, and Essay about Child Soldiers, expressive editing that adds meaning through the juxtaposition rather than content of each image. Bazin employs a simple aesthetic criteria for deciding when to edit: anytime two or more objects/subjects are necessary to the construction of meaning in sister wedding speeches a scene, depth of field is of justice preferable over editing. Bazin opposes the contention that editing is a more realistic depiction of the physiological viewing process on several counts. Logical cutting according to wedding, drama, narrative, and anticipation constructs a sense of an integral space. The master shot establishes a location so that the film amish, cutting to points within is physically (spatially) understood; the dramatic action makes it psychologically understood. Sister Speeches. This cutting leads the audience along and is usually one step ahead of them. Bazin sees this as only one of two possible modes of realism. This mode appropriates the realism of the narrative process and the mental process following it. The second mode of realism appropriates the event itself. The implication is that there is fad of a choice between one type of reality and sister, another.

Here it is instructive to recall Younger’s distinction in Bazin’s understanding of realism in art between “pseudorealism” and “true realism” -the former being caught in the trappings of ideology or meaningless formal articulations. All arts share in Discrimination Essay this inability to completely capture reality, but there are differing ways of countering this problem. The true realist does not fight against this opposition but merely tries to accommodate it through sincerity and wedding, honesty. According to Bazin, within the historical conditions of the 1940s and 1950s, the best way to achieve this was by means of spatial integrity, depth of Women Field field, and the long take mise-en-scene. Cinema can never totally duplicate the viewing process – physiologically and wedding, psychologically. That would be impossible, and scottsboro boys trial, if possible it would be a visual quagmire.

Bazin realizes that the human eye does not perceive a scene in the same way as a camera recording a scene in depth of field and/or long take. This limitation becomes a virtue. By being faithful to the space and the event itself the spectator is sister able to Women Discrimination in The Essay, perceive this hypothetical scene with greater insight and sister speeches, clarity than if he/she were physically present at the scene. The reality of filmic space and the filmic event supercedes the human perception of it. The essay “The Virtues and Limitations of Montage” presents, in the strongest possible sense, Bazin’s mistrust for Discrimination montage and discloses the essence of his preference for the mise-en-scene style. Bazin denounces the “trickery” of montage, evident in the animal film by Jean Tourane.

Here montage becomes emblematic of its untruthfulness – by relating the human qualities of sister animals by virtue of off-screen guidance and editing. Later in the essay he discusses the process shot, an equally deceiving effect, and says that the point is not whether or not the trickery is plato of justice noticeable, but whether or not it is used (a question of integrity). Wedding. Thus far Bazin’s reasoning implies that the artist has a moral obligation to the audience and the faithful rendition of the event/space. He then uses an example from the dichromatic, film Where No Vultures Fly to demonstrate how much more effective depth of wedding field is than parallel montage. (The scene has a wandering child playfully picking up a stray lion cub and then being pursued by the lioness.) The fact that the film amish, lion is tame is sister wedding unimportant; this deceit is made “morally” correct because it occurs in the economic decline of the ottoman a homogenous space. Bazin sees no deceit in the proceedings behind a long take/depth of field shot (numerous takes, removal of walls, props, etc.) but instead wants us to sister speeches, neglect the causal events and consider only the final results. Scottsboro. 7 (Contradictorily, Bazin supports his contention that photography is superior to painting by referring to their causal means – mechanical intervention vs. human intervention. Though ‘mechanical’ must be considered relatively, since all ‘tools’ (pen, brush, needle, etc) used in art are a form, lesser perhaps, of mechanical intervention.) Through these contradictions we can decipher Bazin’s true motives for his disliking montage and upholding mise-en-scene. Montage is speeches untruthful to spatial integrity and also deceives the audience through its juxtapositioning; therefore montage is of secondary importance, morally and aesthetically, to definition, the mise-en-scene style. The integrity of spatial unity is of the utmost importance and supercedes all else – deceit included. Bazin’s preference for spatial unity can also be understood as a philosophical (Bergsonian) preference, as I will point out in Part 2 of this essay.

BAZIN THE THEORETICAL WORLD. In this section I will point to speeches, some overlooked parallels between Bazin and other classical film theorists. Dichromatic The 1950s. An interesting development/argument ensues when considering Bazin’s stance toward editing in relation to Vsevelod Pudovkin’s theory. In Pudovkin’s illuminating and influential film theory the natural way for wedding a filmmaker to constitute a scene is to assume a hypothetical “perfect” observer, an Women Discrimination Medicine Essay imaginary, attentive, sensitive eye which captures the scene not the sister wedding, way everyone would see it but the way an acutely intense, analytical, and probing observer would. Definition. This is an ideal approach, but realistically, most directors either do not place that much thought into the editing or do not have the aptitude to, and, consequently, fall back on the more traditional editing style, to what Noel Burch terms the “zero point of cinematic style” (11). Sister Wedding. Even given the ideal, Bazin would still reject Pudovkin’s theory because of its potential to reduce the possibility for multiple interpretations.

Deciding for or against one theory may ultimately hinge on the complexity of the particular scene. Given a simple, straightforward scene where the meaning is only at the surface level, Bazin’s resistance to the theory is Women Medicine Field tenuous, but a complex scene with possible multiple interpretations gives more credence to sister speeches, Bazin’s opposition. Trying to select between Pudovkin’s ideal observer and Bazin’s democratic observer becomes more problematic if pursued further. Let’s take Bazin’s favorite example, the seal hunt scene from Nanook of the North . Bazin says that a traditional editing pattern would have ruined the impact of the single take scene. This may be true, but if that were indeed the best way to view that scene then Pudovkin’s ideal observer would also watch it from the same fixed viewpoint. The argument could go on and on. In principle, Bazin opposes the fragmentation of any scene which could be observed in its spatial unity. Bazin and Rudolf Arnheim, despite one being a realist and the other a formalist, begin their theories from the same starting point. Both theorists begin with the contention that cinema reproduces reality mechanically. Arnheim’s end goal is the equation film=art, while Bazin’s is fad of film=reality. Bazin accepts the contention, and in fact posits it himself, but adds to it by elevating the filmic double to wedding, a spiritual/moral/ethical level.

Arnheim refutes the contention by saying that regardless of the process, even on the most elementary level the recording of an decline of the ottoman object/subject is answerable to many factors. (Example: The problem of reproducing three dimensional objects in a two dimensional medium – positioning of object- and the intangible aspect of intuition – deciding whether a person is more him or herself in profile or full face or whether one angle of a mountain is more expressive than another) (Arnheim, 8- 11). Wedding. These decisions can not be arrived at mathematically but through human sensibility. Arnheim begins with the contention and then attempts to accord to the filmmaker the fad of, same artistic intervention of the painter. Bazin, in contrast, downplays the filmmakers intervention. In both cases the sister wedding speeches, limitation – not being able to reproduce reality exactly- becomes the source for the respective ends. Dichromatic Fad Of The 1950s. In Bazin’s case the film, in its faithfulness to the event, grants the sister, spectator a privileged experience of that event; in Arnheim’s case the spectator experiences the event colored through the artist’s sensibility. Writers who try to reveal inconsistencies in how Bazin applied his own theory to criticism often focused on film amish, his troubled affirmation of Welles as a realist. Andrew Tudor, in Theories of sister wedding Film , says that Bazin enters “deep water” in of justice doing so because Welles is the sister speeches, great inheritor of German Expressionism.

Tudor, although noting the two types of realism Bazin formulated – the pure realism and the spatial realism- does not allow Bazin this benefit. I can respect Tudor’s refusal to grant Bazin the benefit of two types of realism, but I disagree with his reason. Tudor believes that Welles’ baroque style – the chiaroscuro lighting, the excessive camera movements, the odd angles- is, along with montage and decor, just “another – way of Women Discrimination in The Essay destroying the visual unity of space.” Bazin is well aware of wedding speeches Welles’ affinity for the baroque and the manipulative potential mise-en-scene carries: Welles’ pictures are more difficult to analyze because of his over-fondness for the baroque. Objects and characters are related in such a fashion that it is impossible for the spectator to miss the decline of the, significance of the scene. To get the same results by way of montage would have necessitated a detailed succession of sister wedding speeches shots ( What is Cinema Vol.1 34- 35). Bazin does not deny that the Child Soldiers, depth of field style can, in that sense, appropriate montage – for that is Bazin’s point- and wedding speeches, the point missed by Tudor. Tudor’s accusation that Welles fragments space with his baroque style can be read as Bazin’s “decoupage in depth.” Hence, decoupage in film amish depth is not anomalous to Bazin’s spatial realism but an essential part of it. Although Welles inherited many traits from sister German Expressionism Tudor can not deny that the context is definition different – within Wellesian mise-en-scene- ­and that there is a difference between cutting a space through montage and cutting a space “in depth” as does Welles.

It is this distinction – manipulation via editing vs. manipulation via mise-en-scene- which makes the difference for Bazin. The last theorist I will consider is Brian Henderson. He serves as an endpoint to this section because Henderson exemplifies the by-product which can result from the constant need to reevaluate and think through existing theories. In his essay “Two Types of Film Theory” Henderson discusses the sister wedding, choice representatives of the formalist and realist camps, Eisenstein and Bazin. One of the conclusions he arrives at boys is that both theories, albeit drastically different, are in the general sense, ‘incomplete’ theories of the speeches, sequence. Out of fad of the 1950s this evolves Henderson’s critique of both theories: neither considers the relation of the part (the sequence) to the whole. They do not envision a theory of the formal construction of the total film. Sister Wedding. At this point Henderson does not posit any answers, but only raises the question of whether there can be a theory dictating the complete organization of a film. Does Bazin’s theory, in any sense, constitute a “complete” theory (disregarding his neglect of sound)? The frame/shot/scene/sequence are the principal building blocks of film, with the sequence being the Essay, largest “part.” Bazin’s mise-en-scene contains all these elements and his constant championing of mise-en-scene at the expense of montage dictates how these elements should be used; as such, this constitutes a theory of how a film should be constructed from beginning to end. Although Bazin expresses approval of simple editing to join homogenous spaces (connecting scenes/sequences which in themselves are shot in depth), he never felt the need to expand on the relationship between long take and editing.

Consequently, all that is missing to form a “complete theory,” in sister speeches the very general sense, is of the empire. a term designating this “carry- over” from speeches sequence to sequence. Henderson himself would later supply this term. In the subsequent essay “The Long Take” Henderson examines the boys trial, role of editing within the long take style vis- a- vis Welles, Ophuls, and speeches, Murnau. As an answer to his own query, he posits the inter and intra-sequence cuts, cuts occurring in between sequences (inter) or within sequences (intra) (See essay by David George Menard, “Toward a Syntheis of Cinema- a Theory of the Long Take Moving Camera.”). Regardless of the validity of Henderson’s theory, the point is that through a thought process predicated on Bazin’s theory and a need to “complete” it, Henderson constructed a theory of the sequence cut.

This interplay between contemporary and past theorist is a vital part of the theoretical world’s evolution and proves the validity of past theories. As art evolves so must the the 1950s, theories. In making this contention Bazin is, of course, glossing over speeches, a long line of antithetical movements (Expressionism, Surrealism, etc.) revolting against this obsession with realism. #8617; All of these quotes or paraphrases are taken from What is Cinema Vol. Definition Of Justice. 1 pps. 14, 15, 96, 97. Speeches. #8617; Andre Bazin, Les Temps- Modernes 17, (1947), 948. The Economic Decline Of The Empire.. Although too long to quote in full, the latter part of this article explicitly reveals Bazin’s tendency to revert to sister, a religious or mystical tone when supporting a claim he feels strongly for. #8617; There still are filmmakers who fall exclusively into one or the other camp, Miklos Jansco for of justice example, but most directors utilize both styles according to their needs: Hitchcock, Godard, Kubrick, and Scorsese as prime examples #8617; There are two terms used by wedding speeches, Bazin which either take on a different meaning in their English translation or don’t have an equivalent. Describe The Economic Of The Ottoman Empire.. Montage in English terminology implies a rigorous and expressive editing style. Most editing sequences juxtapose shots of varying space, time, and content combining to create an sister speeches over- all idea, meaning, or tone.

Editing implies the formal construction of the film from describe decline ottoman empire. one shot to sister, the next and the economic decline of the empire., is not nec­essarily expressive. Sister Wedding. Bazin uses the terms interchangeably. The second term, decoupage, has no English equivalent. The French definition is “to cut,” but applied to film the word is better described as construction. Noel Burch, in Theory of Film Practice, defines the the 1950s, three terms for which decoupage is inter­changeably used for as: 1) The final form of a script replete with the required technical information. 2) The practical breakdown of the film’s construction into separate shots/sequences prior to filming 3) The underlying structure of the wedding, finished film, which has probably deviated from the original “decoupage.” #8617; With the meaning of decoupage in boys mind, we must consider the other means by which depth of field appropriates montage: the moving camera, especially the reframe, the zoom, lighting, props, and the use of off- screen space. #8617; The phenomenological approach at speeches understanding the essence of decline of the ottoman empire. phenomena also foregoes the wedding speeches, causal series of events (Husserl’s “bracketing”). #8617; Donato Totaro has been the editor of the online film journal Offscreen since its inception in Essay about Child Soldiers 1997. Totaro received his PhD in Film Television from the University of Warwick (UK), is a part-time professor in Film Studies at wedding Concordia University (Montreal, Canada) and a longstanding member of AQCC (Association quebecoise des critiques de cinema). Bazin and “The River” as a Problem in the History of Film Theory, Part 1.

Re-thinking Bazin Through Renoir’s The River, Part 2. Re-reading Bazin’s Ontological Argument. Introduction to dichromatic fad of the 1950s, Andre Bazin, Part 2: Style as a Philosophical Idea. Susan Sontag: Against Interpretation? The Ending(s) of Cinema: Notes on the Recurrent Demise of the Seventh Art, Part 2. The Ending(s) of Cinema: Notes on the Recurrent Demise of the Seventh Art, Part 1.

1997 2017 Offscreen, ISSN 1712-9559.

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NYU Steinhardt School of Culture, Education, and Human Development. This section describes the dissertation format that all NYUSteinhardt doctoral candidates are required to follow. Dissertations must adhere to these requirements in order to be accepted by sister wedding speeches, the Office of about Child Soldiers Doctoral Studies for the scheduling of the final oral examination. Please read this section carefully and contact the Office of Doctoral Studies if you have any questions. Faculty policy leaves the choice of a style manual to speeches the doctoral candidate with the advice and Essay Child Soldiers, consent of his or her committee. Generally, candidates are urged to learn and use the manual most often required for speeches, scholarly writing by journals within their disciplines.

Typically, the following style manuals are used by decline of the ottoman empire., NYUSteinhardt students: The most recent editions of the chosen style manuals should be used. Your printer must produce consistently black letters and consistent margins. Sufficient darkness is also necessary for sister speeches, any supporting materials, such as tables, figures, drawings, pictures, etc., -- either as originals or as copies -- that you may need to append or insert in your manuscript. Your dissertation will be published by ProQuest UMI which requires clear, high-contrast characters and images. As a guide to fad of the 1950s the quality that will be obtained, you can photocopy a sample page at 75% reduction to evaluate the readability and clarity of the print. The School and ProQuest UMI allow students to use typefaces that are between 10 and 12 points; however, because 10 point can appear too small in sister wedding most typefaces, 12 point is generally preferred.

A smaller or condensed typeface can be used for of the ottoman, tables that otherwise might not fit across a page within the correct margins, however, mixing typefaces is otherwise not recommended. Underlining or italics may be used for statistical symbols, book titles, or definitions (but use either one or the wedding other consistently throughout your manuscript, including tables). Headings should be underlined when appropriate and not italicized. Bold type should not be used in the manuscript. Do not justify the fad of right margin of your text; keep it left aligned like the text shown here. To assure proper binding and for ease of reading, the following margins are required: Left margin : one and one-half inches for all pages . Right margin : one and one-half inches for all pages , with no intrusion of letters or anything else into sister speeches the right margin. Top margin : one-and-one-quarter inches for all pages except the first page of the Acknowledgments, Table of Contents, List of Tables, List of Figures, each chapter, Bibliography, and Appendices which should begin two inches from the top edge of the page. Bottom margin : one-and-one-quarter inches for film amish, all pages. Page numbers for all pages preceding page 1 of Chapter I (lower case roman numerals for Acknowledgments, Table of sister speeches Contents, etc.) should be placed three-quarters of an Essay, inch from the bottom of the page, centered between the left and right margins.

Page numbers from page 1 of Chapter I through the last page of the last appendix should be placed three-quarters of an inch from the top or bottom, centered between the left and right margins. See the next section for sample dissertation pages. Avoid leaving more than two inches of white space without type. This applies to tables and sister wedding speeches, figures as well as to text. Women Field? A table or figure should be inserted in the text as soon after it is first referred to where it will fit in wedding its entirety on one page. Essay? Leave three blank lines between a table and text or text and a table; the same for figures. Continue your text if you can fit at least four lines after it. You may have more than one table on a page and sister, you may have a table, discussion, and a table. The same procedure applies to the economic decline ottoman all illustrative material. Double space the entire manuscript with these exceptions (which should be single-spaced): chapter titles, appendix titles, headings, and subheadings of wedding more than one line; block quotations; column headings and lines that run on the economic ottoman empire., in tables; bibliography or references entries -- double space between entries; footnotes; figure captions; explanatory material for figures, tables, and illustrations; and appendices -- the spacing will vary depending on the source and wedding speeches, content.

APA style requires writers to double space all typed material, including the exceptions noted above. If you are using APA, the above rules supersede APA rules in most cases. You have the option, however, of double spacing your references and block quotations; MLA style users also have this option. The title page is counted as page one and the copyright page as page two, but numbers do not appear on them. Lower case roman numerals (iii, iv, v, vi, etc.) are used for all subsequent pages up to the first page of the text (page 1 of Chapter I) and should be placed three quarters of an inch from the bottom edge of the paper, centered between the margins. Beginning with page 1 of Chapter I, Arabic numbers are used and are continuous through the decline of the empire. last page including all appendices. Sister Wedding Speeches? Page numbers for all pages in the chapter, including the first page of each chapter or major section, should be placed three quarters of an inch from the about Soldiers top or bottom edge of the paper centered between the margins. The material of your manuscript should be ordered as follows: title page; copyright page; acknowledgments; table of contents; list(s) of tables, figures, charts, graphs, musical examples, illustrations, etc., if used; preface or forward, if used; the text; bibliography; and appendices (if any). Please see the sample title page below.

You are required to follow that format exactly. You will have the option to have your dissertation copyrighted when you submit it to Proquest/UMI for publication. You should include a copyright page with your name and copyright date in the middle of the sister wedding speeches page, centered left to right (between the margins) and top to bottom. Please note that the copyright date is the year of your degree conferral. Follow this format: The copyright page is page ii of the pages preceding the text (the title page is understood to boys be page i), but no number should appear on either the title page or the copyright page. Table of speeches Contents and Lists of plato definition Tables and Figures. Because a dissertation does not have an index, your Table of Contents should be as comprehensive as possible.

Include all headings and sister wedding speeches, subheadings, exactly as they appear in the text, up to and including Level 2. Including lower level headings is optional. (See sample Table of Contents in the next section.) Note that the indentation of a heading used in the Table of Contents corresponds to the level of the heading. The following illustrates this: You should supply the reader with lists of tables, figures, and any other illustrative material used in Women in The Medicine your dissertation. Sister Wedding? See the sample lists in the next section. Lists of musical examples or reproductions of art, or information about film amish films, follow the same form as that used for wedding, lists of tables and figures. Chapter headings and titles appear as follows, beginning two inches from the top of the page: Headings within the Women Discrimination in The Medicine Essay chapter should indicate the weight you assign to particular ideas by the form of headings suggested in the style manual you have selected or the form suggested below.

Leave three blank lines (i.e., begin typing after two double spaces) before each heading and wedding speeches, after each major section and the 1950s, chapter title. If one heading immediately follows another, leave only one blank line (a double space) between the two. Sister? Leave one blank line (a double space) after each heading. Capitalize the first letter of each word of boys trial headings except for articles, conjunctions, and sister wedding speeches, prepositions. The following is one way in which to order headings and to type them. Students following APA style may use the the economic format in the APA Style Guide, however, the format below is speeches, preferred for NYU Steinhardt dissertations. See the sample page 1 in the next section for definition of justice, an example of heading placement.

Be sure that no heading appears at the bottom of a page without at least two lines of text beneath it. The Table of sister wedding Contents will contain all Level 1 and Level 2 headings exactly as they appear in the text. Film Amish? It is not necessary to include Level 3 or lower-level headings in the Table of Contents, but you may if it provides the reader with more useful information. Chapter numbers are upper case roman numerals (with no period), e.g., CHAPTER IV, to differentiate them from any other numbers in the text. Wedding? All other items requiring numbers should have Arabic numbers.

Appendices, should be designated by capital letters, e.g., APPENDIX A, APPENDIX B, etc. Use numbers or letters for other items only when necessary. About Soldiers? Use 1) in the text and 1. in a set-off list; a) in the text and a. in wedding speeches a set-off list -- not (1) or 1). or a.), etc. If items in a numbered list run onto two or more lines, you may let the additional lines begin at the margin or indent the entire paragraph to film amish the right of the numbers. Numbers beginning a sentence, as well as numbers below 10 (or, if you prefer, 12) should be spelled out when they appear within the text.

Reduction of Tables and Other Materials. If a table, appendix, illustration, or graph is too wide or long, or both, to sister speeches fit within the specified margins, have it reduced, or if textual material, type it using a smaller font. Describe Decline Of The? Whenever possible, avoid inserting tables which must be read by turning the book sideways. If such a table is necessary, be sure to insert it with the heading to the spine or binding. You may also use a condensed typeface. For style guides other than APA, if you have more than one work by the same author, do not repeat his or her name over sister, and over. Plato Of Justice? Use ten underscore characters, ending with a period if the author is exactly the same as the previous one, or with a comma if the author is the first of a series of new authors, as shown below.

Single space the entry; double space between entries. Indent the second and subsequent lines one-half inch. Note that authors with two initials have a space after the wedding speeches period between each initial, e.g., Smith, A. Plato Definition? B., Jones, M. J. Do not allow initials to break between lines; keep them together on one line or the other. Regardless of the style guide you use, avoid having one or two lines of an sister, entry on one page and the rest of the citation on the next page. The entry should be cited in its entirety on one page or the other. The way you cite an author in your manuscript is based on the context. If you are attributing an idea that you paraphrased to dichromatic fad of someone, use the name and date (according to APA style) such as (Jones, 2002), or as shown in the first sentence below. If you are. using a direct quotation, use the same format, but you must include the page number where you found it, as shown in the second sentence below. Also, specific information or ideas need a page number even if paraphrased.

For example, the following brief passage refers to the same publication by a hypothetical author: Review the whole manuscript to wedding speeches be sure that every work referred to in the manuscript is definition, cited in the text (or footnotes) and included in the bibliography. Four or more lines of a quotation should be set off from the main text with a double space, typed single spaced with no quotation marks, and sister speeches, the entire block indented one-half inch. Quotations within these block (or indented) quotations may use double quotations. The first line of the quotation is not indented; however, the first lines of new paragraphs within the quotation should begin with an additional indent of definition one-half inch. Sister Wedding? Students using APA or MLA style may double space block quotations.

Each appendix should have the proper designation at the top of the first page. A title page does not need to be inserted before each one. Use the Women Discrimination Field following format, centered between the left and right margins, beginning two inches from the top of the speeches page: PARTICIPANT CONSENT FORM. If you have material that, because of its format, needs to have a title page (because the title doesn't fit on the same page as the material), you need to consistently use title pages for all appendices. Avoid it if you can. Again, all material in an appendix must fit within the overall page margins.

It is necessary to obtain letters of permission for scottsboro trial, the reproduction of any copyrighted material which exceeds the Federal law pertaining to Fair Use. Copies of those letters will be uploaded to Proquest UMI with your final dissertation. Wedding? Copies of the dichromatic letters do not need to be included in the dissertation. The abstract is a brief summary of the contents of the speeches dissertation. Begin typing the abstract two inches from the top of a blank page with no heading. The abstract should be typed double-spaced with the same typeface and scottsboro boys, margins as the dissertation. Sister Wedding? The length of the Essay about Child abstract should be limited to speeches 350 words.

The abstract title page is identical to the dissertation title page with one exception: the abstract title page has the words An Abstract of dichromatic fad of directly above the title (see Sample Title Page in the next section). Sister Speeches? Each abstract is stapled in the upper left corner and kept separate from the about Child dissertation. Sister Speeches? The chairperson of the dissertation committee should sign one copy of the abstract title page. The following section includes sample dissertation pages which should be followed carefully. In The? Refer to sister wedding speeches the preceding section for scottsboro trial, more detailed information on format requirements. Students should follow the instructions on these sample pages rather than using a dissertation from the library (or elsewhere) as a guide. Format requirements differ from year to year and from school to school. This site, and wedding speeches, all its contents, are Copyright by New York University.

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A Descriptive Essay of Grendel from #8220;Beowulf#8221; Essay Sample. Sister Wedding Speeches? Grendel is one of the three major antagonists in the poem #8220;Beowulf#8221;. We are told he is about Child Soldiers, a monster and sister wedding a descendant of the biblical figure #8220;Cain#8221; early on in the text. #8220;Till the monster stirred, that demon, that fiend/Grendel who haunted the moors, the describe the economic wild /Marshes, and made his home in sister a hell./Not hell but hell on earth. Discrimination Medicine Essay? He was spawned in that slime/Of Cain, murderous creatures banished/ By God, punished forever for the crime/ Of Abel#8217;s death.#8221; (Lines 101-108). Although Grendel is sister wedding speeches, likely the poem#8217;s most memorable character, we are never given a straightforward description of plato definition of justice, his physical characteristics. We can only sister, imagine why the author wrote his character in this way, giving us only a few clues as to his nature. One explanation is that they wrote it this way to leave the dichromatic fad of image of sister wedding speeches, Grendel to the imagination of the reader. This is a trick that writers use to the economic decline of the ottoman make readers more involved in the story line and character development, and in this case, it works to their advantage. Many different people view Grendel differently, but most refer back to the way he is initially described, as a monster. We can use clues that the characters give to piece together a working picture of what Grendel looks like.

The narrator provides us with much of the information we discover about Grendel#8217;s physical attributes, but the other characters such as Unferth, and Beowulf himself also provide us with a few details about the monster#8217;s looks. The narrator describes Grendel as #8220;ent#8221;, #8220;ettin#8221; and #8220;scather#8221;. The terms #8220;ent#8221; and #8220;ettin#8221; are taken from the Old Norse language, and sister mean, #8220;troll#8221;. The term #8220;scather#8221; means #8220;one who scathes#8221;. Film Amish? Many believe that these words describe the monster as a troll like figure, although we can#8217;t be sure exactly what a #8220;troll#8221; looks like to sister speeches the author of the epic.

In the film #8220;Lord of the Rings#8221; an #8220;Ent#8221; is depicted much differently then we would regard now as being troll-like. #8220;Ents are tree-like creatures, having become like the trees that they shepherd. The Economic Of The Ottoman Empire.? They vary in traits, from everything to height and size, coloring, and the number of fingers and toes. An individual Ent more or less resembles the specific species of tree that they typically guard.#8221; The hero of the poem, Beowulf describes Grendel as a #8220;Jotun#8221; which we now translate to mean #8220;giant#8221; in modern English. It is hard to relate the term #8220;giant#8221; from an old English meaning into what we refer to as a giant today. This old norse description is from a Swedish encyclopedia: #8220;As a collective, giants are often attributed a hideous appearance claws, fangs, and deformed features, apart from a generally hideous size. Some of them may even have many heads or an overall non-humanoid shape. With bad looks comes a weak intellect; more than once was their temper likened to that of children.#8221; Many reviews of Beowulf refer to the poem as an sister wedding, epic simile of the story of Christ and plato definition Satan.

If this is true, then it can also be assumed that Grendel has a slightly man-like appearance and mannerisms. However being a #8220;monster#8221; and not a #8220;man#8221; we have to wedding speeches take into consideration that he doesn#8217;t possess all characteristics of a human. He man be able to walk on two feet and fight as a man would do, it is plato, made clear that he does not fight noble, as knights and soldiers would do. We can also postulate that although he has many animal attributes and a monstrous appearance, he seems so be controlled by human emotions and feelings. With the author being unknown and any other work he may have being unknown, it is sister wedding, impossible to say whether we will ever have a clear image of the Grendel that he described in his text. We can guess however, and look at the history of the period in film amish which the text was written to find some likely characteristics he possesses. Speeches? There will always be many versions of Grendel#8217;s physical appearance, and all will remain true until the Essay about Soldiers author tells us otherwise. Beowulf, author unknown. Is this the perfect essay for you? Save time and order A Descriptive Essay of speeches, Grendel from #8220;Beowulf#8221; essay editing for only $13.9 per plato of justice, page. Top grades and quality guaranteed!

Relevant essay suggestions for A Descriptive Essay of Grendel from #8220;Beowulf#8221; As an epic tale of battle and heroic, the poem Beowulf and its spin-off novel Grendel are both literatures that detail characters and their deeds. Throughout the poem Beowulf, the#8230; Comparison of Beowulf and Grendel. In the novels Beowulf, translated by Benton Raffel and Grendel by sister, John Gardner, there is a character that is vividly portrayed. Describe The Economic Decline Of The Ottoman Empire.? This character is the monster Grendel, a non-human being#8230; Pagan and Christian Aspects of Beowulf. Beowulf is an epic poem featuring a conflict between pagan and Christian beliefs.

Within this context there is a continuous theme of good versus evil. Beowulf is a Christian hero#8230; The Anglo-Saxons values, is the comitatus mutual loyalty between the king and the kings men. Sister Wedding? Beowulf an epic hero, shows the potential of a true epic hero and the values#8230; Beowulf Round or Flat Character. Beowulf is a hero noted for dichromatic his acts of courage and the nobility with which he performed these acts. Beowulf embodied the ideals of conduct that were most valued in#8230; Beowulf Case Study. It is true that Beowulf is the story of speeches, a dual ordeal: an describe the economic ottoman, external battle with vicious opponents and an internal battle with human tendencies of pride, greed, cowardice, betrayal,#8230;

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This is the of justice, structure for which the sister speeches, phylum was named. A dorsal, hollow, ectodermal nerve cord (compare with Annelida and Arthropoda which have ventral, solid, mesodermal nerve cords) typically forms by an infolding of the ectoderm tissue, which then “pinches off” and becomes surrounded by mesoderm. Spinal. Chordate , Fish , Mammal 1394 Words | 5 Pages. ? Phylum nematode Characteristics of Nematoda:- 1)Bilaterally symmetrical, and vermiform. 2) Body has more than two cell layers, tissues . and organs. 3) Body cavity is definition a pseudocoel, body fluid under high pressure.

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Phylum Chordata • The chordates occupy the highest position in the food chain. • The name phylum was derived from sister wedding speeches . the characteristic which all chordates share, the definition, notochord – a long, elongated, and flexible cartilaginous structure that runs the entire length of the sister speeches, body. (Gr. noto = the back; chorde = string) Characteristics: • A dorsal nerve cord located above the in The Medicine Essay, notochord, it runs the entire length of the body. The nerve cord is a bundle of nerve fibers that connects the. Animal , Chordate , Dorsal nerve cord 602 Words | 5 Pages. The phylum Arthropoda is the speeches, largest and most varied in the animal kingdom. It includes well over one million described species.

This . represents approximately three-quarters of all known biological organisms, living or extinct. Countless arthropods remain undescribed (not yet named and studied), and the actual number of film amish, living species could be as high as ten million or more. Wedding? Some of the more well known arthropods include insects, crustaceans, and spiders, as well as the describe the economic decline ottoman empire., fossil trilobites. Arthropods. Arachnid , Arthropod , Chelicerata 745 Words | 3 Pages. Phylum : Porifera A sponge has differentiated cells and functionally distinct layers. The ameobocytes secrete spicules which stack up . together to make the sponge. Sister Wedding? The choanocytes are composed of a flagellum and a collar (collar cells). The amoebocytes and choanocytes are the work force of the sponge--they create the body of the sponge. Dichromatic? The major sponge groups of today had an ancestor in the Cambrian period. The sponges reproduce either sexually or asexually.

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