Techniques on Cleopatra and Anthony Powerplay - 1524 Words

Elective 2: Powerplay – Antony Cleopatra Consider representations of and the interplay of types of power Analyse portrayals of the powerful Consider how the depiction of particular relationships provides insight into the nature of politics Consider the extent to which power resides with the people Techniques Suspense Delays entry of main characters and Caesar Caesar powerful- delayed entrance- magnifies his power for audience (dramatic technique) Soothsayer foreshadowing/foretelling â€Å"You shall outlive the lady whom you serve† (Cleopatra’s death) â€Å"I thou dost play with him at any game, thou art sure to lose† (Antony’s fall to Caesar) Soliloquy- dramatic monologue climatic- heightened sense of the character’s soul†¦show more content†¦Ã¢â‚¬ See where he is†¦I did not send you†¦If you find him sad, Say I am dancing: if in mirth, report That I am sudden sick.† Cleopatra à   uses feminine nature to indirectly reach absolute power, using seduction to control the most powerful man on earth. Antony loses power as his energies are used to placate Cleopatra rather than do his duties (following her sails during the sea-battle and losing the battle) Cleopatra is more important to Antony’ than his whole empire. †Let Rome in Tiber melt, and the wide arch Of the reign’d Empire fall! Here is my space†¦Ã¢â‚¬  †The strong necessity of my time commands Our service awhile: but my full heart Remains in use with you.† As Antony is to Cleopatra: â€Å"I’ll unpeople Eqypt† As opposed to her male opponents, Cleopatra does not give away any sign of thirst for power. However she uses her feminine nature to try and deceive Caesar as an ultimate attempt after surrending. Her power seems to be effective when Caesar does not even blink as she is caught lying about her personal fortune. In order to keep her honour undamaged, Cleopatra decides to die with her power of decision still intact, by committing suicide by means of the bite of the Nile worm. Power through Deception Antony deceives Caesar by marrying

Bulk carrier and oil tanker ship construction Free Essays

Introduction: Types of Ships discussed: Bulk Carriers Oil Tanker Here I discuss about two types of ships which are bulk carrier and oil tanker. The pictorial explanation gives general difference between both the vessels. Bulk Carriers: The name itself says that they carry products in bulk quantities. We will write a custom essay sample on Bulk carrier and oil tanker ship construction or any similar topic only for you Order Now Ex: Edible commodities, raw materials and finished steel products. Bulk carriers can be with or without cargo gear. Those without will use the shore gear for cargo operations. The construction will be usually single or double hull with DB’s and TST’s. Side hopper tanks. During rough weathers the ballast is taken into the cargo hold so that CG comes down there by minimizing the stresses. Cargo grabs can enter easily due to wide opening of cargo hold. The excessive cutting area reduces deck strength, but suitably compensated with the hatch coaming structure. Pontoons will cover the cargo hold will differ in size, shape and operation depends on manufacturer. Pillars with deck girders supported by brackets and beams will take the weight of pontoons. The tanks tops are strong enough to bear stress caused by bulldozers or bob cats when they operate to collect cargo in cargo holds. Tankers: Tankers are designed to carry liquid cargos in bulk quantities depending on their size. The entire cargo operation will be through pipe lines. For carrying cargo operations they have to call berths fitted with chicksen or hoses. Smaller tankers usually used to supply bunkers and lube oils to the bigger vessels at anchorages. The vessels that carry gas also called as tankers. In shipping world tankers constitutes 35% tonnage presently. Tankers vary in size. From 500 GT to the world’s ultra large crude carrier MT.Hellespont Alhambra with dwt of 441,585. This type of ultra large tankers usually carry crude from the point of production to the refineries. The size and number of the cargo tanks will vary from ship to ship depending on the size and construction of the vessel. The divisions of the tanks are made possible by both longitudinal and transverse bulkheads with strengthened frames and corrugations to give extra strength to the bulkheads. These bulkheads in turn reduce rackin g stresses and prevent fire and flooding to progress to the other part of the vessel. The role function and general layout of bulk carrier and Tanker are explained above. Structural differences of Bulk carrier and Oil Tanker as follows: Structural FeatureBulk CarrierOil Tanker Cargo Hold openingsLarge cargo hold openingsSmall opening to enter cargo hold Cargo OperationBy Ship/Shore gear, Sling, suit or conveyorBy pipe line AppearencePipelines all around deckComparatively less pipelines Cargo gear when fittedCranes, DerricksUsually one or two mid ship cranes Extra MachineryDoesn’t require extra machineryInert Gas, Separate pump room Construction of HullNot CompulsoryDouble Hull Compulsory Cat walksFitted Athwart shipFitted longitudinally Cargo Tank CleaningEasyComparatively different and COW washing Company’s permissionNo need to obtain permission to enter in cargo hold. (Risk Assessment Carried out)Permission from company is mandatory, (Risk Assessment Carried out) Panting and Pounding arrangements as expressed below: (Diagrams Attached) Panting : The force exerted on ships side plating due to the vessels rising and falling due to waves is called panting. The bow part experience more pressure as compared to stern. Panting beams, stringers and deep floors will make the vessel to overcome this problem. Pounding : During excessive pitching the fore foot bottom plating will slam the water with high force which is called as pounding. It could be because of excessive speed, much stern trim or too little ballast. By increasing the bottom plate thickness, longitudinal framings, transverse frames with side girders and more side frames helps the vessel to withstand these stresses. Regional Stresses affecting Bulk Carriers: (Diagrams Attached) Care to be taken always while loading and continuous monitoring for hogging and sagging. Sagging comes in the areas where more weight and hogging comes in the area of less weight. Uneven distribution of weight could lead the ship breaking into two. However even after loading to even keel still the vessel experiences this problem due to the waves. During rough weather extra care to be taken as the high raising waves provides extra buoyancy. Transverse Stress: These are caused due to force exerted from cargo or structural weights or motion in sea way which in turn affects the ships cross sectional area. Racking: Rolling causes ship’s deck to move laterally when compared to bottom thereby causing the side shells to move vertically relative to each other At any given time the stresses on board should be within the limits of harbor and sea going conditions as given in loadicator. Bibliography: College Hand out, Moodle.stc.uk Classroom Running Notes Merchant ship construction by D.A.Tailor 3rd edition 1992 Merchant ship construction by P.J.Pursey 7th edition Glasgow 1983 Safe Tanker Operations by Capt.K.S.D.Mistree, A Marinez Publication There are other stresses which are equally important to discuss but due to the word restriction I was unable to discuss in this assignment. The Diagrams are enclosed separately to this assignment which most of the stress are explanatory. How to cite Bulk carrier and oil tanker ship construction, Essay examples

Analysis of Prokofiev Sonata No 7 Essay Example For Students

Analysis of Prokofiev Sonata No 7 Essay Harlow Robinson describes Prokofievs Piano Sonata No. 7 in Prokofievs biography as one of Prokofievs most accomplished compositions written since his return to U. S. S. R. It is a dramatic embodiment of the strength and driving intensity of Prokofievs (and Russias) existence during the War Years. Indeed, this sonata, the second of his three War Sonatas composed between 1939 and 1942, was one of Prokofievs works that shows the composers versatility and genius in the use of motivic and cyclic elements. In the first movement, one could observe the tension of worries and torments in the struggle of relentless intensity. The opening section of the second movement with its gentle lyricism creates a mood which by contrast fills the listener with a little sorrow and anguish. The last movement, which has a strong driving force throughout, could be hardly dissociated from struggle endured by Prokofiev during the War Years. This sonata is closer to atonality than any other composition by Prokofiev while it is the most densely motivic of all his compositions. Two main Grundgestalt motives were used extensively in this seventh sonata, with most of the sonatas motivic content being derived from them. Thus, these two motives appear as the unifying gesture in all three movements of this sonata. The first motive, which its derivations clearly dominate the first movement, is called the fate motive and referred to as (c). It is the strongest unifying element throughout the first movement. The motive here is rhythmically similar to the first and famous motive from the Beethovens Fifth Symphony. The first appearance of this motive is in the first few bars of opening of first movement, placed in between the first (b. 1 4) and second segment (b. 7 9) of the opening theme. Central to the opening theme, this motivic cell intensifies the suspense of the opening theme by prolonging the suspension between the first and second segment. The underlying rhythmic figure from the fate motive is reproduced with an extension of two bars in b. 32 35. This time, being no longer in the background, the motive is roughly shifted an octave higher with the suspension in the previous occurrence removed. A weak rhythmic derivation comes four bars after. At b. 40 42, the notes E? D F? B? are rhythmically similar to (c) motive and they are repeated thrice within three bars. Interestingly, the rhythmic aspect of (c) motive is presented across both hands in b. 80, under the suspension of the note B again. The first four notes (b. 124) of the meditative second theme group are also derived from the rhythmic figure of the Grundgestalt motive and. (c) motives return again as the start when the first few bars of second theme repeats in b. 144 and b. 153. Therefore, in the second theme group, the rhythmic derivations of (c) motive play a very important role because it is the start of the segment that repeats thrice in the second theme group. In the development, derivation of the (c) motive is, for the first time, being played in fortissimo in b. 215 217 and this shows increasing emphasis on the (c) motive from the start of the movement, where it was to be played in piano. A rhythmic diminution of the (c) motive occurs at b. 248 249. The left hand has four consecutive scalic semiquaver triplet runs and the rhythm of (c) motive is emphasized by the runs repetitive nature. When the second theme group returns, the derivation of (c) motive also makes its appearance as expected in b. 338, starting the second theme group. .u8c067952277d3750c14bb4ab73f542d4 , .u8c067952277d3750c14bb4ab73f542d4 .postImageUrl , .u8c067952277d3750c14bb4ab73f542d4 .centered-text-area { min-height: 80px; position: relative; } .u8c067952277d3750c14bb4ab73f542d4 , .u8c067952277d3750c14bb4ab73f542d4:hover , .u8c067952277d3750c14bb4ab73f542d4:visited , .u8c067952277d3750c14bb4ab73f542d4:active { border:0!important; } .u8c067952277d3750c14bb4ab73f542d4 .clearfix:after { content: ""; display: table; clear: both; } .u8c067952277d3750c14bb4ab73f542d4 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u8c067952277d3750c14bb4ab73f542d4:active , .u8c067952277d3750c14bb4ab73f542d4:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8c067952277d3750c14bb4ab73f542d4 .centered-text-area { width: 100%; position: relative ; } .u8c067952277d3750c14bb4ab73f542d4 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8c067952277d3750c14bb4ab73f542d4 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8c067952277d3750c14bb4ab73f542d4 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u8c067952277d3750c14bb4ab73f542d4:hover .ctaButton { background-color: #34495E!important; } .u8c067952277d3750c14bb4ab73f542d4 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8c067952277d3750c14bb4ab73f542d4 .u8c067952277d3750c14bb4ab73f542d4-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8c067952277d3750c14bb4ab73f542d4:after { content: ""; display: block; clear: both; } READ: The Grasshopper And The Bell Cricket Analysis and SummaryIn the Coda, the rhythmic derivation of (c) acts as a release for the build-up from the beginning of Coda in b. 383 386. As one can see, the crescendo started all the way from pianissimo in b. 359 to a six-note chord with forte plus accent in b. 383. Derivations of (c) motive are also concentrated at the end of the piece from b. 404 till the end. Most importantly, the rhythm of last four notes is also a diminution of the fate motive. This shows that the motive has added emphasis on it as the motive and its derivations are nearly present right from the start to the end of the movement. The next motive, which derivations can be found easily in the second and third movement, is present across b. 1 2 of second movement (F# G G#) and referred to as (a). This motivic cell functions either as a two-note chromatic interval or three-note chromatic cell and is exploited throughout the second movement. At b. 31, the left hand has a two-note interval (G? G) which leads up to Poco piu animato. Here, it is rhythmically similar to motive (a) with the last note modified. Also, in b. 44, the three-note gesture (C# D D#) in the right hand part is derived from motive (a) by the inversion of pitches. In b. 56, a derivation of motive (a) is also present in the heavy texture with fortissimo markings. The two notes in between the chords (G# G) are the last two notes of motive (a). Perhaps the most important function of motive (a) in the second movement can be seen in b. 81 86. The notes of top line by the right hand very similar of motive (a), which is a derivation from another motive in b. 1 (G# G# A G#) but now transposed down a semitone. The bottom line of the right hand is the motive (a) itself. Both lines here make the music stagnant, losing direction sense. This is made worse by the accents on the right hands bottom line as it blurs the strong beat. Therefore, even though it is pianissimo, the stagnancy creates tension for a few bars, before letting it resolves to C major. B. 90 basically repeats it again, but now without the top line of the right hand. With the A section returning in b. 98, motive (a) appears again (without motivic manipulation). In third movement, derivations of motive (a) can be seen easily. In A section alone, this motive is stated five times from b. 6 to b. 9, existing at the centre or bottom note of consecutive triads. This motive in the opening of third movement, being the interval G A? , can be seen as a device to create pervading dissonances together with other devices such as minor second intervals, to sustain and amplify the tension in this movement. Particularly in b. 27 and 30, motive (a) is used to intensify the tension contrapuntally. The final derivation of Motive (a) occurs in b. 158(F# G G# A) where the notes are the top notes of the consecutive triad.