Research Proposal on Bioremediation Essay Example

Research Proposal on Bioremediation Essay Bioremediation is the complex of methods used for the purification of water, soil and air conducted with the help of the metabolic potential of biological objects – plants, fungi, insects, warms and other organisms. Bioremediation is quite a useful process which is able to purify water, soil and air in the intensive way due to the special characteristics of the certain organisms and plants. These natural purifiers have appeared in the evolutional way and they play a very important role in the existence of ecosystems and their appropriate functioning. The human being understood the usefulness of these organisms and started to apply them for her special needs. The method of bioremediation is quite the ancient one, because the humanity noticed the qualities of the certain organisms thousands of years ago. Of course, this method was not the popular one and the scientific discoveries opened the new ways of purification, mostly on the chemical basis. Unfortunately, purification with chemicals can not be called a safe one, because it influences the human and animal’s health. Very often the water purified with the help of chemicals becomes contaminated with them, so the method of bioremediation is understood as the safest one. Nowadays people bother about the natural environment and try to reduce the use of chemicals in the sphere of purification and the natural use of plants and microorganisms is the most effective way to purify water and soil without the negative impact on the environment. Finally, bioremediation is the cheapest purifier, because small settlements (small villages, private houses) do not require installing great purifying plants or constructions and can solve the problem in the natural way. We will write a custom essay sample on Research Proposal on Bioremediation specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Research Proposal on Bioremediation specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Research Proposal on Bioremediation specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Bioremediation is a specific method of purification which is supposed to be ecologically safe and very cheap. The student is able to share his ideas concerning the further development of the methods of bioremediation and their new application on practice. The young professional can present a brief picture of the current condition of the methodology and think about the factors which influence the active use of bioremediation everywhere. One can pay attention to the advantages and disadvantages of the method and share the sources used for the observation of the problem with the professor. A good research proposal can be written with the assistance of the reliable Internet sources, so a student is able to prepare a successful paper relying on the free example research proposal on bioremediation designed by the qualified writers. it is a valuable experience for everyone to be able to use a free sample research proposal on bioremediation prepared online and borrow the structure, manner of writing and the format of the paper in the process of writing of his own assignment. At EssayLib.com writing service you can order a custom research proposal on Bioremediation topics. Your proposal will be written from scratch. We hire top-rated PhD and Master’s writers only to provide students with professional research proposal help at affordable rates. Each customer will get a non-plagiarized paper with timely delivery. Just visit our website and fill in the order form with all proposal details: Enjoy our professional research proposal writing service!

Why Tupac is Still Alive essays

Why Tupac is Still Alive essays You are driving back from your chemo treatment at the hospital, exhausted from the physical strain on your body. You are tired and speeding home in order to go to sleep. You pass a cop and he decides to pull you over. As the cop approaches your window and asks for your license and registration you begin to open the glove box. As you open your glove box you forget that you had put your medication in it. Soon thereafter, you are handcuffed in the back of a cop car on your way to jail. The cop doesnt understand that the marijuana in your glove box was for medicinal purposes even though you look withered and you have no hair. Marijuana has an active ingredient of THC (tetrahydrocannabinol) that helps to alleviate pain of terminally ill people. Some states, such as California, have legalized marijuana for medicinal purposes, but the federal government hasnt therefore marijuana is still illegal. This argument is more of a moral debate on the values of Americans, but as of right now the pros outweigh the cons. The American government should legalize the use of marijuana. First, the legalization of marijuana would help terminally ill patients with illnesses such as AIDS. People who suffer form AIDS must take high doses of highly toxic anti-viral drugs such as AZT. AZT can produce severe nausea and vomiting, as well as other gastrointestinal problems. These side effects may cause an AIDS patient to become bulimic and starve to death. Smoking marijuana helps these patients cope with the severe side effects of AZT. Since these patients cant legally obtain marijuana, they go to the streets, forcing them to illegally obtain this drug to help alleviate the pain caused by AZT. By having these patients go to the streets to obtain marijuana, they are not only putting their lives in danger, but they are also supporting drug dealers. Cancer patients undergoing chemotherapy would also benefit from the ...

Phil in literature Essay Example | Topics and Well Written Essays - 1000 words

Phil in literature - Essay Example What does it entail? What kind of statement is this--a definition, a description, or an exhortation? The given statement means that a literary activity arises out of a special occasion of encountering the established order. While lacking the possibilities of development and enhancing the potential of coercion, the statement entails that a social order gives way to the human expression, in the form of literary expression, linked up with the conscience having concern for humanity. The literary activity has to address its social environment and can not remain in isolation. The solipsistic activity can generate a literary activity but it will not be considered a literary piece unless it imbibes within it the cries of uneven social justice. The given statement tries to develop a definition for the literary expression. To identify an expression as a literary expression, the expression must be seen in the light of three things: challenging the existing legal order; having conscience; and mu st have a concern for the humanity. A literary piece must be having all these three elements in order to be identified as a literary expression. In this sense the statement can be considered as a definitional statement. However, the statement is also exhortative. It is certainly not a universally accepted truth that literary piece must be having all three given elements. ... b- Testing the Truth: Is it true? Can we test its truth? How can we justify (or refute) Algren's claim, and what kind of evidence might suffice? The statement makes a point in such a way that it should be considered as a truth. However, the truth of this sort is different from the truth of many other sorts. There are truth-claims making an objective universal claim of truth. From any perspective such truth-claims can be accepted as truth positions. Sciences, especially those of physical and natural sciences make such claims. For Jurgen Habermas, these forms of truth-claim are purposive-rational and directed towards technical interest of controlling the environment (McCarthy 55). Sciences employ Empirical-analytic method for following purposive-rationality within their specific tradition in order to gain better control on natural environment. The empirical-analytic method brings forward objective truth claims through collecting sufficient experimental evidence. There is however anothe r form of expression that brings forward different sort of social interest, as what Jurgen Habermas says, practical interest (McCarthy 56). Truth generates within society and also embeds within itself the social interests. It is not possible for any individual to transcend this condition, even a scientist needs to be a social being first for producing a scientific fact. Society however does not only generate interest emerged out of as scientific interests; an objective observatory tendency to generate a truth-position for finding out the essential-truth of the natural environment in order to have a predictable control. Society also brings forward the conflicting tendencies rooted in the existing social justice. An expression that emerges out of aesthetic feelings

Letter to the editor Essay Example | Topics and Well Written Essays - 500 words - 1

Letter to the editor - Essay Example Although police officers require sophisticated weapons and equipment there should be a limit on the type of arms that police officers should carry. The main reason why the country has both the police and the army is that the two forces have different responsibilities and training. Soldiers are trained to defend the country by eliminating the enemy through all possible means (Franceschi-Bicchierai web). On the other hand, police officers are expected to maintain law and order through sustainable public relations. The differences in duties of police and military officers indicate that the two officials require different equipments. Acquisition of military equipments indicates that police officers have neglected their duties or the police departments have misplaced priorities. Fighting crime is a significant duty of the police officers. However, the role prevents the police officers from concentrating on other duties that are critical to the public. For instance, a police officer is expected to ensure that people conduct their businesses without hindrance. Acquisition of heavy weapons indicates that police officers are more concerned with criminals than with the citizens. I think that the police departments would have considered acquiring more ambulances and fire fighting equipment instead of the military equipment. Through the acquisition of such equipments, the police department would show that its operations are of public interest. The other aspect demonstrated by the move, is the level of crime within different cities across the United States. In the last decade, crime level increased by 10% across major US cities. Armed robbery and drug trafficking are among the common crimes. According to the criminologist theorists, criminals respond according to the authority. This indicates that the move taken by police departments would have a similar response from the criminals. Criminals are likely to acquire

Care of Patient with Rigth Hip replacement surgery(postop to Essay

Care of Patient with Rigth Hip replacement surgery(postop to discharge) - Essay Example Mobilization out of bed depends on the surgeon and may start on first day. Bed exercises such as quadriceps contraction and ankle exercises are encouraged for enhanced circulation. Routine chest physiotherapy1 is given to prevent chest complications. The procedures on the second day of operation include walking to the bathroom with the help of a walker. The patient should be gradually ambulated to walk with crutches and taught special maneuvers to ease daily activities like climbing stairs. Following hip operations, the catheter should remain in situ for two days and the patient is well advised to use bedpan for his elimination needs. These post operative procedures may limit your activities, are rather inconvenient and may feel troublesome. After surgery, Surgeons and nurses do several things to reduce the risk of blood clots forming in the veins of the patients legs. If they do form, this can lead to increased swelling in the legs. If the clots break loose they may travel to the patients' lungs and interfere with breathing. To avoid such complications, before the surgery, the nurse will apply elastic stockings to help prevent blood from pooling in the patients' legs. The surgical team may place the patient on either aspirin or Coumadin to thin blood to reduce the risk of clot formation.

Identifying Bacterial Growth

Identifying Bacterial Growth Introduction: This experiment was about isolating a single bacterial colony from a soil sample and identifying which genus it belongs in. This is especially important for functions such as agriculture, as knowing whether a specific soil has a high concentration of nutrient producing bacterium is essential to being able to harvest good crops. Another key component of soil bacterium, is that they tend to be high in nutrient recycling organisms. As well there tends to be a high number of varying phylum in soil bacterium that was previously unknown, as in 2003 Joseph et al. managed to isolate 350 different bacterium which were assigned into 9 different phyla. As well approximately 27% of the isolated bacterium belonged to unnamed families, and were located in very poorly studied phyla. (Joseph et al. 2003) Methods: The experiment began by subculturing a bacterial colony identified from a myriad of soil bacterium isolated in an agar plate. Then this bacterial colony was observed through a microscope, as well as tested for whether it was gram positive or gram negative. Then the bacterium was re-cultured into varying solutions to test for specific nutrient use. First it was subcultured onto an agar plate rich in starch, incubated, and tested for starch hydrolysis via the use of lugols iodine, to see if there was starch remaining in the area of the bacterial colony. Then a deep rich in sulfur was inoculated with the bacterium, and observed for whether motility was displayed, or whether hydrogen sulphide was produced. Then the bacterium was inoculated in a peptone broth, to test for production of ammonia, through the addition of Nesslers Reagent, an ammonium sulphate broth and a nitrite broth, to test for the ability to nitrify compounds using Nesslers reagent; Trommdorfs Reagent; diphenylamine; and Sulfuric acid, and a nitrate broth to test for the ability to denitrify compounds using indicated reagents. Then the bacterium was placed into a thioglycollate medium to test the oxygen tolerance of the bacterium. Next the bacterium was subcultured onto a normal agar plate, to test for the presence of catalase and oxidase. Finally the bacterium was subcultured on plates with varying NaCl concentrations, and inoculated in tubes of varying pHs and tubes with varying temperatures. (Robertson and Egger, 2010) Results: In this lab our obtained data was collected and summarized (Table 1). This was then used to obtain a possible bacteria genera from the collected data, based on a text of classifications. These include references for whether a microbe genera happens to have a specific enzyme, to which types of electron donors it utilizes throughout its ATP production phase, be it in oxidative phosphorylation, or substrate level phosphorylation, or even a form of fermentation. The information gathered in table in is well correlated in the assigned manual, and is indicative of the genera Bacillus, which is known for its Rod-like shape, and the ability of this specific genera to grow across a vast array of nutrient types. (Sneath, 1986) Other indicators of this particular Genus, are that Bacilli tend to grow most predominantly within a temperature range characterized by mesophilic organisms, and have a wide range of osmotic pressure, or salt concentration tolerances. Another indicator of the bacillus genera, is the fact that this unknown bacteria tested positive on the gram test, as most members of the bacillus genera are gram-positive bacteria. Discussion: The bacterium is of the genus bacillus, because of the fact that it fits into the category of being able to survive in most conditions. (Sneath, 1986) The main characteristics that helped identify this bacterium were the fact that it is gram positive, that it is rod-shaped, and the determination through chemical testing that it can utilize multiple nutrient types to grow, and reproduce. These characteristics pointed definitively to the bacterium bacillus, and further investigation revealed them to most likely be either Bacillus cereus, or Bacillus licheniformis. These bacterium share almost all in common with the isolated bacterium in terms of chemical use, and similar makeup. This bacterium could have been further identified through other tests, such as looking for other enzymes that may be present, and performing tests to determine the exact makeup of the cell wall. The other tests that could be performed, could be to detect for the presence of chemicals known to be associated with fermentation, such as lactic acid. The limitations of the tests which were performed, are that they tend to test for the same type of thing. For example if something tests positive for nitrification, they may not test positive for ammonification because it is all converted straight to a nitrate form. The Bacillus strain plays many varied roles in nature, based on its vast adaptability, and the variance of locations it is found in. For example, it ranges from living in soil, to water, from animals, to plants. The Bacillus is even found in a pathogenic form, as Bacillus anthracis in humans, and in multiple forms in insects and animals. (Sneath, 1986) This means that the Bacillus anthracis strain is of a particular interest to scientists, as it is a reason to research antibiotics, as well as a reason to investigate different strains of this bacterium to see what other pathogenic roles this bacterium can cause in living creatures. This lab contains many possible sources of error, the main one being cross contamination. As the bacterium was recultured so many times, each time represents a possible instance where another bacterium was added to the mix, or substituted for the bacterium being isolated. Also during testing different bacteriums could have been picked up and added to the testing which could have caused a shift in results, or an increase in the range a specific result is in. Another source of error, is that there was what appeared to be a subculture of yeast intermixed with one of the bacterium subcultures obtained during testing. As this yeast subculture was at one time located on the same plate as the bacterium which was isolated and tested for, it could have also been located in our sample throwing our specific results off. These specific errors could inevitably cause the data gathered to point to the wrong bacterium genus and lead to misclassification. This could be corrected for by taking multipl e subcultures of the bacterium, and observing each subculture carefully to determine if there is any presence of different bacterial strains. In the end, the objectives of this experiment were properly met, as a bacterial sample was subcultured from a soil sample, and the bacterium was adequately identified via a myriad of tests and procedures. Since these objectives were met the experiment could be considered to be successful, especially as it taught me about different subculturing techniques as well as the methods that a microbiologist uses to determine bacterial identity. Literature Cited: Joseph, S.J., Hugenholtz, P., Sangwan, P., Osborne, C. A., Janssen, P. H. (2003) Laboratory Cultivation of Widespread and Previously Uncultured Soil Bacteria. Applied and Environmental Microbiology. 69: 7210-7215 Robertson, S., Egger, K. (2010) Identification of Soil Bacteria. Biology 203 Microbiology Lab Manual. 4-33 Sneath, P. H. A. Ed. Bergeys Manual of Systematic Bacteriology Volume 2. 1986. Lipincott, Williams, Wilkins. Baltimore, Maryland.

Charles Augustin Coulomb :: biographies biography bio

Missing Figures and Images During the life of Charles Augustin Coulomb, he would play important roles in the developments in physics, engineering, and experimental instruments. Coulomb was born in 1736 in the Languedoc region of France, but spent much of his early life in Paris and Montpellier. In 1760, at the age of 24 he was accepted into Ecole du Genie, an army engineering school in France. Once he was completed with school, he was first deployed to Brest as a military engineer. In 1764 he was sent to Martinique in the West Indies. There he was put in charge of building the new Fort Bourbon to attempt to make the island more secure. While in the West Indies, Coulomb would demonstrate his engineering skills and technical knowledge which he would later recall in his memoirs. The weather of Martinique was not hospitable to Coulomb, with him being ill much of his tour of duty. After nine years he was forced to return to France because these health issues. Upon returning to France Coulomb would take an interest in the recent research concerning electricity. Which would eventually lead to the development of the torsion balance and the discovery of the relation which would become known as Coulomb's Law. When Coulomb began his research into electric force (which would become known as Coulomb's law), Newton's law of universal gravitation had already discovered. As it would turn out electrical forces would parallel Newton's discovery in many ways. With both Coulomb's law and Newton's law of universal gravitation being proportional to inverse squared relationships. Coulomb's work would become one of the first cases where electric charge was measured quantitatively. In the 1740's electricity was beginning to become well know. By the 1750's, Benjamin Franklin's had shown that lightning was an electrical phenomenon thereby proving that that electricity did exist in nature. Franklin's work became an inspiration to others and spawned research into the study of electricity and measurement of it. Instruments which could indicate electricity had existed since the 1730's, however these tools did not approach real qualitative measurements. John Canton introduced an improved electrical indicator in 1753. Others such as Tiberius Cavallo of Italy concentrated their efforts atmospheric electricity, producing tools which could indicate the presence of electricity, but were a long way from quantitative measurements. Charles Augustin Coulomb :: biographies biography bio Missing Figures and Images During the life of Charles Augustin Coulomb, he would play important roles in the developments in physics, engineering, and experimental instruments. Coulomb was born in 1736 in the Languedoc region of France, but spent much of his early life in Paris and Montpellier. In 1760, at the age of 24 he was accepted into Ecole du Genie, an army engineering school in France. Once he was completed with school, he was first deployed to Brest as a military engineer. In 1764 he was sent to Martinique in the West Indies. There he was put in charge of building the new Fort Bourbon to attempt to make the island more secure. While in the West Indies, Coulomb would demonstrate his engineering skills and technical knowledge which he would later recall in his memoirs. The weather of Martinique was not hospitable to Coulomb, with him being ill much of his tour of duty. After nine years he was forced to return to France because these health issues. Upon returning to France Coulomb would take an interest in the recent research concerning electricity. Which would eventually lead to the development of the torsion balance and the discovery of the relation which would become known as Coulomb's Law. When Coulomb began his research into electric force (which would become known as Coulomb's law), Newton's law of universal gravitation had already discovered. As it would turn out electrical forces would parallel Newton's discovery in many ways. With both Coulomb's law and Newton's law of universal gravitation being proportional to inverse squared relationships. Coulomb's work would become one of the first cases where electric charge was measured quantitatively. In the 1740's electricity was beginning to become well know. By the 1750's, Benjamin Franklin's had shown that lightning was an electrical phenomenon thereby proving that that electricity did exist in nature. Franklin's work became an inspiration to others and spawned research into the study of electricity and measurement of it. Instruments which could indicate electricity had existed since the 1730's, however these tools did not approach real qualitative measurements. John Canton introduced an improved electrical indicator in 1753. Others such as Tiberius Cavallo of Italy concentrated their efforts atmospheric electricity, producing tools which could indicate the presence of electricity, but were a long way from quantitative measurements.

Aristotle Versus Plato Essay

Abstract Plato and Aristotle argue that artist (Demiurge) and poet imitate nature, thus, a work of art is a reflection of nature. However, they have different views on the functions of imitation in art and literature. Plato believes in the existence of the ideal world, where exists a real form of every object found in nature. A work of art –which reflects nature is twice far from the reality it represents. Aristotle, on the other hand, does not deal with the ideal world, instead he analyses nature. He argues that a work of art does not imitate nature as it is, but as it should be. In this sense, an artist does not violate the truth but reflects the reality. Key Words: Imitation, art, literature, mimesis, etymology, ethic. Introduction Plato and Aristotle attribute different meanings to the term ‘mimesis’; Plato considers ‘mimesis’ in ethical and political context, Aristotle uses ‘mimesis’ as an aesthetic phenomenon. They both agree that poetry is mimetic but they have different idea about poetry and ‘mimesis’. The present paper aims first to define ‘mimesis’ and explain the historical and linguistic background of the term, then to analyze the concept of ‘mimesis’ in Plato and Aristotle. In literature the word ‘mimesis’ has two diverse applications; it is used â€Å"to define the nature of literature and other arts and to indicate the relation of one literary work, which serves as a model. † Plato and Aristotle take ‘mimesis’ to define the nature of art, yet they ascribe different meanings and value to it. Plato and Aristotle consider the historical and etymological background of the term, therefore, it is necessary to know about the linguistic and historical background of the term ‘mimesis’ to understand what kinds of meaning and value they attribute to the concept. Linguistically, the root word is ‘mimos’; mimesthia, mimesis, mimetes, mimetikos, and mimema are derived from ‘mimos’. Mimesthia denotes imitation, representation or portrayal; mimos and mimetes designate the person who imitates or represents, whereby ‘mimos’ originally refers to the recitation or dramatic performance in the context of dramatic action. The mime, which is a kind of banquets given by wealthy man, is most probably derived from mimos The noun ‘mimesis’ as well as corresponding verb mimeisthai refer to the re-enactment and dance through ritual and myth. In Athenian drama the re-enactment is equivalent to acting out the role of a mythical figure and ‘mimesis’ in such a context connotes the imitation of the earlier re-enactment of the myth and rituals. Historically, the word ‘mimesis’ as re-enactment first appears in such rituals, and the historical origin of the term, as located in Dionysian cult drama, coincides this meaning in that ‘mimesis’ in both cases refers to imitation, representation and expression. It is argued that myth, and divine symbols of the rituals are transformed to artistic-dramatic representation through which it became possible to represent the divinity and gods in drama. Tragedy, for instance is the transformation of the myth and rituals. In a different context ‘mimesis’ may refer to identification. People identify themselves by means of their mimetic ability when they see themselves in the other and perceive a state of mutual equality. In this sense, ‘mimesis’ is distinct from mimicry, which implies only a physical, and no mental relation. That is, a person regards the ‘Other’ as equal and assumes the ‘Other’ to be doing the same in reverse. Associated with the physical aspect of ‘mimesis’ is its performative aspect, as an actualization, a presentation of what has been mimetically indicated. Thus, the term ‘mimesis’ is combined with an action-oriented speaking. The term ‘mimesis’ may also refer the simile, similarity and representation; it may refer to the symbolization of the world when we take it as a transformation of myth. ‘Mimesis’ has also been cited since classical times in the exploration of relationships between art and reality. The meanings and applications of the term changes according to the context it is used. Therefore, Plato and Aristotle ascribes different meanings and value to ‘mimesis’ with respect to the contexts they use it. The Concept of Imitation in Plato takes the term ‘mimesis’ with several meanings and connotations in the dialogues and alters the meaning of the term according to the context in which he uses it. He uses ‘mimesis’ in the context of the education of the youth; he discusses the function of ‘mimesis’ as likening oneself to another in speech and bodily behaviour and as addressing the lower part of man’s soul; he also refers to the epistemology and metaphysics of the concept. He takes the word ‘mimesis’ with pedagogic attributes and uses it in educational and ethical context when he says ‘guardians of an ideal state should be educated to imitate only what is appropriate’. In the third book of the Republic, for instance, Plato provides further definitions of ‘mimesis’, centering on the relation between ‘mimesis’ and poetry, ‘mimesis’ and education and also poetry and education. ‘Since young people learn essentially through imitation, it is significant to select the models’. ‘Mimesis suggests unfavourable effect on the part of the young people’ and ‘poetry is one important source of the youth’s experience with examples and models’; therefore, if the world of models and examples ought to be controlled in the interest of education, poetry must be likewise subject to control. Plato argues the case in the Republic as follow: The youth cannot distinguish what is allegorical from what is not, and the belief they acquire at the age are hard to expunge and usually remain unchanged. That is important that the first stories they hear should be well told and dispose them to virtue. The contents, forms, and representational modes of poetry play an important ethical role in the education of guardians and should, because of the effects they exercise through mimetic process, be based on ethical principles. Young people should only imitate brave, sober, pious and noble men, which will increase their strength and will not infect them with weakness. In this sense, it is argued in the Republic that tragedy and comedy, as mimetic poetry, represent injustice among the gods in the assertion that gods are responsible for unhappiness among people. In the Platonic conception, gods cannot be evil; heroes cannot be weak. The poet’s representation violates the truth and by representing the deficiencies of gods and heroes, has negative effect on the community and the education of youth. Mimetic poetry not only misrepresents gods and heroes and leads young people to immoral behaviours but also appeals to and strengthens the lower, desiring part of the soul. According to Plato, poetry encourages short-term indulgence in our emotions when reason would forbid their gratification because it is useless or harmful for the citizen who considers life as a whole. ‘Reason is a capacity that enables moral quality and authorities. Poetry is intuitive and stirs up a part of a citizen that ought to be kept quiet and fosters the lower part of the soul against the rule of higher part, reason’ Poetry becomes a dangerous rival to morality, which ‘is able to corrupt even good man and is a very dangerous thing encouraging all the lower desires and making them hard to cope with suffering in the theatre, and taking pleasure in laughing at comedies tends to affect our attitudes in real life and make us cynical and unserious. Sex, anger, and all desires, pleasure and pains are fostered by poetic imitation, thus, Homer and tragic poets are not true example for a citizen’. Poetry, then, taking its theme as human emotion and human frailty, threatens to disturb the balance and rational disposition of the individual for the individual, by way of his mimetic abilities, is infected through poetry. Philosophy provides wisdom and truth in the education but poetry has a potential capacity to demoralize mind. For example, Homer’s poetry was drawn on for educational purposes as a collection of knowledge and wisdom and enter in to competition with philosophy, it should therefore, be censored. It is obvious that poetry endangers the ideal citizens who can control and manage their feelings and remain reasonable, thus should be censored. While being an aspect of misrepresentation and something used in a dangerous way for the education of young people, ‘mimesis’ may also come to mean re-enactment in Plato’s dialogue when it refers to the imitation of a man in action in drama. In the Republic, Plato uses the term to refer to the behaviour of the philosopher: â€Å"As he looks upon and contemplates things that are ordered and ever the same, that do no wrong, are not wronged by, each other, being all in rational order. He imitates them and tries to become like them as he can† A similar process occurs in tragedy, which is the artistic and dramatic re-enactment of ritual and myth and transformation of religion. Through tragedy it becomes possible for a man to represent the divinity and gods. For instance, the re-enactment, in Athenian drama, is equivalent to acting out the role of a mythical figure. ‘Mimesis’, in such a context, designates the imitation of earlier re-enactment, the instances of which is taken from myth and rituals. The nature of ritual is spiritual and pleasing and such primitive rituals serve communal interests, in that each member of community gets rid of self. A tragic play may lead to self alienation; and may lead to identification with the fallen character and with the hero. The process of re-enactment, then, leads one to enter into another’s feelings and suffering. Plato insists that no one of truly noble character could suffer as a tragic hero does, since one whose soul is in a state of harmony is not to be influenced and hurt. Therefore, he objects to the re-enactment of ritual. Mimetic behaviour should be avoided because it may lead to identification with fallen characters and with the hero. Plato in the Republic argues that ‘or have you not observed that imitations, if conditioned, settle down youth’s life, and turn into habits and become second nature in the body, the speech and the thought . Apart from this, people identify themselves by means of their mimetic ability when they see themselves in the other and perceive a state of mutual equality. In this sense ‘mimesis’ is distinct from mimicry, which implies only a physical and no mental, relation: a person regards the ‘Other’ as equal and assumes the ‘Other ‘ to be doing the same in reverse. In this respect, a person who imitates is doomed to self-sacrifice and lack of self-identity. Moreover, the process of mimetic identification becomes a source of pleasure in the form of tragedy, which correspondingly frames the myth or re-enacts to substitute the myth in the form of dramatic representation. In the seventh book of the Republic, which is about law, he states ‘we are ourselves authors of tragedy, and that the finest and the best we know how to make’. In fact, our whole polity has been constructed as a dramatization (mimetic) of noble and perfect life; that is what we hold to be truth in the most of real tragedies’. However, in art, ‘mimesis’ has a different function. Aesthetically, ‘mimesis’ refers to misrepresentation. Reality and truth can only be understood through reason. The artist works with inspiration and imagination: the two faculties don’t give us the true image of reality, and the end of tragedy is a partial loss of moral identity. On the one hand, there is ‘mimesis’ as a re-enactment of Dionysian rituals in the form of tragedy which leads to self-sacrifice and wrong identity and which addresses the lower part of the soul and corrupts the ethical development of the youth. On the other hand, there is ‘mimesis’ as an imitative, imperfect image of reality. In a sense, Plato’s resistance to ‘mimesis’ is not only due to the fact that tragedy (mimetic art) may lead the audiences back to the ritual and irrational mode of primitive society but also due to the fact that mimetic art is an imitation of objects (eidon), which are imitations themselves. He objects to ‘mimesis’ for the fact there is no relationship between what is imitated and what is real. ‘Mimesis’ designates the ability to create expression and representation on the part of poet, painter and actor, both in a general and specific sense. For example, the painter produces a relationship between an image he created and the object. If the relationship consists in the production of similarity, then, there arises a question of where the similarity between image and object lies. If the images he creates don’t make a reference to reality and real object, and if the relationship between object and image is on the level of similarity created by the poet through art, then, there appears a lack of link between true and false. But in Plato’s philosophy the relationship between objects and reality does not consist of likeness or similarity. According to Plato, Demiurge creates the idea and by beholding the idea Demiurge produces the object; his ability is exalted in the imitation of the Idea. The poet, on the other hand, creates the images neither by seeing the idea nor from more substantive knowledge of the object since he produces nothing but phenomena by holding up a mirror. In this sense, the artist produces appearance and his work cannot provide us with true insight. Then, when a poet writes about the bed, for instance, it is not a bed manufactured by the craftsman from the idea nor does it have any relation to the real bed; it is only simulation and phenomena. There is also a difference between the knowledge of the poet and the knowledge of the craftsman. Man makes things and makes images. The craftsman makes the things following the original copy or model; the poet follows the image of the model or copy; therefore he gives only a proportion of reality. The proportion of knowledge and opinion, truth and falsity plays a contrasting role in distinguishing imitation as proportion of being to appearance. Plato argues that to understand the image, one needs to know the reality and the path to reality is in philosophy and reason, not in poetry and emotion. Although Plato admits that every object in nature is a reflection of the Idea, he doesn’t object to the reflection of object in nature. Plato uses mirror and water as constant metaphors to clarify the relationship between reality and the reflection of eidon. Plato argues that the poet holds up mirror to nature and in his work we see the reflection of nature not reality. He objects to the reflection of objects in the mirror, since things are divided into two parts: visible and intelligible. The first of the visible things is the class of copies, which includes shadows and reflections in the mirror. The second class of visible things is that of which the previous is a likeliness or copy. Plato objects to the reflection of object in the mirror, since mirror (poet) imprisons and limits the image. And he also objects to the imitation, since the poet imitates without knowledge. Therefore, it is not its imitative character but its lack of truth and knowledge, which brings poetry to its low estate. Homer and all the poetic tribe are imitators of images of virtue and other things but they do not rely on truth. Poetry, after all, is a madness that seizes the soul when it contemplates in true knowledge of goods. Plato’s objection to ‘mimesis’ may also interpreted as a reaction to the sophistic thinking that aims to produce images that the listener will regard as real, all of which take place in the world of phenomena. Image, thought, and opinion combine into a world of appearance characterized by nonbeing, a phenomenal nature and similarity. And as long as illusion and reality are not distinguished, science, ignorance, and appearance merge together. Within the concept of ‘mimesis’, then, Plato creates an independent sphere of the aesthetic consisting of appearance, image and illusion and excludes it from the domain of philosophy. He insists that there are no phenomena without being, no images without reality, no ‘mimesis’ without a model. Yet reality and idea cannot be represented without knowledge and images are not part of reality. Plato, in the Republic, in Ion, and in Symposium uses the concept of ‘mimesis’ with several meanings. He refers to the education of the young in Book X of the Republic; in Ion he develops a metaphysical discourse on the concept of imitation, and in Book III of the Republic he objects to imitation because ‘mimesis’addresses and strengthens the lower part of the spirit. Plato refers to ethical aspects of ‘mimesis’ whenever he refers to the concept of imitation. That is, ‘mimesis’ is an ethical matter in Plato’s dialogues. He is not interested in the aesthetic aspect of ‘mimesis’; therefore, he does not pay attention to the form and matter of ‘mimesis’and art. Plato deals with the value of ‘mimesis’. Aristotle is the first to deal with ‘mimesis’ as a theory of art. He dwells on the concept of ‘mimesis’ as an aesthetic theory of art and ‘considers imitation in terms of the form in which it is embodied’. By imitation, ‘he means something like representation’ through which ‘mimesis’ becomes the equivalent of artistic and aesthetic enterprise’. Unlike Plato, Aristotle also argues that ‘mimesis’ is not morally destructive since reason controls art. II. The Concept of Imitation in Aristotle Aristotle states that all human actions are mimetic and that men learn through imitation. In particular, ‘mimesis’ is the distinguishing quality of an artist. He argues that ‘public classifies all those who write in meter as poets and completely misses the point that the capacity to produce an imitation is the essential quality of the poet’. The poet is distinguished from the rest of mankind with the ‘essential ability to produce imitation’. A poet may imitate in one of three styles in poetry; he may use pure narrative, in which he speaks in his own person without imitation, as in the dithyrambs, or he may use mimetic narrative and speaks in the person of his characters, as in comedy and tragedy. A poet may use mixed narrative, in which he speaks now in his own person and now in the person of his character, as in epic poetry. Mimetic poetry may also differ according to the object of imitation. In this respect, tragedy differs from comedy in that it makes its characters better rather than worse. ‘Mimesis’, particularly, becomes a central term when Aristotle discusses the nature and function of art. In the Poetics, he defines tragedy as: ‘as an imitation of human action that is serious, complete and of a certain magnitude; in language embellished with every kind of artistic ornament, the various kinds being found in different parts of the play; it represents man in action rather than using narrative, through pity and fear effecting the proper purgation of these emotion’. Aristotle is interested in the form of imitation and goes on to consider plot, character, diction, thought, spectacle and song as constituting elements of a typical tragedy. The action of plot must be complete in itself with a proper beginning, middle and an end. All parts of action must be equally essential to the whole. Each part of the tragedy is imitation itself. Character in tragedy imitates the action of noble man who has to be a man of some social standing and personal reputation, but he has to be presented us in terms of his weaknesses because it is his weakness that will make his fall believable. Aristotle thinks that all types of art are mimetic but each may differ in the manner, means, and object of imitation. Music imitates in sound and rhythm, painting in color and poetry in action and word. Aristotle’s ‘mimesis’ does not refer to the imitation of Idea and appearances, like that of Plato. He argues that each area of knowledge is imitation in the sense that as a human being we all learn through imitation. However, he carefully makes a distinction between different kinds of knowledge. For instance, he claims that art and philosophy deal with different kind of truth; philosophy deals with concrete and absolute truth, whereas art deals with aesthetic and universal truth. The difference, for instance, between mimetic poetry and history is stated as ‘one writes about what has actually happened, while the other deals with what might happen’. Art, unlike science, doesn’t abstract universal form but imitates the form of individual things and unites the separate parts presenting what is universal and particular. Therefore, the function of poetry is not to portray what has happened but to portray what may have happened in accord with the principle of probability and necessity. Since poetry deals with universal truth, history considers only particular facts; poetry is more philosophical and deserves more serious attention. In addition, aesthetic representation of reality is not technical, factual, philosophical, and historical. Aristotle compares aesthetic process (mimesis) with the process that takes place in nature. While nature moves through internal principles, art moves through organic principles like plot, action, characters, diction, and there is a unity among them. In a sense, art imitates nature and the deficiencies of nature are supplemented in the process of imitation, and art follows the same method, as nature would have employed. Thus, ‘if a house were natural product, it would pass through the same stages that in fact it passes through when it is produced by art, they would move along the same lines the natural process actually takes’. Poets, like nature, are capable of creating matter and form. The origin of nature is nature itself and the origin of art is the artist and the defining characteristic of the artist is the ability to create, through imitation, as nature does. The artist constructs the plot as an organizing principle, character constitutes the relation and carries on the action and style gives pleasure. For instance, the plot of tragedy and Dionysian rituals display similar organization. The rituals begin with the spring, which is a striking and beautiful time of the year, and they represent the strength of gods and nature upon primitive society. Tragedy, like the image of spring, has a striking and fascinating beginning and, like ritual, a tragic play pervades and shapes the feelings of the audiences. Dionysian ritual is a sacrifice of human being for gods and nature in the hope for a better and peaceful beginning. Similarly, the tragic hero is symbolically sacrificed after which there appears a peace. Then, the poet takes tragedy, as a mimetic representation of myth, from the natural course of an event that takes place in nature and reorganizes it. In this sense, ‘mimesis’ designates the imitation and the manner in which, as in nature, creation takes place. Mimesis, as Aristotle takes it, is an active aesthetic process. He argues that ‘imitation is given us by nature and men are endowed with these gifts, gradually develop them and finally create the art of poetry’. The poet does not imitate reality but brings reality into existence through ‘mimesis’. The poet recreates and reorganizes already known facts and presents them in a fresh and attractive way; therefore, though audiences know the story of Sophocles’ Oedipus, they go and watch it. The reality as presented to us through ‘mimesis’ is superior and universal not only because we are pleased to learn through imitation but also because such reality is better. Homer, for instance, depicts Achilles not only as a bad character but also depicts his goodness. Mimesis is thus copying and changing. The poet creates something that previously did not exist and for which there are no available models. Even in dealing with historical materials, the poet needs to fashion it in accord with his art rising to a higher level than is found in reality. Art is fictitious but the mimetic and aesthetic nature of art pervades the fictitious deviation and a work of art forces the thing to appear as something more beautiful and better than that nature and human being posses in common, ‘for it is always writer’s duty to make world better’. It can be argued that Aristotle defines and argues about art with respect to ‘mimesis’, and the concept of imitation in Aristotle is an aesthetic matter. Mimesis is not only ‘origin of art but also a distinguishing quality of man, since imitation is natural to mankind from childhood on’; in addition ‘all men find pleasure in imitation’. He claims that there are ‘things that distress us when we see them in reality, but the most accurate representation of these same things we view with pleasure. In this sense, catharsis is not a moral and psychological matter but a natural end of the aesthetic act as Salkaver discusses below: Fear and pity are dangerous emotions: painful and troubled feelings arise from the imagination of an imminent evil and cause destruction and pain. Pity, in particular, is a kind of pain upon seeing deadly or painful evil happening to one who does not deserve. However, in the representation of such feelings one feels empathy and gets rid of them. So, a work of art gives a man an opportunity to get rid of painful and troubled feelings arising from the imagination of an imminent evil that may cause destruction and pain on the part of the citizen. Aristotle develops a consistent theory of art upon the concept of imitation. He begins saying that all human actions are imitation, then, he focuses on poetry and other areas of studies like history and philosophy. Lastly, he dwells on the poet and the concept of imitation as taken and practiced by playwrights. All his arguments upon ‘mimesis’ are, both in general and in specific sense, have aesthetics quality, since he does not take imitation as social, moral or political phenomena but as an activity of the artist. CONCLUSION Plato’s main concern is with the public recitation of dramatic and epic poetry and in Plato there is emulation between philosophy and poetry. The poet influences the character of the young in every way and has corruptive impact upon the education of the young mind. In addition, poets don’t have a true knowledge of the things. Plato suggests that the emotional appeal is a threat to reason, that mimetic art is remote from reality, that the poet is not serious and knows nothing about poetry and cannot give satisfactory information about his art. It is obvious that he resists the concept of imitation in the case of poetic composition. Tragedy, in particular, and poetry, in general are concerned with pleasure rather than instruction and since it is not possible to imitate a wise and quiet person in the play, since such a person does not fit the content of tragedy, ‘mimesis’ is ethically distracting. Therefore, the function of various discussions of mimetic art in the Republic is ethical: wherever he mentions art he discusses it in relation to education and ethics. Although Aristotle agrees with Plato that poetry has the power to stimulate emotions, he does not pay much attention to the ethical and epistemological aspects of ‘mimesis’. Yet he dwells on the pleasure that men take in learning and argues that tragedy discharges the feelings and spectators leave the play in a state of calm, free of passions. He does not restrict art and poetry and the concept of ‘mimesis’. Aristotle’s ‘mimesis’ is defined by mythos and praxis’, which brings the concept close to areas of time and action- in contrast to Platonic ‘mimesis’, which is closer to image, imagination and imitation. He argues that tragedy is the imitation (mimesis) of a man in action. Aristotle’s ‘mimesis’ is active and creative; and he gives a dynamic character to ‘mimesis’ by introducing mythos and praxis, thus, defines art as ‘mimesis’ and the artist as character. Plato worries about the moral effect of poetry, while Aristotle strikes to psychology and returns repeatedly to shuddering terror (phobos) and pity (eleos) that the tragedy is creating in the spectator, who therefore repeats or imitates what has already taken place on stage. Plato argues that there is a duality between art (mimesis and narrative art) and ethics. The more poetic the poems are the less suited are they to the ears of men. Artistically, the better the comedy is, the worst it is, since the more attractive and perfect the comedy is the more disastrous its effects are. For instance, Homer, in the â€Å"Iliad† tells us or narrates the story of cypresses, as he was himself a cypress. He tells the story as far as it makes the audience feel that not Homer is the speaker, but the priest, an old man. This manner of representation (impersonation), according to Plato, leads to the loss-of-self or transformation of identity and becomes a matter of moral destruction. Aristotle takes the same activity of impersonation in a different way. He praises Homer for not telling excessively in his own voice since, after a few words he immediately brings on stage a man or woman or some other characters that represent the action with larger perspective. As a conclusion, ‘mimesis’ has since the antiquity been discussed to refer to the relation between reality and representation. The nature of discussion upon the concept of ‘mimesis’ as a theory of art changes according to the person who discusses the term and the way he deals with the term. Auerbach, for instance, distinguishes the reality and ‘mimesis’ in literature with respect to the narrative techniques and argues that Homeric epic is not mimetic but realistic since; narration of the tales comprehends every detail and leaves no space for interpretation. Plato, on the other hand, agrees that reality cannot be represented; therefore, ‘mimesis’ is misrepresentation of truth. Aristotle becomes the defender of ‘mimesis’ against Plato and develops a theory of art with reference to ‘mimesis’ and claims that art (mimetic art) is superior to philosophy and histpry.

Deah Of A Salesman Essays - English-language Films, Free Essays

Deah Of A Salesman Essays - English-language Films, Free Essays Deah Of A Salesman Death of a Salesman Willie Lowman is a character that most anyone can identify with. He has two sides to his life; On one side he creates an image of being successful, well liked, and bold. On the other side he feels old, unsuccessful, defeated and disliked. He maintains the successful image to comfort his wife and friends. This veil of success becomes thinner and thinner until he lingers between fantasy and reality of the cruel world, often changing back and forth in the course of a conversation. The core of Willie^s slow painful demise into nothingness is based upon his beliefs. Willie thinks that success is not what you know, but who he knows and how well he is liked. These beliefs he instills in his sons, who find themselves adrift and meaningless just like their father. In addition Willie sees the world changing, and his own inability to change with it, will seal his fate. He misses the open land and the smell of flowers in the summer, the pollution and high rise apartments add to Wil! lies dismal existence. An example of Willies shift from fantasy to reality is during his conversation with his wife about the Chevy. He thinks the car is fantastic, the best ever built. Later he and his wife discuss some bills that were paid, and when told about the bill to get the Chevy^s carburetor fixed, he says that they ought to prohibit the manufacture of the car. Willie Lowman is finding himself less and less capable. He dreams of making it big and has visions of Uncle Ben who gives him advice on how to get rich, but never the kind of advice Willie wants to hear. Willie is concerned about his image. He is a great showman who can brag and flaunt like the best of them, and as witness to the hard truth of his failure he continues to weave fairy tales and live in fantasy. Willie wants his sons to be better off and more successful than him, but he has already corrupted them, and they too claim achievements well beyond reality. Biff comes to the reality of his position in life in the opening of the play. He knows he is not cut out for the business world. Biff prefers to move back to Texas and work on a farm. Although he realizes working on the farm won^t make him successful, he knows that it^s his calling in life. Happy who is fairly stable and comfortable in his work, prefers to continue with the charade, and the deception so as long as it! makes life easier for him. Although his sons will not be successful, I think Willie Lowman did the best he could. Willie is not to blame for his sons disappointments, although he has delayed their success by giving them false ideas about success. The family situation is that of the standard dysfunctional family. The mother is upset by her sons because they have no respect for Willie and show no concern for his decline. Willie loves his wife, but often mistreats her, cuts he off in mid conversation and belittles her. Biff begins to hate his father because of the constant pressure to succeed, along with his fathers adultery and abuse of his mother. However Biff still cares very deeply for his father deep down inside. Willie^s favorite son is Biff; however Biff is also a continual source of disappointment for his father because of his inability to assert himself in the business world. Happy is most like his father in the way that he much prefers fantasy over reality. Happy is willing to continue with pretending everything is all right so as long as it makes life easier. The conflict is Willie versus nature. Nature being the environment and Willies inability to change and conform to it^s dynamic and changing nature. The characters in this play are easily understood because of their similarity to most people who find themselves washed up in this game called life. People watching the play can easily identify with these characters who represent the average working class family. Nobody wins in the end because it^s real life. The father kills himself, hoping that the insurance money will send his family on their way to success; and in actuality the insurance money from his death will heal no wounds, or right any wrongs.

How to Be a Good Active Listener

How to Be a Good Active Listener Listening is a study skill most of us take for granted. Listening is automatic, isn’t it? We might think we’re listening, but active listening is something entirely different. Think of how much easier it would be to study for tests, to write papers, to participate in discussions, when you know you have really heard everything important that was said in the classroom, not only by your teacher but also by other students actively engaged in learning. It may sound silly, but active listening can be exhilarating. You might be surprised by how much you have missed in the past when your mind has gone off on errands like what to make for dinner or what your sister really meant when she said... You know what were talking about. It happens to everyone. Learn how to keep your mind from wandering with some tips here, plus a listening test at the end. Test your listening skills and then start practicing active listening in the classroom. It’s where your studying begins. Three Kinds of Listening There are three levels of listening: Half listeningPaying attention some; tuning out some.Focusing on your reaction.Commenting to others.Waiting for a chance to break in.Distracted by personal thoughts and what’s going on around you.Doodling or texting.Sound listeningHearing the words, but not the meaning behind them.Missing the significance of the message.Responding with logic only.Active listeningIgnoring distractions.Ignoring delivery quirks and focusing on the message.Making eye contact.Being aware of body language.Understanding the speaker’s ideas.Asking clarifying questions.Recognizing the speaker’s intent.Acknowledging the emotion involved.Responding appropriately.Remaining engaged even when taking notes. 3 Keys to Developing Active Listening Develop active listening by practicing these three skills: Keep an open mindFocus on the speaker’s ideas, not on the delivery.Give the speaker your full attention.Resist forming an opinion until you’ve heard the entire lecture.Don’t let the speaker’s quirks, mannerisms, speech patterns, personality, or appearance get in the way of listening to the message.Stay focused on the central ideas being communicated.Listen for the significance of the message.Ignore distractionsBe fully present.Make sure your phone is silenced or turned off. Everyone can hear a vibrating phone.Tune out any chatter around you, or politely tell the talkers that you’re having trouble listening.Better yet, sit up front.Face away from windows if you can to avoid outside distractions.Set aside all emotional issues you brought with you to the classroom.Know your own hot buttons and don’t allow yourself to respond emotionally to issues being presented.ParticipateMake eye contact with the speaker.Nod to show understanding.Ask clarifyin g questions.Maintain body language that shows you are interested.Avoid slouching in your chair and looking bored.Take notes, but continue to stay focused on the speaker, looking up often. Active listening will make studying later so much easier. By paying close attention to the significant ideas presented in the classroom, you’ll be able to remember the actual experience of learning the material when it comes time to retrieve it. The Power of Meditation If youre a person who has never considered learning to meditate, you might think about giving it a try. People who meditate take control of their thoughts. Just think of how powerful that can be in the classroom when your thoughts are wandering. Meditation also helps manage the stress of going back to school. Learn to meditate, and youll be able to pull those thoughts right back to the task at hand. The Listening Test Take this listening test and find out if youre a good listener.

The Clarinet Essay Example | Topics and Well Written Essays - 750 words

The Clarinet - Essay Example Similarly, as I have been a musician since I was twelve, and because of my deep passion for it, describing the musical instrument ‘clarinet’ appears to be a simple objective for me to accomplish. Most of the people are very fond of clarinet’s music, but many dont really know much about this instrument. But I hope to describe it in such a manner that a pretty good idea of the same could emerge in my readers’ mind. The clarinet is an instrument from the woodwind family. It acquires its name from the word clarino, which means a particular type of ‘trumpet’ and prefixed to net which means ‘little’. Thus the word ‘clarinet’ can be taken to mean as ‘a little instrument which sounds almost like trumpet.’ The woodwind family has three branches, and each has a different source of sound. The sounds are made in clarinet through the vibrations that are made by blowing air across the top of this instrument, across a si ngle reed or in some cases across two reeds. The reed is clamped to a mouthpiece at the top of the instrument and vibrates against the mouthpiece when air is blown between the reed and the mouthpiece. In cases where two reeds are tied together and used in a clarinet, such instruments are known as double reed clarinets. The clarinet’s body is slender and long, and it accommodates some metal keys which can be pressed to play different notes. Made from wood, the clarinet produces a fluid sound when air is blown between the reed and the mouthpiece. Most of the clarinetists buy manufactured reeds while some of them make their own.

Information Paper on World War I Research Example | Topics and Well Written Essays - 750 words

Information on World War I - Research Paper Example Historians have identified three direct main causes that led to the war. They are the conflict between the Central Powers like Germany, Austria, Hungary and the Ottoman Empire and the Allied Powers like France, Russia, Britain, Italy and the United States. Widespread militarism and economic imperialism pushed the ambitious leadership of the countries to the warzone. The assassination of Archduke Franz Ferdinand was the flashpoint that sparked the war. That was on June 28, 1914 when a Bosnian Serb student by name Gavrilo Princip, shot and killed him. Ferdinand was heir to the Austro-Hungarian throne. That student wanted Serbia to be independent from the domain of Austria Hungary. The latter demanded that those responsible for the assignation must be punished .Stewart Ross writes â€Å"On 23rd July, 1914 Vienna sent Serbia an ultimatum that, if accepted, would have made Serbia virtually an Austro-Hungarian province. The Serbs had 48 hours to accept it—or face the consequences.à ¢â‚¬ (p.7)When Serbia did not comply with the demand and Austria Hungary declared war on Serbia. Serbia, as the ally of the Allied Powers, declared war on Austria Hungary. Central Powers intervened on behalf of the later and thus a chain reaction resulted and a full-fledged war was in the offing. Widespread militarism initiated the mind war first. The upper class with the stockpile of weapons and wealth in abundance remained suspect about the power of the other. Desire for maintaining the superior level of military power bothered them much. The Royal Navy of Britain was the envy of Germany and Austria Hungary as it was much superior to theirs. They thought that the ideal strategy to contain the naval might of Britain was to declare war. Economic imperialism empowered by trade with the foreign colonies was the strong point with Great Britain and France. Germany and Austria Hungary had few foreign colonies