Abstract The paper relates that Franklin is known as one of the most practical inventors in history. The paper discusses Franklin's inventions of swim fins, the Pennsylvania stove, the lightening rod, improved street lamps, the extension arm, the odometer, bifocal glasses and daylight savings time. The paper shows how throughout his life he thought of new ways to help others through his inventions, which are still as advantageous today.
From the Paper "In Franklin's time, the street lamps were very inefficient, and the glass globes became dark with soot from the oil burning inside. They needed to be cleaned daily. Franklin recognized that the problem had to do with lack of airflow inside the globe. In his Autobiography (126-127), he describes improvements that needed to be made to the lamps. He suggests composing them of four flat panes, with a long funnel above to draw up the smoke, and crevices admitting air below, to facilitate the ascent of the smoke. Through this approach, he writes, the lamps can be kept clean and will not grow dark in a few hours as the ones he saw in London. They will stay bright until morning."
Abstract This paper highlights and interprets the major symbols in the book such as the characters' names, the characters' functions, the setting, the rosebush, the scaffold, color and the scarlet letter. The paper also discusses the dichotomy of the town/forest and day/night in the novel and connects the different symbols to major aspects of the story, such as plot, character and theme.
From the Paper "In the novel, characters? names are very significant because they are meaningful and give the reader an idea of the characters? personalities. One important character is Reverend Dimmesdale, whose name suggests that he is a dim man. This is true of him. He does not see things clearly and does not understand things the way he should. Throughout the book he is said to be in a "maze" (167), which shows that he is always in a state of confusion. The community, also, sees him dimly. They do not see him for who he really is. Dimmesdale told them he was the sinner but the community "heard it all, and did but reverence him the more" (119). Instead of starting up a riot as Dimmesdale expected, they looked up to him as a hero."
Abstract This paper explains that Andrew Cunanan, who was pushed to the edge by a type of personal crisis that triggered previously unseen violent tendencies, is a spree killer whose psyche differs drastically from that of a serial killer; Cunanan fits the "organized non-social offender" type. The author points out that Cunanan's first murder, who was Jeffrey Trail, can be looked at within the "scorned lover" theory or as an act that occurred in the heat of anger; nonetheless, ultimately, one murder led to more. The paper relates that the killing of Versace in broad daylight was a bold move, which gave Cunanan the attention he always craved.
Table of Content
Background of the Cunanan
Victimology
Jeffrey Trail and David Madson
Analysis
Lee Miglin
Analysis
William Reese
Analysis
Versace
Analysis
Hybrid Diagnosis
Typology
From the Paper "His father had always made decent money, and Andrew knew how to spend it. He loved money surrounding himself with very wealthy older gay men. They would provide him with cars, expensive clothes and dinner at only the best restaurants. However, this was not always stable economically-this is where his father's money would provide a sense of stability. It was a stability that Cunanan needed, but moreover a stability and wealth he wanted the world to see. Andrew learned that his father was in trouble for cheating clients out of money. He fled the United States for Manila, leaving Cunanan's family penniless. Andrew dropped out of school to join him, but after seeing the squander and "despicable and destitute" living situation of his father, he made his way back to the United States. This was in 1988."
Abstract This paper examines how, in the famous play, "Romeo and Juliet" by William Shakespeare, the concepts of light and shadow are juxtaposed through the four speeches in which Romeo and Juliet speak to and of each other and their love.
From the Paper "Tragedy must also have an element of irony, some aspect of the narrative that is unknown or unchangeable to the protagonist, but brings about his doom and seals his fate. There must be inevitability, the complete lack of ability of the hero to control or alter his fate. Irony and inevitability are present in Romeo and Juliet and are given a symbolic presence by the fact that the "light" of their love is only safe in the dark of the night."
Abstract This paper relates that the symbols or motifs of sunlight and moonlight are used, in Charlotte Perkins Gilman's "The Yellow Wallpaper", to bespeak the narrator's true feelings about gender roles and repression not only within her marriage and her society but also within herself. The author points out that, in the beginning of this story, shortly after describing the house, the narrator makes her first references to sunlight and moonlight and reveals how they have an effect on her behavior. The paper relates that the moonlight and daylight do not merely influence the narrator's behavior but also how she perceives her surroundings, such as the wallpaper. The paper stresses that Gilman does not use sunlight and moonlight to represent the masculine repressing the feminine, but rather, she uses sunlight to reflect the oppressive force that can be found in a woman who feels suffocated and burdened by the traditional roles of her gender.
From the Paper "The evening and the day, as she complains, have an effect on more than just her conduct, but also on her appetite; she has good appetite in the evening, and suffers from poor appetite in the morning. In this manner, it is established in the beginning that by moonlight, or in the evening, she is not only inclined to subtly rebel against her role as a submissive wife, but furthermore, it is in the night that she is inclined to satisfy her appetite for basic human needs-- of which food may only be one. And yet, the narrator's husband is not the only one who wishes that she subdues herself, as she does by daylight."
Abstract This paper discusses how the poem "Preludes" by T.S. Eliot describes the Industrial Revolution city, characterized by its dark and dingy streets. The paper relates that the poem acts as a prelude to the day,
describing the night and the coming of the rising sun and addresses how with daylight people change into their outside selves. In particular, the paper discusses the free verse used in the poem, the meaning of the title, and how the stanzas and verses are written
From the Paper ""Preludes," written in free verse, has four clearly numbered sections and six stanzas. The first three sections each consist of only one stanza, while the final section holds three stanzas. Each stanza changes the pronoun used: the first section speaks of first-person "us"; the second section uses a third-person "one" form; the third uses a second person "you" form; and the forth section uses third person "his" in the first stanza, and then it switches to first person in the final two stanzas. These changes in pronouns enable each section to describe a different experience, from a different perspective. The first section describes the evening settling down; the second section discusses the morning awaking; the third section describes a young woman rising; the final section describes the street and the darkness and the speaker's own hope and optimism."
Abstract This paper looks at Fritz Lang's, "Metropolis," which illustrates the communist argument against industrialization because of its effect of distancing man from the products of his labor. The paper describes how "Metropolis" presents a world where the worker no longer sees daylight, cannot exercise free will and is nothing but a slave to the machinery, the sole purpose of which is to provide a fantastically opulent life for those who manage the machinery. The paper shows how Lang conveyed a sense of distrust and fear about the consolidation of political, social, religious and economic power in the hands of a few.
From the Paper "Fritz Lang's, Metropolis, is perhaps the most iconic of all anti-technology, post-industrial films. At its core, there exists an absolute penetrating distrust and fear of a technocratic society where people are nothing but cogs in a machine, and their distance from the products of their labor is so great that they are actually living their entire lives underground. Lang's use of communist rhetoric, Plato's cave allegory, and modernist art combined to make Metropolis a truly unique creation for its time. While anti-industrial sentiment had been readily voiced across the social landscape, it was only along the fringe that such rhetoric had any grip. But, within the context of film, and within the structure of the first true science-fiction movie, people could not help but see the plight of the faceless worker, could not help but loathe the self-indulgence and egregious profit-taking of the owners, nor could they help but feel a deep and common sympathy with the desire of the workers to have, if nothing else, their lives in their own hands."
Tags: communism, machines, technology, Marx, power
