Essay Cars in F. Scott Fitzgeralds The Great Gatsby

In Fitzgerald’s The Great Gatsby, symbols are an important and integral part of what makes it a great novel. Though there are numerous and different aspects that could be explored, a repeated and often mentioned aspect are the revolutionary vehicles. Cars in the 1920s were a symbol of status and privilege as they were becoming increasingly affordable. Though most people could own a car due to Ford releasing the Model T, the colored vehicles usually a sign of wealth and status. Fitzgerald often uses the car as a symbol of death, or a journey to a destructive event, rarely is the car portrayed in a positive manner. I think that in The Great Gatsby, Fitzgerald is trying to connect automobiles and vehicles to the idea of consumerism. And by†¦show more content†¦Another interesting detail is Gatsby’s car is yellow instead of the standardized black of the era stresses the thought that he is engrossed with the obsession of displaying his material wealth to get the lov e of Daisy. The Death car is yellow, and in the novel yellow symbolizes money and corruption in the novel. The creamy color of Gatsby’s car also symbolizes decay of corruption; therefore Gatsby’s car is like a bulging piece of fruit that is overripe and has started to rot. To each character cars had a different meaning. For Tom, who has numerous cars uses them as a reminder of the past, the cars a symbol of how consumerist and materialistic he is. He believes that maybe if he had enough things, enough cars, he will be happy. Gatsby has an excessive car, a symbol of trying to attain what Tom has, however never being able to really reach that status. Nick has no car, Nick really represents Fitzgerald’s own opinion on the era. Fitzgerald presents us with two possibilities of the future. The people with cars end up being miserable and lost and Nick. Myrtle is killed by a car, another symbol of how materialism can consume someone. Myrtle wanted what she couldn’t have, a lavish life without work. 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Steam Jet Refrigeration Cycle Free Essays

string(61) " ow rates gives the mass \? ow rate of the compressed vapor\." Chemical Engineering and Processing 41 (2002) 551– 561 www. elsevier. com/locate/cep Evaluation of steam jet ejectors Hisham El-Dessouky *, Hisham Ettouney, Imad Alatiqi, Ghada Al-Nuwaibit Department of Chemical Engineering, College of Engineering and Petroleum, Kuwait Uni6ersity, P. We will write a custom essay sample on Steam Jet Refrigeration Cycle or any similar topic only for you Order Now O. Box 5969, Safat 13060, Kuwait Received 4 April 2001; received in revised form 26 September 2001; accepted 27 September 2001 Abstract Steam jet ejectors are an essential part in refrigeration and air conditioning, desalination, petroleum re? ning, petrochemical and chemical industries. The ejectors form an integral part of distillation columns, condensers and other heat exchange processes. In this study, semi-empirical models are developed for design and rating of steam jet ejectors. The model gives the entrainment ratio as a function of the expansion ratio and the pressures of the entrained vapor, motive steam and compressed vapor. Also, correlations are developed for the motive steam pressure at the nozzle exit as a function of the evaporator and condenser pressures and the area ratios as a function of the entrainment ratio and the stream pressures. This allows for full design of the ejector, where de? ing the ejector load and the pressures of the motive steam, evaporator and condenser gives the entrainment ratio, the motive steam pressure at the nozzle outlet and the cross section areas of the diffuser and the nozzle. The developed correlations are based on large database that includes manufacturer design data and experimental data. The model includes correlatio ns for the choked ? ow with compression ratios above 1. 8. In addition, a correlation is provided for the non-choked ? ow with compression ratios below 1. 8. The values of the coef? cient of determination (R 2) are 0. 85 and 0. 78 for the choked and non-choked ? w correlations, respectively. As for the correlations for the motive steam pressure at the nozzle outlet and the area ratios, all have R 2 values above 0. 99.  © 2002 Elsevier Science B. V. All rights reserved. Keywords: Steam jet ejectors; Choked ? ow; Heat pumps; Thermal vapor compression 1. Introduction Currently, most of the conventional cooling and refrigeration systems are based on mechanical vapor compression (MVC). These cycles are powered by a high quality form of energy, electrical energy. The inef? cient use of the energy required to operate such a process can be generated by the combustion of fossil uels and thus contributes to an increase in greenhouse gases and the generation of air pollutants, such as NOx, S Ox, particulates and ozone. These pollutants have adverse effects on human health and the environment. In addition, MVC refrigeration and cooling cycles use unfriendly chloro-? oro-carbon compounds (CFCs), which, upon release, contributes to the destruction of the protective ozone layer in the upper atmosphere. * Corresponding author. Tel. : + 965-4811188Ãâ€"5613; fax: + 9654839498. E -mail address: eldessouky@kuc01. kuniv. edu. kw (H. El-Dessouky). Environmental considerations and the need for ef? cient se of available energy call for the development of processes based on the use of low grade heat. These processes adopt entrainment and compression of low pressure vapor to higher pressures suitable for different systems. The compression process takes place in absorption, adsorption, chemical or jet ejector vapor compression cycles. Jet ejectors have the simplest con? guration among various vapor compression cycles. In contrast to other processes, ejectors are formed of a single uni t connected to tubing of motive, entrained and mixture streams. Also, ejectors do not include valves, rotors or other moving parts and are available ommercially in various sizes and for different applications. Jet ejectors have lower capital and maintenance cost than the other con? gurations. On the other hand, the main drawbacks of jet ejectors include the following: ? Ejectors are designed to operate at a single optimum point. Deviation from this optimum results in dramatic deterioration of the ejector performance. 0255-2701/02/$ – see front matter  © 2002 Elsevier Science B. V. All rights reserved. PII: S 0 2 5 5 – 2 7 0 1 ( 0 1 ) 0 0 1 7 6 – 3 552 ? H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 Ejectors have very low thermal ef? iency. Applications of jet ejectors include refrigeration, air conditioning, removal of non-condensable gases, transport of solids and gas recovery. The function of the jet ejector differs considerably in these processes. For example, in refrigeration and air conditioning cycles, the ejector compresses the entrained vapor to higher pressure, which allows for condensation at a higher temperature. Also, the ejector entrainment process sustains the low pressure on the evaporator side, which allows evaporation at low temperature. As a result, the cold evaporator ? uid can be used for refrigeration and cooling functions. As for the removal of non-condensable gases in heat transfer units, the ejector entrainment process prevents their accumulation within condensers or evaporators. The presence of non-condensable gases in heat exchange units reduces the heat transfer ef? ciency and increases the condensation temperature because of their low thermal conductivity. Also, the presence of these gases enhances corrosion reactions. However, the ejector cycle for cooling and refrigeration has lower ef? ciency than the MVC units, but their merits are manifested upon the use of low grade energy that has limited effect on the environment and lower ooling and heating unit cost. Although the construction and operation principles of jet ejectors are well known, the following sections provide a brief summary of the major features of ejectors. This is necessary in order to follow the discussion and analysis that follow. The conventional steam jet ejector has three main parts: (1) the nozzle; (2) the suction chamber; a nd (3) the diffuser (Fig. 1). The nozzle and the diffuser have the geometry of converging/diverging venturi. The diameters and lengths of various parts forming the nozzle, the diffuser and the suction chamber, together with the stream ? ow rate and properties, de? e the ejector capacity and performance. The ejector capacity is de? ned in terms of the ? ow rates of the motive steam and the entrained vapor. The sum of the motive and entrained vapor mass ? ow rates gives the mass ? ow rate of the compressed vapor. You read "Steam Jet Refrigeration Cycle" in category "Essay examples" As for the ejector performance, it is de? ned in terms of entrainment, expansion and compression ratios. The entrainment ratio (w ) is the ? ow rate of the entrained vapor Fig. 1. Variation in stream pressure and velocity as a function of location along the ejector. H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 divided by the flow rate of the motive steam. As for the expansion ratio (Er), it is de? ned as the ratio of the motive steam pressure to the entrained vapor pressure. The compression ratio (Cr) gives the pressure ratio of the compressed vapor to the entrained vapor. Variations in the stream velocity and pressure as a function of location inside the ejector, which are shown in Fig. 1, are explained below: ? The motive steam enters the ejector at point (p ) with a subsonic velocity. ? As the stream ? ows in the converging part of the ejector, its pressure is reduced and its velocity increases. The stream reaches sonic velocity at the nozzle throat, where its Mach number is equal to one. The increase in the cross section area in the diverging part of the nozzle results in a decrease of the shock wave pressure and an increase in its velocity to supersonic conditions. ? At the nozzle outlet plane, point (2), the motive steam pressure becomes lower than the entrained vapor pressure and its velocity ranges between 900 and 1200 m/s. ? The entrained vapor at point (e ) enters the ejector, where its velocity increases and its pressure decreases to that of point (3). ? The motive steam and entrained vapor streams may mix within the suction chamber and the converging section of the diffuser or it may ? ow as two separate treams as it enters the constant cross section area of the diffuser, where mixing occurs. ? In either case, the mixture goes through a shock inside the constant cross section area of the diffuser. The shock is associated with an increase in the mixture pressure and reduction of the mixture velocity to subsonic conditions, point (4). The shock occurs because of the back pressure resistance of the condenser. ? As the subsonic mixture emerges from the constant cross section area of the diffuser, further pressure increase occurs in the diverging section of the diffuser, where part of the kinetic energy of the mixture is converted into pressure. The pressure of the emerging ? uid is slightly higher than the condenser pressure, point (c ). Summary for a number of literature studies on ejector design and performance evaluation is shown in Table 1. The following outlines the main ? ndings of these studies: ? Optimum ejector operation occurs at the critical condition. The condenser pressure controls the location of the shock wave, where an increase in the condenser pressure above the critical point results in a rapid decline of the ejector entrainment ratio, since the shock wave moves towards the nozzle exit. Operating at pressures below the critical points has negligible effect on the ejector entrainment ratio. 553 ? At the critical condition, the ejector entrainment ratio increases at lower pressure for the boiler and condenser. Also, higher temperature for the evaporator increases the entrainment ratio. ? Use of a variable position nozzle can maintain the optimum conditions for ejector operation. As a result, the ejector can be maintained at critical conditions even if the operating conditions are varied. ? Multi-ejector system increases the operating range and improves the overall system ef? ciency. Ejector modeling is essential for better understanding of the compression process, system design and performance evaluation. Models include empirical correlations, such as those by Ludwig [1], Power [2] and El-Dessouky and Ettouney [3]. Such models are limited to the range over which it was developed, which limits their use in investigating the performance of new ejector ? uids, designs or operating conditions. Semi-empirical models give more ? exibility in ejector design and performance evaluation [4,5]. Other ejector models are based on fundamental balance equations [6]. This study is motivated by the need for a simple mpirical model that can be used to design and evaluate the performance of steam jet ejectors. The model is based on a large database extracted from several ejector manufacturers and a number of experimental literature studies. As will be discussed later, the model is simple to use and it eliminates the need for iterative procedures. 2. Mathematical model The review by Sun and Eames [7] outlined the developments in mathematical modeling and design of jet ejectors. The review shows that there are two basic approaches for ejector analysis. These include mixing of the motive steam and entrained vapor, either at constant ressure or at constant area. Design models of stream mixing at constant pressure are more common in literature because the performance o f the ejectors designed by this method is more superior to the constant area method and it compares favorably against experimental data. The basis for modeling the constant pressure design procedure was initially developed by Keenan [6]. Subsequently, several investigators have used the model for design and performance evaluation of various types of jet ejectors. This involved a number of modi? cations in the model, especially losses within the ejector and mixing of the primary and secondary streams. In this section, the constant pressure ejector model is developed. The developed model is based on a number of literature studies [8 – 11]. The constant pressure model is based on the following assumptions: H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 554 Table 1 Summary of literature studies on ejector design and performance Reference Fluid Boiler, evaporator and condenser temperature ( °C) Conclusion [19] R-113 60–100; 5–18; 40–50 Basis for refrigerant selection for solar system, system performance increased with increasing boiler and evaporator temperatures and decreasing condenser temperature. 20] R-113; R-114; R-142b; R-718 80–95; 5–13; 25–45 Comparison of ejector and refrigerant performance. Dry, wet and isentropic ?uids. Wet ? uid damage ejectors due phase change during isentropic expansion. R-113 (dry) has the best performance and R142b (wet) has the poorest performance. [21,22] R-11 4 86; ? 8; 30 Increase in ejector performance using mechanical compression booster. [8] Water 120–140; 5–10; 30–65 Choking of the entrained ? uid in the mixing chamber affects system performance. Maximum COP is obtained at the critical ? ow condition. [13] Water 120–140; 5–10; 30–60 Effect of varying the nozzle position to meet operating condition. Increase in COP and cooling capacity by 100%. [23] R-113 70–100; 6–25; 42–50 Entrainment ratio is highly affected by the condenser temperature especially at low evaporator temperature. [24] R-11 82. 2–182. 2; 10; 43. 3 Entrainment ratio is proportional to boiler temperature. [25,26] R-114 90; 4; 30 Combined solar generator and ejector air conditioner. More ef? cient system requires multi-ejector and cold energy storage (cold storage in either phase changing materials, cold water or ice). [27] R-134A 15; 30 Modeling the effect of motive nozzle on system performance, in which the ejector is used to recover part of the work that would be lost in the expansion valve using high-pressure motive liquid. [28] Water 100–165; 10; 30–45 Combined solar collector, refrigeration and seawater desalination system. Performance depends on steam pressure, cooling water temperature and suction pr essure. [4] Water [29] Water – Model of multistage steam ejector refrigeration system using annular ejector in which the primary ? uid enters the second stage at annular nozzle on the sidewall. This will increase static pressure for low-pressure stream and mixture and reduce the velocity of the motive stream and reduce jet mixing losses shock wave formation losses. [24] R11; R113; R114 93. 3; 10; 43. 3 Measure and calculate ejector entrainment ratio as a function of boiler, condenser and evaporator temperatures. Entrainment ratio decreases for off design operation and increases for the two stage ejectors. [30] R113; R114; R142b 120–140; 65–80 Effect of throat area, location of main nozzle and length of the constant area section on backpressure, entrainment ratio and compression ratio. Developed a new ejector theory in which the entrained ? uid is choked, the plant scale results agree with this theory. Steam jet refrigeration should be designed for the most often prevailing conditions rather than the most severe to achieve greater overall ef? ciency. [5] Mathematical model use empirical parameters that depend solely on geometry. The parameters are obtained experimentally for various types of ejectors. [31] R134a 5; ? 12, ? 18; 40 Combined ejector and mechanical compressor for operation of domestic refrigerator-freezer increases entrainment ratio from 7 to 12. 4%. The optimum throat diameter depends on the freezer emperature [9] R11; HR-123 80; 5; 30 Performance of HR-123 is similar to R-11 in ejector refrigeration. Optimum performance is achieved by the use of variable geometry ejector when operation conditions change. H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 1. The motive steam expands isentropically in the nozzle. Al so, the mixture of the motive steam and the entrained vapor compresses isentropically in the diffuser. 2. The motive steam and the entrained vapor are saturated and their velocities are negligible. 3. Velocity of the compressed mixture leaving the ejector is insigni? cant. 4. Constant isentropic expansion exponent and the ideal gas behavior. 5. The mixing of motive steam and the entrained vapor takes place in the suction chamber. 6. The ? ow is adiabatic. 7. Friction losses are de? ned in terms of the isentropic ef? ciencies in the nozzle, diffuser and mixing chamber. 8. The motive steam and the entrained vapor have the same molecular weight and speci? c heat ratio. 9. The ejector ? ow is one-dimensional and at steady state conditions. The model equations include the following: ? Overall material balance (2) Expansion ratio ? ‘ 2pn k? 1   Pp P2 n (k ? 1/k) ?1 Pe P2 n (k ? 1/k) ?1 (6) M*2 + wM*2 Te/Tp p e ‘ M 2(k + 1) M 2(k ? 1) + 2 (8) Eq. (8) is used to calculate M*2, M*2, M4 e p Mach number of the mixed ? ow after the shock wave 2 M2+ 4 (k ? 1) M5 = (9) 2k 2 M ? 1 (k ? 1) 4 Pressure increase across the shock wave at point 4 (10) In Eq. (10) the constant pressure assumption implies that the pressure between points 2 and 4 remains constant. Therefore, the following equality constraint applies P2 = P3 = P4. Pressure lift in the diffuser  n Pc p (k ? 1) 2 =d M5+1 P5 2 ? (5) ? (k/k ? 1) (11) where pd is the diffuser ef? ciency. The area of the nozzle throat A1 = where M is the Mach number, P is the pressure and is the isentropic expansion coef? cient. In the above equation, pn is the nozzle ef? ciency and is de? ned as the ratio between the actual enthalpy change and the enthalpy change undergone during an isentropic process. Isentropic expansion of the entrained ? uid in the suction chamber is expressed in terms of the Mach number of the entrained ? uid at the nozzle e xit plane   P5 1 + kM 2 4 = P4 1 + kM 2 5 (4) Isentropic expansion of the primary ? uid in the nozzle is expressed in terms of the Mach number of the primary ? uid at the nozzle outlet plane Mp2 = ? ? (3) Er = Pp/Pe ? ? 2 k? 1 (7) (1 + w )(1 + wTe/Tp) here w is the entrainment ratio and M * is the ratio between the local ? uid velocity to the velocity of sound at critical conditions. The relationship between M and M * at any point in the ejector is given by this equation M* = Compression ratio Cr = Pc/Pe ? ? ‘ The mixing process is modeled by one-dimensional continuity, momentum and energy equations. These equations are combined to de? ne the critical Mach number of the mixture at point 5 in terms of the critical Mach number for the primary and entrained ?uids at point 2 M* = 4 where m is the mass ? ow rate and the subscripts c, e and p, de? ne the compressed vapor mixture, the ntrained vapor and the motive steam or primary stream. Entrainment ratio w = me/mp ? ? (1) mp + m e = mc ? Me2 = 555 mp Pp ‘ RTp k + 1 kpn 2 (k + 1)/(k ? 1) (12) The area ratio of the nozzle throat and diffuser constant area        A1 Pc 1 = A3 Pp (1 + w )(1 + w (Te/Tp)) P2 1/k P (k ? 1)/k 1/2 1? 2 Pc Pc 2 1/(k ? 1) 2 1/2 1? k+1 k+1 1/2 (13) H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 556 ? The area ratio of the nozzle throat and the nozzle outlet A2 = A1 ‘  1 2 (k ? 1) 2 1+ M p2 2 M p2 (k + 1 2  ? (k + 1)/(k ? 1) (14) ? 3. Solution procedure ? Two solution procedures for the above model are shown in Fig. 2. Either procedure requires iterative calculations. The ? rst procedure is used for system design, where the system pressures and the entrainment ratio is de? ned. Iterations are made to determine the pressure of the motive steam at the nozzle outlet (P2) that gives the same back pressure (Pc). The iteration sequence for this procedure is shown in Fig. 2(a) and it includes the following steps: ? De? ne the design parameters, which include the entrainment ratio (w ), the ? ow rate of the compressed ? ? ? ? vapor (mc) and the pressures of the entrained vapor, ompressed vapor and motive steam (Pe, Pp, Pc). De? ne the ef? ciencies of the nozzle and diffuser (pn, pd). Calculate the saturation temperatures for the compressed vapor, entrained vapor and motive steam, which include Tc, Tp, Te, using the saturation temperature correlation given in the appendix. As for the universal gas constant and the speci? c heat ratio for steam , their values are taken as 0. 462 and 1. 3. The ? ow rates of the entrained vapor (me) and motive steam (mp) are calculated from Eqs. (1) and (2). A value for the pressure at point 2 (P2) is estimated and Eqs. (5) – (11) are solved sequentially to obtain the ressure of the compressed vapor (Pc). The calculated pressure of the compressed vapor is compared to the design value. A new value for P2 is estimated and the previous step is repeated until the desired value for the pressure of the compressed vapor is reached. Fig. 2. Solution algorithms of the mathematical model. (a) Design procedure to calculate area ratios. (b) Performance evaluation to calculate w. H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 ? The ejector cross section areas (A1, A2, A3) and the area ratios (A1/A3 and A2/A1) are calculated from Eqs. (12) – (14). The second solution procedure is used for performance evaluation, where the cross section areas and the entrainment and motive steam pressures are de? ned. Iterations are made to determine the entrainment ratio that de? nes the ejector capacity. The iteration sequence for this procedure is shown in Fig. 2(b) and it includes the following steps: ? De? ne the performance parameters, which include the cross section areas (A1, A2, A3), the pressures of the entrained vapor (Pe) and the pressure of the primary stream (Pp). ? De? ne the ef? ciencies of the nozzle and diffuser (pn, pd). ? Calculate the saturation temperatures of the primary nd entrained streams, Tp and Te, using the saturation temperature correlation given in the appendix. ? As for the universal gas constant and the speci? c heat ratio for steam, their values are taken as 0. 462 and 1. 3. ? Calculate the ? ow rate of the motive steam and the properties at the nozzle outlet, which include mp, P2, Me2, Mp2. These are obtained by solving Eqs. (5), (6), (12) and (14). ? An estimate is made for the entrainment ratio, w. ? This value is used to calculate other system parameters de? ned in Eqs. (7) – (11), which includes M*2, e M*2, M*, M4, M5, P5, Pc. p 4 ? A new estimate for w is obtained from Eq. 13). ? The error in w is determined and a new iteration is made if necessary. ? The ? ow rates of the compressed and entrained vapor are calculated from Eqs. (1) and (2). 4. Semi-empirical model Development of the semi-empirical model is thought to provide a simple method for designing or rating of steam jet ejectors. As shown above, solution of the mathematical model requires an iterative procedure. Also, it is necessary to de? ne values of pn and pd. The values of these ef? ciencies widely differ from one study to another, as shown in Table 2. The semi-empirical model for the steam jet ejector is developed over a wide ange of operating conditions. This is achieved by using three sets of design data acquir ed from major ejector manufacturers, which includes Croll Reynolds, Graham and Schutte – Koerting. Also, several sets of experimental data are extracted from the literature and are used in the development of the empirical model. The semiempirical model includes a number of correlations to calculate the entrainment ratio (w ), the pressure at the nozzle outlet (P2) and the area ratios in the ejector 557 Table 2 Examples of ejector ef? ciencies used in literature studies Reference [27] [32] [33] [31] [10] [24] [8] [34] pn pd 0. 9 0. 5 0. 7–1 0. 8–1 0. 85–0. 98 0. 85 0. 75 0. 75 0. 8 0. 85 0. 7–1 0. 8–1 0. 65–0. 85 0. 85 0. 9 pm 0. 8 0. 95 (A2/A1) and (A1/A3). The correlation for the entrainment ratio is developed as a function of the expansion ratio and the pressures of the motive steam, the entrained vapor and the compressed vapor. The correlation for the pressure at the nozzle outlet is developed as a function of the evaporator and co ndenser pressures. The correlations for the ejector area ratios are de? ned in terms of the system pressures and the entrainment ratio. Table 3 shows a summary of the ranges of the experimental and the design data. The table also includes the ranges for the data reported by Power [12]. A summary of the experimental data, which is used to develop the semi-empirical model is shown in Table 4. The data includes measurements by the following investigators: ? Eames et al. [8] obtained the data for a compression ratio of 3 – 6, expansion ratio 160 – 415 and entrainment ratio of 0. 17 – 0. 58. The measurements are obtained for an area ratio of 90 for the diffuser and the nozzle throat. ? Munday and Bagster [4] obtained the data for a compression ratio of 1. 8 – 2, expansion ratio of 356 – 522 and entrainment ratio of 0. 57 – 0. 905. The measurements are obtained for an area ratio of 200 for the diffuser and the nozzle throat. ? Aphornratana and Eames [13] obtained the data for a compression ratio of 4. 6 – 5. 3, expansion ratio of 309. 4 and entrainment ratio of 0. 11 – 0. 22. The measurements are obtained for an area ratio of 81 for the diffuser and the nozzle throat. ? Bagster and Bresnahan [14] obtained the data for a compression ratio of 2. 4 – 3. 4, expansion ratio of 165 – 426 and entrainment ratio of 0. 268 – 0. 42. The measurements are obtained for an area ratio of 145 for the diffuser and the nozzle throat. ? Sun [15] obtained the data for a compression ratio of . 06 – 3. 86, expansion ratio of 116 – 220 and entrainment ratio of 0. 28 – 0. 59. The measurements are obtained for an area ratio of 81 for the diffuser and the nozzle throat. ? Chen and Sun [16] obtained the data for a compression ratio of 1. 77 – 2. 76, expansion ratio of 1. 7 â⠂¬â€œ 2. 9 and entrainment ratio of 0. 37 – 0. 62. The measure- H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 558 ments are obtained for an area ratio of 79. 21 for the diffuser and the nozzle throat. ? Arnold et al. [17] obtained the data for a compression ratio of 2. 47 – 3. 86, expansion ratio of 29. 7 – 46. , and entrainment ratio of 0. 27 – 0. 5. ? Everitt and Riffat [18] obtained the data for a compression ratio of 1. 37 – 2. 3, expansion ratio of 22. 6 – 56. 9 and entrainment ratio of 0. 57. The correlation for the entrainment ratio of choked ?ow or compression ratios above 1. 8 is given by W = aErbP cP d ec (e + fP g ) p (h + iP jc) (15) Similarly, the correlation for the entrainment ratio of un-choked ? ow with compression ratios below 1. 8 is given by W = aErbP cP d ec (e + f ln(Pp)) (g + h ln(Pc)) (16) vapor compression applications. As shown in Fig. 3, the ? tting result is very satisfact ory for entrainment ratios between 0. 2 and 1. This is because the major part of the data is found between entrainment ratios clustered over a range of 0. 2 – 0. 8. Examining the experimental data ? t shows that the major part of the data ? t is well within the correlation predictions, except for a small number of points, where the predictions have large deviations. The correlations for the motive steam pressure at the nozzle outlet and the area ratios are obtained semi-empirically. In this regard, the design and experimental data for the entrainment ratio and system pressures are used to solve the mathematical model and to calculate the area ratios and motive steam pressure at the nozzle utlet. The results are obtained for ef? ciencies of 100% for the diffuser, nozzle and mixing and a value of 1. 3 for k. The results are then correlated as a function of the system variables. The following relations give the correlations for the choked ? ow: The constants in Eqs. (15) and (16) are given as follows P2 = 0. 13 P 0. 33P 0. 73 e c (17) A1/A3 = 0. 34 P 1. 09P ? 1. 12w ? 0. 16 c p Entrainment ratio Entrainment ratio correlation choked correlation non-choked ?ow (Eq. (15); Fig. 3) ? ow (Eq. (16), Fig. 4) ?1. 89? 10? 5 ?5. 32 5. 04 9. 05? 10? 2 22. 09 ?6. 13 0. 82 ?3. 37? 10? 5 ? ? 0. 79 a 0. 65 b ?1. 54 c 1. 72 d 6. 9v10? 2 e 22. 82 f 4. 21? 10? 4 g 1. 34 h 9. 32 j 1. 28? 10? 1 j 1. 14 R2 0. 85 A2/A1 = 1. 04 P ? 0. 83 c P 0. 86 p w (18) ? 0. 12 (19) The R 2 for each of the above correlations is above 0. 99. Similarly, the following relations give the correlations for the un-choked ? ow: P2 = 1. 02 P ? 0. 000762P 0. 99 e c (20) A1/A3 = 0. 32 P 1. 11P ? 1. 13w ? 0. 36 c p (21) A2/A1 = 1. 22 P ? 0. 81P 0. 81w ? 0. 0739 c p (22) 2 Fitting results against the design and experimental data are shown in Figs. 3 and 4, respectively. The results shown in Fig. 3 cover the most commonly used range for steam jet ejectors, especially in vacuum and The R values for the above three correlations are above 0. 99. The semi-empirical ejector design procedure involves sequential solution of Eqs. (1) – (14) together with Eq. (17) or Eq. (20) (depending on the ? ow type, choked or non-choked). This procedure is not iterative in contrast with the procedure given for the mathematical model in the previous section. As for the semi-empirical performance evaluation model, it involves non-iterative solution of Eqs. (1) – (14) together with Eq. (15) or Eq. (16) for choked or non-choked ? ow, respectively. It should be stressed that both solution procedures are indepen- Table 3 Range of design and experimental data used in model development Source Er Cr Pe (kPa) Pc (kPa) Pp (kPa) w Experimental Schutte–Koerting Croll–Rynolds Graham Power 1. 4–6. 19 1. 008–3. 73 1. 25–4. 24 1. 174–4. 04 1. 047–5. 018 1. 6–526. 1 1. 36–32. 45 4. 3–429. 4 4. 644–53. 7 2–1000 0. 872–121. 3 66. 85–2100. 8 3. 447–124. 1 27. 58–170. 27 2. 76–172. 37 2. 3–224. 1 790. 8–2859. 22 446. 06–1480. 27 790. 8–1480. 27 3. 72–510. 2 38. 6–1720 84. 09–2132. 27 6. 2–248. 2 34. 47–301. 27 344. 74–2757. 9 0. 11–1. 132 0. 1–4 0. 1818–2. 5 0. 18–3. 23 0. 2–4 H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 559 Table 4 Summary of literature experimental data for steam jet ejectors Ad/At Pp (kPa) Pe (kPa) Pc (kPa) Pp/Pe Pc/Pe w Reference 90 198. 7 232. 3 270. 3 313. 3 361. 6 1. 23 1. 23 1. 23 1. 23 1. 23 3. 8 4. 2 4. 7 5. 3 6 161. 8 189. 1 220. 1 255. 1 294. 4 3. 09 3. 42 3. 83 4. 31 4. 89 0. 59 0. 54 0. 47 0. 39 0. 31 [8] [8] [8] [8] [8] 90 198. 7 232. 3 270. 3 313. 3 361. 6 1. 04 1. 04 1. 04 1. 04 1. 04 3. 6 4. 1 4. 6 5. 1 5. 7 191. 6 223. 9 260. 7 302. 1 348. 7 3. 47 3. 95 4. 44 4. 91 5. 49 0. 5 0. 42 0. 36 0. 29 0. 23 [8] [8] [8] [8] [8] 90 198. 7 232. 3 270. 3 313. 3 361. 6 0. 87 0. 87 0. 87 0. 87 0. 87 3. 4 3. 7 4. 4 5. 1 5. 4 227. 7 266. 2 309. 8 59 414. 4 3. 89 4. 24 5. 04 5. 85 6. 19 0. 4 0. 34 0. 28 0. 25 0. 18 [8] [8] [8] [8] [8] 200 834 400 669 841 690 690 1. 59 1. 59 1. 71 1. 59 1. 94 1. 94 3. 2 3. 07 3. 67 3. 51 3. 38 3. 51 521. 7 250. 2 392. 3 526. 1 356 356 2. 0 1. 92 2. 15 2. 19 1. 74 1. 81 0. 58 1. 13 0. 58 0. 51 0. 86 0. 91 [4] [4] [4] [4] [4] [4] 81 270 270 270 270 270 0. 87 0. 8 7 0. 87 0. 87 0. 87 4. 1 4. 2 4. 4 4. 5 4. 7 309. 5 309. 5 309. 5 309. 5 309. 5 4. 7 4. 8 5. 04 5. 16 5. 39 0. 22 0. 19 0. 16 0. 14 0. 11 [13] [13] [13] [13] [13] 145 660 578 516 440 381 312 278 1. 55 1. 55 1. 58 1. 57 1. 59 1. 62 1. 68 5. 3 5. 3 5. 3 5. 03 4. 77 4. 23 4. 1 426. 5 373. 5 326. 280. 6 239. 9 192. 6 165. 1 3. 42 3. 42 3. 36 3. 21 3 2. 61 2. 44 0. 27 0. 31 0. 35 0. 38 0. 42 0. 46 0. 42 [14] [14] [14] [14] [14] [14] [14] 143. 4 169. 2 198. 7 232. 3 270. 3 1. 23 1. 23 1. 23 1. 23 1. 23 2. 53 2. 67 3. 15 4 4. 75 116. 8 137. 8 161. 8 189. 1 220. 1 2. 06 2. 17 2. 56 3. 26 3. 87 0. 59 0. 51 0. 43 0. 35 0. 29 [15] [15] [15] [15] [15] 29. 7 33. 5 37. 8 46. 5 2. 47 2. 78 3. 14 3. 86 0. 5 0. 4 0. 3 0. 27 [17] [17] [17] [17] 119. 9 151. 7 224. 1 195. 1 195. 1 186. 2 1. 7 2. 3 3. 9 1. 6 1. 9 2. 9 1. 8 2. 2 3. 3 1. 6 1. 9 2. 8 0. 62 0. 49 0. 34 0. 78 0. 64 0. 37 [16] [16] [16] [16] [16] [16] 2. 3 2. 3 2. 3 56. 9 38. 6 22. 6 . 3 1. 9 1. 4 0. 57 0. 56 0. 57 [18] [18] [18] 81 1720 1720 1720 1720 79. 21 116 153 270 198 198 198 57. 9 47. 4 38. 6 57. 7 51. 4 45. 5 37. 01 67. 6 67. 6 67. 6 121. 3 99. 9 67. 6 1. 02 1. 2 1. 7 143 143 143 143 560 H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 wide range of compression, expansion and entrainment ratios, especially those used in industrial applications. The developed correlations are simple and very useful for design and rating calculations, since it can be used to determine the entrainment ratio, which, upon speci? cation of the system load, can be used to determine the motive steam ? w rate and the cross section areas of the ejector. Acknowledgements Fig. 3. Fitting of the entrainment ratio for compression ratios higher than 1. 8. The authors would like to acknowledge funding support of the Kuwait University Research Administration, Project No. EC084 entitled ‘Multiple Effect Evaporation and Absorption/Adsorption Heat Pumps’. Appendix A. Nomenclature A COP Cr Er m M M* Fig. 4. Fitting of the entrainment ratio for compression ratios lower than 1. 8. dent of the nozzle and diffuser ef? ciencies, which varies over a wide range, as shown in Table 2. 5. Conclusions A semi-empirical model is developed for design and erformance evaluation of steam jet ejector. The model includes correlations for the entrainment ratio in choked and non-choked ? ow, the motive steam pressure at the nozzle outlet and the area ratios of the ejector. The correlations for the entrainment ratio are obtained by ? tting against a large set of design data and experimental measurements. In addition, the correlations for the motive steam pressure at the nozzle outlet and the area ratios are obtained semi-empirically by solving the mathematical model using the design and experimental data for the entrainment ratio and system pressures. The correlations cover a P DP R Rs T w cross section area (m2) coef? cient of performance, dimensionless compression ratio de? ned as pressure of compressed vapor to pressure of entrained vapor expansion ratio de? ned as pressure of compressed vapor to pressure of entrained vapor mass ? ow rate (kg/s) Mach number, ratio of ? uid velocity to speed of sound critical Mach number, ratio of ? uid velocity to speed of sound pressure (kPa) pressure drop (kPa) universal gas constant (kJ/kg  °C) load ratio, mass ? ow rate of motive steam to mass ? ow rate of entrained vapor temperature (K) ntrainment ratio, mass ? ow rate of entrained vapor to mass ? ow rate of motive steam Greek symbols k compressibility ratio p ejector ef? ciency Subscripts 1–7 locations inside the ejector b boiler c condenser d diffuser e evaporator or entrained vapor m mixing n nozzle p primary stream or motive steam t throat of the nozzle H. El -Dessouky et al. / Chemical Engineering and Processing 41 (2002) 551 – 561 Appendix B B. 1. Correlations of saturation pressure and temperature   The saturation temperature correlation is given by T = 42. 6776 ? 3892. 7 ? 273. 15 (ln(P /1000) ? 9. 48654) here P is in kPa and T is in  °C. The above correlation is valid for the calculated saturation temperature over a pressure range of 10 – 1750 kPa. The percentage errors for the calculated versus the steam table values are B 0. 1%. The correlation for the water vapor saturation pressure is given by  ln(P /Pc) = Tc ?1 T + 273. 15  8 ? % fi (0. 01(T + 273. 15 ? 338. 15))(i ? 1) i=1 where Tc = 647. 286 K and Pc = 22089 kPa and the values of fi are given in the following table f1 f2 f3 f4 ?7. 419242 0. 29721 ?0. 1155286 0. 008685635 f5 f6 f7 f8 0. 001094098 ?0. 00439993 0. 002520658 ?0. 000521868 How to cite Steam Jet Refrigeration Cycle, Essay examples

Animal Handling and Preparation for Imaging

Question: Discuss about animal handling skills, accommodation and husbandry and review of the animal husbandry techniques? Answer: Risk Assessments The method of effective and safe animal handling technique primarily demands focus on the animals, which are being handled and knowledge to understand and read the body language of the animals (Stout, 2014). Depending upon the body language and the varying scenario, different types of techniques and tools has been developed in recent days, which assists in providing proper and safe animal handling. Therefore, animals with different temperaments in different situation need to be guided with proper animal handling techniques in order to ensure safe and ethical practice (Stout, 2014). A risk of injury or ill health is often associated with the handling techniques. The potentiality of the risk increases if the animals are not being handled frequently or is devoid of human contact for a longer period (Hosey et al. 2013). There are several factors that need to be understood for handling animals with different temperament under different condition. The factors primarily include: The physical and mental ability of the person in terms of handling the animal Equipments availability for e.g. cages, poles, leads etc. The animal being handled which deals with the fact that how familiar the animal is being handled and the likelihood of the animal to get handled. The person associated with handling shall be able to use all the necessary equipments, be aware of the various kind of complications which may rise, be able to work in a calm and confident way thereby implementing proper training methods (Stout, 2014). Thus, it can be clearly stated that for executing a proper decision making strategy, one need to understand the basic factors associated with animal handling (Moberg, 2013). This includes implementation of plans and strategy to understand the availability of the equipments, which involved use of proper handling techniques depending upon the type of animals being handled. Gloves and other protective materials have been used for reducing the risk of injury associated with the animal. Animals are handled with processes with which they are familiar with and were kept away from unfamiliar activities (Rutherford, 2015). In case of aggressive animals, before implementing an alternative method, the review of the method has been generated (Hose y et al. 2013). Lifting and carrying of heavy items has been not practiced as it is associate with causing injury to the animal (Rutherford, 2015). Use of chemical substances has been strictly prohibited as it leads to hazardous effects. Personal hygiene has also been maintained equally thereby maintaining a high standards at all time. Arrangements were also made in order make safe disposal of the infected material. Animal Handling Skills Rabbits are considered to be highly susceptible to the effects of stress and is approached in a calm and confident way such that they dont feel annoyed or disturbed. The rabbit is then restrained firmly by scarf with a hand supporting the animals hindquarters in a proper way for handling or moving. While moving the animal in a new environment, care shall need to be taken such that the rabbit do not remain scared all the time. The rabbit has been kept in a small room provided with one or two litter boxes. A fresh layer of grass hay helps the animal to hop easily in the new home. Fresh water has been kept in a bowl that needs to be kept available to the animal all the time. The animal has been fed with small corns, seeds which minimize the risk for digestive upset (Keeble et al. 2012). Safe handling of the birds, which falls under the class avian, has been achieved by properly controlling the birds feet, hand, legs and wings such that no injury has been caused to the bird. The birds have been grasped firmly in order to avoid putting too much pressure (Jones et al. 2012). In order to so, the handler needs to use appropriate protective clothes, which involves the use of gloves, long sleeved shirts, and other accessories as required. The birds have been lightly wrapped in a small, clean towel, which provides a more protection. Different modes of feeding have been used for the feeding the birds. The method of syringe feeding is used for very small or weak birds that cannot be fed with a spoon. Thus, a syringe is used in a small plastic tube fitted at the end of the syringe (Jones et al. 2012). This particularly ensures that the tube is soft and does not have any sharp edges. The method of feeding has been considered tricky and has been coordinated under expert animal h andlers. Stick or finger feeding method involves the use of a matchstick. The end of the stick is made blunt in a way that the birds do not spike it and the food has been put at the end of the stick into the birds food. The most commercial and common method of feeding is spoon-feeding which includes the use of a plastic teaspoon or a metal teaspoon into the narrow shape which represents the beak of the parent. The birds suck the feed off the spoon and helps in swallowing the food by itself. All the diets have been mixed in a proper way such that it provides a healthy and proper way of feeding technique (Jones et al. 2012). In the case of the amphibians, a small dip net has been used in order to shoo the animal into the net. The opening has been covered with one hand and the net has been turned upward to cover the uppermost part. Another method of handling an amphibian involves moistening of hand, which involves holding the amphibian in hand, but care has been taken in a way that the handling method does not cause any hurt to the amphibian during the process of handling. In general, toxins are produced on a large scale from the body of the amphibians. Therefore, in the case of handling an amphibian, the handler needs to use strong leather or synthetic gloves. Thus, handling techniques need to be precise and ethical. Herps have been feed with insects and they are trained in such a way that putting a dish of insect in front of them they will start keeping feeding for them. In the case of lizards, a pile of chopped vegetables has been used for the feeding purpose (Rendle et al. 2012). Accommodation and Husbandry Good husbandry and accommodation primarily focus on the availability of various kinds of accommodation techniques involved in the case of rabbits, amphibians, and birds. The accommodation of new husbandry techniques helps in understanding and better implementation of the animal handling techniques for ensuring proper and effective care to the mentioned animals (Piedrafita, 2015). The management and care of the animals will help in improving the genetic qualities and behavior of the associated animals as mentioned. For better domestication of animals, animal husbandry needs to be practiced in order to carry forward the effective methods of animal care (Stout, 2014). The available accommodations need to be improved in a way such that the animal finds it free and comfortable with the necessary changes. The introduction of the new accommodation involves the use of effective and strategic implementation that deals with the improvement of the accommodation system. In the case of rabbits, b etter cage needs to be provided in such a way that they find it easy to roam around which causes no actual harm to the rabbit (Keeble et al. 2012). Similarly, for both the birds and amphibians, introducing better recommendation will further help in suitable improvement of the respective accommodation and other animal husbandry techniques. Review of the Animal Husbandry Techniques In accordance with the present topic, it can be shown that proper handling, care, and management methods are implemented in order to provide proper handling for the animals (Huntingford, 2012). The methods that have been used food accommodation, feeding clearly emphasizes on the fact that animals are very sensitive in nature and a good animal handler needs to keep in focus all the available techniques and methods in order to execute better handling and care. Different feeding plans have been excised depending upon the type of organisms. The feeding plans vary from one animal to another and it needs to be kept in mind that the feeding techniques differ from the feeding techniques of other animals and there shall be a clear difference while executing (Stout, 2014). Different techniques have been utilized in the given report which clearly emphasizes on various kinds of plans and records that have been executed in terms of handling rabbits, amphibians, and birds. The animal husbandry met hods thus implemented helps in the understanding of the various facts which supports proper domestication methods that are associated for handling animals with a different mentality and different conditions (Banks et al. 2013). In order to get accustomed to the situation, the different techniques that have been used in the given report help in understanding and developing a clear knowledge regarding the process of domestication, feeding, adaptation, and accommodation (Rutherford, 2015). The commercial method that has been used for the process of breeding is the method of artificial insemination and embryo transfer which guarantees to improve the genetics associated with the given animal (Moberg, 2013). This also helps in understanding regarding the genetic diversity of the animals (Keeble eta al. 2012). The handling and feeding techniques that have been implemented here clearly justifies the technique as because for every animal a separate and a different technique helps in better u nderstanding of the animals temperament and mentality and thus helped us to work accordingly (Banks et al. 2013). References Stout, D. B. (2014). Animal Handling and Preparation for Imaging. InMolecular Imaging of Small Animals(pp. 495-516). Springer New York. Hosey, G., Melfi, V., Pankhurst, S. (2013).Zoo animals: behaviour, management, and welfare. Oxford University Press. Moberg, G. P. (Ed.). (2013).Animal stress. Springer. Rutherford, A. (2015). Animal Transport for Animal Care Professionals. Piedrafita, J. (2015). Teaching of animal breeding. What, when, where?.ITEA,111(4), 348-365. Fryxell, J. M., Sinclair, A. R., Caughley, G. (2014).Wildlife ecology, conservation, and management. John Wiley Sons. Clark, J. A. (2013).Environmental aspects of housing for animal production. Elsevier. Banks, R. E., Sharp, J. M., Doss, S. D., Vanderford, D. A. (2013).Exotic small mammal care and husbandry. John Wiley Sons. Keeble, E., Heggie, H., Varga, M., Lumbis, R., Gott, L. (2012). Mammals: biology and husbandry.BSAVA manual of exotic pet and wildlife nursing, 34-57. Rendle, M., Cracknell, J., Varga, M., Lumbis, R., Gott, L. (2012). Reptiles: biology and husbandry.BSAVA manual of exotic pet and wildlife nursing, 80-108. Jones, R., Dodd, C., Varga, M., Lumbis, R., Gott, L. (2012). Birds: biology and husbandry.BSAVA manual of exotic pet and wildlife nursing, 58-79. Huntingford, F. (Ed.). (2012).The study of animal behaviour. Springer Science Business Media.

Natural Disasters Why Havent We Learned from Them Yet Essay Example

Natural Disasters: Why Havent We Learned from Them Yet? Paper Many times the people affected by such an event take a backseat to the actually disaster itself. Why is that? Why is it that certain parts of the world, when hit by a natural disaster, seem to be more devastated by it than the same event somewhere else? And, why have those areas at the highest risk of being affected by a natural disaster made little to no effort of better preparing themselves for such an event? The disaster part of a natural disaster can be prevented when the appropriate steps to better prepare a vulnerable area are taken. By taking the mistakes of the past and learning room them, one has the capability of lowering the statistics of those whom are devastated by a natural disaster each year. The first step to understanding natural disasters is to know what they are capable of doing. The Federal Management Emergency Agent is the U. S. s disaster relief branch of Homeland Security. The mission statement of FEM., as stated on their website, is to support our citizens and first responders to ensure that as a nation we work together to build, sustain and improve our capability to prepare for, protect against, respond to, recover from, and mitigate all hazards (What We Do 1). In an effort to do this, FEM. has provided information on planning and preparing, recovering and rebuilding, and on natural disasters in general. We will write a custom essay sample on Natural Disasters: Why Havent We Learned from Them Yet? specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Natural Disasters: Why Havent We Learned from Them Yet? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Natural Disasters: Why Havent We Learned from Them Yet? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer FEM. has provided information on every type of natural disaster possible, but in the past decade the ones that have caused some of the most damage and fatalities have been earthquakes, floods, hurricanes and tsunamis. Earthquakes can strike suddenly and without warning at anytime day or not. Many earthquakes occur along a fault line, the meeting of two more tectonic plates below the earths surface. The breaking and shifting of these plates causes the shaking of the crust above. About 70 to 75 damaging earthquakes occur around the world each year, and the magnitude of theses earthquakes are measured on a Richter ranging from one to ten, ten being the most severe (Fast Fact About Earthquakes 1; 5). Floods and hurricanes can sometimes come as a package deal, case-in-point New Orleans and Hurricane Strain. Floods can either develop slowly or in a matter of minutes (Flood 2). Hurricanes can be detected while in the middle of the ocean, although the path and wind speed of them is ever changing. They are measured in categories according to wind speed ranging from one o five, five being the highest. In other parts of the world this storm is referred to as a typhoon or cyclone (that is a Hurricane? 1). Tsunamis, sometimes mistaken for tidal waves can move hundreds of M. P. H. In the open ocean, reaching heights of up to 100 feet before crashing in to land. Underwater earthquakes most often create tsunamis. The areas with the greatest risk of being hit by one are those that are less than 25 feet above sea level and within a mile of the shoreline (tsunami 1; 4). Now that a general understanding for five major natural disasters has been developed, it is time o take that and apply it to the, possible, five worst natural disasters of the last decade. In May of 2008 in Schuman, China, a 7. 9- magnitude earthquake struck this area of western China, where a total of 15 million people lived. The earthquake killed an estimated 70 thousand people and displaced over 18 thousand. Since 1976, when an earthquake killing over 240 thousand people struck the area, China has required that new structures withstand major quakes. When the new building codes were put to the test in the 2008 earthquake, many buildings, including schools and hospitals, collapsed; gassing the question as to how rigorously the building codes were enforced (Schuman Earthquake 1). Thousands of the deaths were reported to be children, prompting protest by parents. Although the Chinese government refused to release the number of students who died from the collapse of buildings, official reports surfaced not long after the quake putting the student death toll at 10,000. The Chinese government, unwilling to deal with the protest of the outraged parents, chose to offer them $8,800 in exchange for their silence. For the most part, the government as refused to address the robber Of poorly built schools in the region leaving the possibility of another disaster, like the one caused by the 2008 earthquake, highly likely Schumann Earthquake 7; 9). Another disaster that struck in 2008 was Cyclone Margins. The cyclone struck the country of Manner, where it reached winds up 121 M. P. H before hitting land on the evening of May 2. The storm nearly killed 85,000 people, and displaced an additional 54,000. The Irradiated Delta and Yang were devastated, so much so, that it could be argued that the generals in charge of running Manner were in complete shock. French and U. S. Oval ships waited off shore with aid awaiting the approval to come ashore, but were later denied by the generals (Cyclone Margins 1; 4). A U. N. Program director made this statement about the whole crisis, The generals thought it was just another typical cyclone, where the army would hand out some rice and a few tarps and that would be it. The regime made some shocking mistakes early on, really horrible, when they blocked the aid. With all the international furor, they finally realized, This is way, way too big for us. And after that, they did a lot. A huge national response occurred (Cyclone Margins 5). Foreign aid was finally accepted, but only after weeks of suffering by the Manner people. Hurricane Strain could easily be considered the worst natural disaster in IS. S. History, however flooding not hurricane winds, caused the most damage to New Orleans. The flooding of the New Orleans area in 2005 was not the first time the city had experienced such a thing. In 1927, water was forced over the levees surrounding the sinking city due to heavy rainfall and flooding of the Mississippi River. To save New Orleans, the leaders proposed a radical plan. South of the city, the population was mostly rural and poor. Leaders appealed to the federal government to essentially sacrifice those parishes by blowing up a levee and diverting the water to the marshland, and promised restitution to people who would lose their homes. The plan was passed and a levee 13 miles south of New Orleans in Carnivore was blown (Brinkley 8-15). According to the 2000 Louisiana census, about 50 percent of the stats?s population lived in coastal areas of New Orleans. The mandatory evacuation came at too short notice, leaving thousands of people stranded in flooded areas. (Brinkley). The levees constructed by the United States Army Corps of Engineers failed below sign specifications resulting in the flooding of 80 percent of the city. Although the number of deaths, 1 ,800, is incomparable to the other disasters discussed, the damage reported, an estimate $1 6 billion, is arguably the most done by any natural disaster in history (Brinkley 12; Cooper 7). National Geographic News labeled the 2004 Indian Ocean tsunami the possible deadliest tsunami in history. The tsunami, created by a 9. 0-magnitude earthquake in the middle of the Indian Ocean, released energy equivalent to an estimated 23 thousand Hiroshima- type atomic bombs (The Deadliest Tsunami In History? 1). The wave reached heights as high as 30 feet in some places and killed an estimated 150 thousand people. The Pacific Ocean has the most active tsunami zone according to the U. S. National Oceanic and Atmospheric Administration (Tsunamis: Facts About Killer Waves 2). The waves caused deaths in a total of 11 countries surrounding the Indian Ocean, reaching as far as three thousand miles away from the epicenter, on December 26. Some people, when they saw the receding water, knew it was a warning sign of a tsunami. Some experts say that using the receding ocean as a warning can give people as much as five minutes to escape to safety. Unfortunately there were a number of people who did not know this fact and instead of running away from the beach, they crowded the beach to see what was happening. By the time they realized what was going on it was too late and the waves were already crashing in (The Deadliest Tsunami In History? 2). The most recent natural disaster happened on January 12, 2010. The country of Haiti was hit by a massive earthquake of a 7. 0-magnitude, which lasted for nearly 45 seconds. The epicenter of the earthquake was just 10 miles from the Haitian capital of Port-AU Prince. There were a total of 33 aftershocks that ranged in magnitudes of 4. To 5. 9 and an estimated three million people were in need of emergency aid afterwards (Fast Facts: Haiti Earthquake 2; 7). While the estimate of the total damages is still uncertain, The Washington post reported on February 17 that the quake could end up costing Haiti upwards of $14 billion (Sheridan 1) In February 2010, Prime Minister Jean-Max Believe estimated that 250 thousand residences and 30 thousand commercial buildings were condemned. Also by this time, the death toll had reached 230 thousand. There are no building codes in Haiti making construction standards extremely low. Just days after the quake the United States government announced that it would give $1 00 million to aid effort, however since the quake the U. S. Has committed over $500 million. (Sheridan 3). Each of the previously mentioned five disasters all have something in common, they all lack education on disaster risk management. According to the DRUM, World Institute for Disaster Risk Management, losses contributed to disaster have increased dramatically over the past two decades (About DRUM 9). In some cases people do not have the option to better themselves because of a lack of funding, but in many cases they do have that option but they choose to ignore it. Some of the cities with the highest vulnerability Of being effected by a natural disaster are coastal cities. More than half of the worlds population lives in coastal areas which Cannon, Davis and Benjamin Wisher, authors of At Risk: Natural Hazard, People Vulnerability and Disasters, contribute to the idea of the American Dream here in the United States. People, especially the elderly, are sold this idea of retiring somewhere close to the water in high-risk areas. In other parts of the world, large cities are placed near the water because of trade with no regard for how vulnerable that makes them (Cannon 25). Another area that falls under the lack of education on disaster risk management is the quality of structures, both residential and commercial, built in and around the cities at risk. In Mark peelings book, The Vulnerability of Cities: Natural Disasters and Social Resilience, he shows that strengthening local capacity- through appropriate housing infrastructures and livelihoods- is crucial to improving resilience. Effective community or municipal government is essential if cities are to cope with disasters successfully, studies show (Peel ins 6). The damages and lose of human life caused by the Schuman earthquake, Hurricane Strain and Haiti earthquake might have decreased tremendously had structures in these towns been held to a higher standard. A universal building code, like that of the United States, for every nation might prohibit such losses in future disasters. Another thing that would cut back on the number of deaths caused by natural disasters is developing a better way to predict them. The unpredictability of natural disasters is one thing that makes them extremely dangerous. Scientists have yet to come up with the technology to predict when and where a disaster is going to strike. However, over the recent years survivors have had similar stories involving animals. Survivors of the Indian Ocean Tsunami recall many animals retreating away from the shores and to higher ground just moments before the giant wave crashed in to shore. Some scientists believe that animals, both world and domestic, have the ability to hear infrasonic, which are sounds produced by a natural phenomenon inaudible to the human ear. Another possible explanation is the animals sensitivity to a change in electrical current through electromagnetic fields (Can Animals Predict Disaster? 2). While studies on the claim of animals predicting disasters are still taking place, if found to be true, this could make a age difference in the number of disaster related deaths each year. In conclusion, there is a time and place for everything. But, with proper advancements in technology that time can be better predicted and that place can be better prepared through a greater desire for education on disaster risk management.

Maos Hundred Flowers Essay Example

Maos Hundred Flowers Essay Example Maos Hundred Flowers Paper Maos Hundred Flowers Paper In 1956 Mao Zedong started a campaign to allow more freedom within his communist regime in China. However in a year the campaign had been cancelled, and replaced by a anti-rightist campaign. Was this just a clever trap to allow Mao to see his critics? Or was it a genuine attempt to allow the Chinese people more freedom? Many historians have argued either way. In 1956 Mao thought it was time to allow more freedom, and allow great expression of thoughts. He intended to allow people to constructively criticises how well communist China was advancing. He made a speech saying how he was extremely pleased with Chinas current state, and hinted he would be allowing intellectuals more freedom. This was very unusual behaviour from Mao, as he was normally against intellectuals. However did he do this for a certain reason? Mao had been so pleased with Chinas state he had sent all the Russian advisers home, as the contract was costing China heavily in resources. However by losing the Russian advisers he needed to allow the Chinese intellectuals to have some more freedom to inspire them to continue the work the Russians were doing beforehand. Stalin died in 1953, and when Nikita Khrushchev came to power he slammed Stalin, and when Mao saw this he could see the same happening to him in China. Therefore to stop this happening Mao allowed criticism within his own party so he did not become like Stalin. This helped make himself less like Stalin too. Another possible reason for Mao to make a genuine to attempt to give more freedom was that he was getting suspicious of a Military Coup. He had used the military in the early stages of his campaign, but after they had sorted out the country they were no longer needed. He needed to give more freedom to stop the military deciding to take power. However there a few potential reasons which show it could be a clever trap. In 1956 there was a nation wide revolt against the Russian communist regime. The Government fell quickly and Russia had to send in troops to regain control. Mao did not want the same happening in China, therefore allowing people to openly criticises the regime he could see the people who could be willing to start an uprising. He mainly expected this to come from the intellectuals of China. When Mao cancelled the Hundred Flowers campaign in 1957, many thought it was a clever trap to allow Mao to find out his enemies within the state, however after studying the evidence, I feel Mao had made a genuine attempt to give more freedom within China. However, when he saw how much people did not agree with his policies, he panicked and removed the Hundred Flowers campaign, and decided to send the opposition to re-education centres.

Papers Psychology Research

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The Art of Etruscan Civilization Case Study Example | Topics and Well Written Essays - 750 words

The Art of Etruscan Civilization - Case Study Example It looks like the idea of afterlife is present in the majority of Etruscan art form. From this viewpoint it is clear that the majority of their art form is primarily based upon the art of tombs. It was their belief that a kind of magical survival was needed for the final resting place or in the shadowy world of Hades. This funerary cult was scrutinized with every major and minor detail and it seems as if Etruscan art had nothing else to look forward to or no other world end in view. (Bonfante, 1986) The Etruscan art also relied heavily on portraits. The portraits commemorate a dead man’s facets so as to make him credible enough to fight against the power of darkness. There is a valid reason for this creation and its continuing popularity, especially the Tuscan portrait which in turn inspired the Roman portrait. On a burial pot from Chiusi it is clearly seen that in the earlier period a trustworthy copy of a deceased face, in the form of a mask most likely made from bronze, was affixed to the vessel. Later the head was carved and placed on the pot’s lid. This ultimately led to the creation of the statue. Similarly, the wall paintings, that covered the clammy walls of the Tuscan Hypogea (subterranean burial chambers), were seen as imperative to their religious and cultural symbols. The show funeral feasts also portray the livelihood and contentment of his earthly life, and according to their belief it would shape their life in the afterworld. This repeals the apparent incongruity of sepulchral art infused with a passionate and enthusiastic feeling of life. To the spiritualist soul of Etruria, the life of this world is merely a test and is foreshadowed by the more significant and permanent afterlife that is waiting for them. Their culture was more about decorating tombs rather than towns, which were built using a single type of stone and hollowed out of the same material – places of abode were proposed to revolt against the blitz of time. In t he necropolises at Tarquinia and Cerveteri, virtual cities of the dead were formed and the locale and very rhythm and Etruscan life were clearly exhibited in those virtual cities. For Etruscans money, people and art became a feature of everyday life. Etruscan villa in Murlo, which was reconstructed recently, revealed big, painted terracotta panels decorating the foyer and also included a number of fresco wall-paintings. Etruscan painting and frescos often tried to influence a sense of Joie de vivre in the form of human figures looking strong and hearty and full of life, often in the form of dancing couples. Looking at Etruscan art from this perspective it seems clear that it was much more developed in capturing human emotion than the stylized Greek art. (Bonfante, 1986) During the 7th century BC the Etruscan art gained a new level of prosperity and popularity based upon their export of metal ore. Since Greek art got a great deal of inspiration and influence from the high cultures of the Eastern Mediterranean. Greek goods made its way to Etruria together in Orientalizing style with exotic objects and reached the Phoenician cities, Egypt, Cyprus and Asia Minor. During the entire existence of Etruscan empire, it was largely inspired from Hellenic styles which had profound impact on its independent artistic development.

Middle eastern cuisine Essay Example | Topics and Well Written Essays - 500 words

Middle eastern cuisine - Essay Example Marriage entails two individuals to be together, living under the same roof, hopefully for the rest of their lives. Now what can one expect if this marriage is composed of spouses whose cultures greatly differ from each other?3 In answer to this, the paper aims to explore the different causes of issues in interracial marriages in an effort to find answers to why some individuals and societies view such marriages with hostility. Arab Religion and Culture Islam dominates the Arab world, 4 with their laws and culture revolving mainly around the beliefs and practices deemed lawful or acceptable by the religion.5 If one is aware of the Arab culture and beliefs, it is easy to see centuries-old practices and stereotypes that could be strikingly different from other cultures around the world. Even non-Muslim Arabs have a set of practices that are unique to this race. This region of the world is highly patriarchal, and even though the western idea of gender equality may have reached some soci eties, particularly non-Muslim societies, there is still a segregation of gender roles in every family unit.

Robert Browning Essay Example for Free

Robert Browning Essay The dramatic monologue form which is now widely used, allows the author to engage his reader more directly by placing him in the role of listener. Often they are to interpret about a dramatic event or experience they are reading about. This allows the reader to become more intimate with the writer and the characters while being able to understand the speakers changing thoughts and feelings. This is almost like being inside the mind of the speaker not the writer though. The speech is delivered by a character in a play allowing the imagination of the reader to remain open. Many poets have used some type of dramatic monologue forms in their poetry but none as much or as skilled as the Victorian poet Robert Browning. Even though some believe the works of Robert Browning in fact did not invent the dramatic monologue form and argue that dramatic monologue was used in poetry preceding Browning I believe he set the standard for the form. Robert Browning is considered the master of the dramatic monologue because Browning’s use of dramatic monologue changed post romantic poetry and the dramatic monologue technique. Browning’s dramatic monologue writings were the first to achieve its distinction. I think initially some believed that some dramatic lyrical poems took the form of dramatic monologue it was more of reading the views of the poet and putting the reader into the mind of the actual poet verses putting the reader into the mind of the character. They key to dramatic monologue is the poet is telling a story through the characters of the story and the views of the characters are not the same views the poet would have if it were written in a different form. It wasn’t until realizing that these other poems in fact did not follow the same techniques of Robert Browning’s work that Browning received the recognition for being the inventor of dramatic monologue poetic form. Browning is now considered the master of the dramatic monologue. One of his most recognized dramatic monologue form poems is My Last Duchess. His careful choice in words, skillful technique and ability to leave some information up to the reader to interpret gave him his distinction and effectively named him the master of the dramatic monologue form. The poem My Last Duchess is about a powerful Duke and his beautiful deceased wife. The poem is based during the Renaissance years, in Italy, and revolves around the Duke of Ferrara. The Duke has either a visitor or servant that he is talking to. It is believed that he is planning his next marriage and discussing this with his guest. They pass a portrait of his previous wife that is painted on the wall and he stops to reminisce. The Duke appeared to truly love his duchess and this was evident by having her memory displayed as a portrait on his wall for all to see. The poem begins with him mourning her loss and I believe ends with the justification of her death. The Duke felt she behaved in a manner that was unbecoming of a duchess. The Duke believed that she was a cheater and this caused him embarrassment and anger. He stated she was a kind hearted and a joyful woman, the same qualities that initially attracted the Duke to the Duchess. The Duke stated that her smiling and flirting with other men and the fact that she was not trying to hide what she was doing was unacceptable and shameful. These same qualities would eventually lead to her demise The Duke was furious and Browning’s use of dramatic monologue shows us it’s not exactly what the Duke says to the visitor about his Duchesses death but what he indirectly reveals by not telling the whole story and leaving it up to the reader to decide. The fact that there is a lot not said in this story I believe shows his fury, the way he spoke of her could lead one to believe that he either killed her or had her killed. It seems back in those days it was common for wives to be killed as divorce was not accepted. This is just one small sample of Browning’s work. Browning’s fame today rests mainly on his dramatic monologues, in which the words not only convey setting and action but also reveal the speaker’s character.

Alcohol, Drinking, and Alcoholism - Confessions of a Teen Alcoholic :: Personal Narrative Essays

Confessions of a Teen Alcoholic The beginning, was innocent in appearance - merely a bottle of my father's beer, in order to calm myself before the big exam. My first drink, an experiment recommended by a friend in the senior class, was meant only as a last resort - I needed to pass this test, you realize. Ah, but how that amber liquid metamorphosed to pure silk in my mouth, sloshing down my throat at first, quickly changing to a tender caress. The first sip, followed by a second, and a third, and so on in rapid sequence. I proceded to another bottle, just as possessed of tranquility as the first. When my temples throbbed with the excruciating intensity of a thousand bass drums the subsequent morning, the lucidity gained from the previous night's feast with Bacchus had somehow slipped from my grasp. I failed the exam, so piercing was my headache. Upon arriving home, I made my way directly to the liquor cabinet, in the hopes of discovering a tangible comfort to assuage the misery brought on by my scholarly defeat. A mostly filled bottle of bourbon sat in the foremost corner of the cabinet. I swallowed it all down that afternoon, and was left with an empty decanter - which I stowed away in the cellar, lest my parents know of this newfound pastime – and a somewhat intriguing sense of inebriation. Days, weeks, months passed, and I found myself indulging in alcohol much more often, for a myriad of reasons. One day, I had a terrible quarrel with my girlfriend - a bit of Jack Daniels put that unpleasant situation out of my mind. Once, I had a rough time with my coach at soccer practice. Not a problem, simply gulp down a few glasses of mother's Bordeaux. The more time I spent with my dear friend John Barleycorn, the more difficult it was to be away from him. The cravings grew to the point where I needed a drink to get myself awake in the morning, while another was necessary to last through my afternoon classes. Alcohol was the focus of any social activity, it was my entire life, and yet I would not admit it. I hid my addiction every moment of every day, storing empty cans and bottles in the attic when there was not a single inconspicuous space left in the basement. Alcohol, Drinking, and Alcoholism - Confessions of a Teen Alcoholic :: Personal Narrative Essays Confessions of a Teen Alcoholic The beginning, was innocent in appearance - merely a bottle of my father's beer, in order to calm myself before the big exam. My first drink, an experiment recommended by a friend in the senior class, was meant only as a last resort - I needed to pass this test, you realize. Ah, but how that amber liquid metamorphosed to pure silk in my mouth, sloshing down my throat at first, quickly changing to a tender caress. The first sip, followed by a second, and a third, and so on in rapid sequence. I proceded to another bottle, just as possessed of tranquility as the first. When my temples throbbed with the excruciating intensity of a thousand bass drums the subsequent morning, the lucidity gained from the previous night's feast with Bacchus had somehow slipped from my grasp. I failed the exam, so piercing was my headache. Upon arriving home, I made my way directly to the liquor cabinet, in the hopes of discovering a tangible comfort to assuage the misery brought on by my scholarly defeat. A mostly filled bottle of bourbon sat in the foremost corner of the cabinet. I swallowed it all down that afternoon, and was left with an empty decanter - which I stowed away in the cellar, lest my parents know of this newfound pastime – and a somewhat intriguing sense of inebriation. Days, weeks, months passed, and I found myself indulging in alcohol much more often, for a myriad of reasons. One day, I had a terrible quarrel with my girlfriend - a bit of Jack Daniels put that unpleasant situation out of my mind. Once, I had a rough time with my coach at soccer practice. Not a problem, simply gulp down a few glasses of mother's Bordeaux. The more time I spent with my dear friend John Barleycorn, the more difficult it was to be away from him. The cravings grew to the point where I needed a drink to get myself awake in the morning, while another was necessary to last through my afternoon classes. Alcohol was the focus of any social activity, it was my entire life, and yet I would not admit it. I hid my addiction every moment of every day, storing empty cans and bottles in the attic when there was not a single inconspicuous space left in the basement.

Northern Renaissance Paper

In the middle of the fourteenth century a cultural transformation took place, this transformation was initiated by Italy and was called Renaissance. It separated the Middle Ages from the New Modern Age and is where Humanism and Reformation blossomed. Portraiture became a huge part of the Renaissance Era and artists became intrigued in trying new and unique styles. During most of the fourteenth century, only royalty had portraits made because they required status and wealth. A portrait is typically defined as a representation of a specific individual.A portrait does not merely record someone’s features, but something about whom he or she is, offering a sense of a real person’s presence. Royal Portraiture is especially unique because it has to show the status and wealth of the ruler and appeal to many. The traditions of portraiture extend back to ancient Greece and Rome, but change every century to new styles by being tweaked slightly every so often. New artists are alway s testing out new ways to spice up an old style of art and were willing to try slightly new and tweaked styles of painting.Portraits of Rulers became popular to assert their majesty in places from which they were absent. Many rulers ruled more than one area of land and had a broad area of land that they looked after and could not be everywhere at once. Most rulers would travel around their land constantly, but there was always still an absence when they were not around. Portraits became a way of allowing these rulers to show that they are present even if they are not physically there. Many churches would have paintings or sculptures so that even when the rulers were not around, the community could see an image of their ruler.In addition to recording appearance, portraits had social and practical functions as well. Portraiture was a way for the royals to show their lavishness, which in turn showed their dignity as a ruler. Royals had a way of wanting to flaunt their status and were a ble to do this through portraiture. The Portrait of John the Good by Girard d’Orleans, was important because it showed the significance of having a portrait made. This was the first profile in Northern Renaissance Art and signified a rebirth beginning. The side profile for a portrait was typical of Antique coins and medals.This new style of portrait painting emphasized the empirical. John the Good resembles Jesus in his portrait and has a â€Å"God-Like† feature. Hans Holbein did a considerable amount of Travelling throughout Europe. He was primarily a court painter, and was employed by Henry VIII and did many portraits for him. He paid special attention to portraying likeness, which was very important for royalty. His work is rich in detail. Part of why portraiture was so appealing to royals was because it could do more than show what a person looked like. It could show how a person looks powerful and unapproachable which is shown in Henry VII.It could also show vulne rability or a way to be relatable to the viewer. Showing that a ruler was scholarly along with worldly was important and in Ghent’s Duke Federigo of Urbino and his son Guidobaldo the importance is shown. Federigo the scholar, is reading from a manuscript displaying his worldly success. His military prowess is evident with his armor showing. Frontal portraiture was more common and traditional among artists for portraits. One example of this is Jean Fouquet’s portrait Charles VII. This portrait is interesting because the bust of Charles is abnormally large compared to his face.His bust is actually life-size, but the rest of his body seems as though it isn’t proportional. Charles seems stern and sad, which is not typically what a royal portrait looks like. Royalty typically want to give off the impression that they are powerful, tough and wealthy but Charles show a sad and vulnerable side, yet still showing sternness with his bust pushed out and large. Royalty art showed a lot of realism. Many rulers were not afraid to show themselves just the way they were. The art was extravagant and showed the rulers status, but kept them very real.In Jean Malouel’s Portrait of Philip the Bold, there is a sense of descriptive realism. The portrait is not beautiful, it shows warts and all, but at the same time it shows the exquisite detail of the fur and of the jewels, which was so important for rulers to show in order to show their status and wealth Hans Holbein the Younger did a variety of portraits for Henry VIII. All are beautiful and extravagant portraits. Henry VIII has beautiful vivid colors and the hat and cloaks show status and wealth. The attention to detail and realism of the painting is common in royalty art.The portrait is close and has little room for anything but Henry VIII. He is the center of attention and is the only thing to look at in the portrait. The broadness of his chest and the size of his forearms are a show of power and str ength. Henry VIII is the only thing to look at it. He is confronting you and making it so that he is the only thing to look at, there is no way to ignore him. This occurs again in other portraits in the past and the future. Another Hans Holbein portrait shows Edward VI as a Child in the same bright rich clothing that his father Henry VIII is wearing in his portraits.Edward takes up a majority of the image and this portrait most likely had a great significance to Henry VIII. The bottom of the portrait has writing saying how great Edward will be when he grows up. This portrait was most likely a gift to Henry VIII that he cherished. It shows the wealth and status of his young boy whom he loved and waited with great anticipation to watch him grow. The significance of the degree of the face looking at the viewer changed frequently. There were times that the side profile gave the idea that Royals were â€Å"Holy† or spiritual.At times, the full frontal portrait gave the look of pow er and sternness, something rulers wanted to portray. There was also the forty-five degree angle portrait. This angle is a worldly and thoughtful portrait. It gives off the impression that the ruler in the portrait is in thought and is not looking directly at someone else, nor are they looking directly at the viewer. An example of the forty-five degree angle portrait is Bernard van Orley’s Portrait of Charles. This, along with Jean Perreal’s Portrait of Louis XII are examples of this portraiture.Both rulers are neither looking at someone else, nor the viewer which is the introduction to a new style of portraiture. The few tapestries in the exhibit show the royals in their lives. Attention to detail in these tapestries is exquisite. Vivid deep colors in these exhibits show the status of the royals, a commonality between all royal Art. The deep gold colors are a way of showing wealth. All of the colors in the exhibits are so deep and vivid, with attention to the shading in the background and the outline in some of the different portraits. The attention to detail in every royal renaissance art is beautiful.Realism and Humanism in the portraits is very clear with how realistic the rulers look. The details down to the hair, fur, and jewels are extremely fine, never leaving even a single detail out to ensure that it has the quality of looking at someone in person. Overall, Royalty in Northern Renaissance Art is broad and unique. Some rulers wanted to be depicted as strong, powerful and unapproachable. Others wanted to be seen as spiritual and almost â€Å"God-like†. Some rulers only have portraits done of their upper body, some of only their face, and some rulers had their entire bodies painted into their portraits.All of these rulers and their artists felt that the way they were painted would be how they were depicted by the world and chose the style accordingly. 1. Girard d’Orleans Portrait of John the Good Before 1356, Musee du Louvre, Paris. John the Good had a court painter, Girard d’Orleans who accompanied him during his travels and time in England. This artist painted the King’s portrait on a canvas type panel. This painting is a clear indication of a new type of painting at the time, the profile portrait. The importance of this portrait is the outlining of John the Good’s face.It is questioned whether or not it was intended to give the king a magical or spiritual essence. John the Good’s portrait looks like it could be a portrait of Jesus. It is also argued that it is just the first example in a long line of portraits that had a state function. 2. Jean de Liege Charles V, 1375-80. Musee de Louvre, Paris. 3. Nicolas Bataille King Arthur, Tapestry Series of the Nine Worthies 1385. The metropolitan Museum of Art, New York. 4. Jean Malouel Portrait of Philip the Bold, 1400. Musee National du Chateau de Versailles. . Dieric Bouts Justice of Emperor Otto III 1470-75. Koninklijke Musea v oor Schone Kunsten van Belgie, Brussels. After Dieric Bouts was appointed city painter in 1468, he received two important commissions. One of those was the Justice of Emperor Otto III. Bouts’ advisor ordered this rather gruesome example of justice. Take note how many of the bystanders in the painting appear to be portraits. These small portraits within a painting show the beginning of group portraiture that was then followed by Netherlandish painters for two centuries.Bouts combined a rigid and mechanical regimentation of single portraits placed to the side of the narrative scene. Members of Bouts’ workshop finished this panel after he died. 6. Joos Van Ghent Duke Federigo of Urbino and his Son Guidobaldo 1475. Galleria della Marche, Urbino. Duke Federigo aspired to be understood as well as a powerful leader. In this portrait, the duke of Urbino is clothed in armor and his ducal mantle. Federigo’s son is at his side, which shows that Federigo is advancing him as his rightful successor. This portrait displays Federigo’s military prowess, his political authority and his humanist learning.Although most portraits are frontal to imply hierarchical power, this portrait however is not frontal because when he was young he lost an eye and nose. To conceal this disfigurement, Duke Federigo was always show in his left profile. 7. Jean Fouquet Portrait of Charles VII After 1451. Musee du Louvre, Paris. In the Portrait of Charles VII, the bust on Charles appears to be life-size. His heavy doublet is dark claret with fur trim. Fur and fancy clothing is a way of showing your social class, only the wealthy and essentially only the royals can afford the furs and typically show them off in portraits.Charles is tawny and ruddy in complexion and with a sad expression on his face, not exactly what you would expect a royal to show in a portrait. It is generally assumed that the portrait commemorates the Treaty of Arras as a victory of the monarchy. 8. Mo nument to Philippe Pot 1480. Musee du Louvre, Paris. This monument is a part of the tradition of Burgundian funeral art. Philippe Pot was a Lord of Burgundy. The detail of the tomb is a way of showing the status of the Lord. The realism of the ceremonial spectable is vividly presented to the viewers with the hooded figures, life size, and marching in solemn procession.These figures whose heads are hidden and are inclined in prayer show the mourning of their Lord. The mourners can only be identified by the coat of arms on their habits. The traditions of the past are being reshaped for another age in French art. 9. Jean Perreal, Portrait of Louis XII 1512-1514. Royal Collections, Windsor Castle. 10. Albrecht Durer Frederick the Wise, Elector of Saxony 1496. Gemaldegalerie, Staatliche Museen, Berlin. 11. Lucas Cranach the Elder Duke Henry the Pious of Saxony 1514. Gemaldegalerie, Staatliche Kunstmuseam, Dresden.Duke Henry stands proudly in this portrait with arms akimbo and his leg tur ned out awkwardly. His wealth and status shows with what he is wearing. He is in a stunning costume with a bright red suit and stockings under a dark green cloak, both garments are slashed to reveal the rich gold lining. The Duke is giving the viewer a stern state as he grasps his long sword showing his symbol of power and rank. It is interesting that this is a full body portrait. You will notice that is resembles the Arnolfini Wedding. This panel goes along with the Duchess Catherine of Saxony. 12.Lucas Cranach the Elder Duchess Catherine of Saxony 1514. Gemaldegalerie, Staatliche Kunstmuseam, Dresden. 13. Hans Burgkmair Emperor Maximilian on Horseback 1508. Clarence Buckingham Collection, Art Institute, Chicago. Burgkmair had a ready patron in the Emperor because Emperor Maximilian sought to have his likeness and politics circulated in visual form throughout the Holy Roman Empire. This print of Maximilian was the first major print experiment in colored printmaking. Maximilian was willing to experiment because of is urge to get his name and likeness out to everyone that he could.This ceremonial picture shows a strong profile image of the mounted emperor on an ideal horse underneath a well-understood triumphal arch, redolent of both the military success and the Roman imperial rank claimed by the commander. 14. Hans Holbein the Younger Henry VIII 1539-40. Galleria Nazionale, Rome. 15. Hans Holbein the Younger Henry VIII, His Father Henry VII, and Their Wives 1537. National Portrait Gallery, London. 16. Hans Holbein the Younger Edward VI as a Child 1538. National Gallery of Art, Washington, D. C. Edward VI was Henry’s prized son.Holbein executed at least two portraits of him for Henry while Henry watched Edward grow with great anticipation. In this portrait Edward is only about two years old but looks healthy and resembles his fat-faced father. This was most likely a present for Henry. The inscription on the portrait most likely greatly pleased Henry. It says that if Edward imitates Henry he can be the heir of the throne. It says that you only equal the acts of your parent and that if you surpass your father, then you have surpassed all the kings of the world and then none will ever surpass you. 17. Lucas Horenbout Henry VIII 1525-36.Fitzwilliam Museum, Cambridge. This portrait is unique because it is showing Henry VIII in a three-quarter pose and beardless, which was not typical for Henry VIII. It is also just a shoulder-length portrait against a plain blue background, there is no special shading or dark background to show status. Its diminutive size and polished technique on a vellum support soon became hallmarks of this pictorial genre. This type of genre was quickly adopted by Holbein and also took deep root in England, home to generations of specialist miniature painters well into the nineteenth century. 18. Bernard van Orley Portrait of Charles V 1516.Museum of Fine Arts, Budapest. 19. 18th century copy. John the Good and Clem ent VI or Urban, Bibliotheque Nationale, Paris. 20. Parisian miniaturist of the late 14th century. The Banquet of Charles IV of France in Paris, from Les Grandes Chroniques de France. 1375-79. Bibliotheque Nationale, Paris. 21. Antonis Mor. Fernando Alvarez de Toledo. 1549. Hispanic Society of America, New York. This portrait is a splendid example of Antonis Mor’s achievements in aristocratic portraiture. Mor created his own type of court portraiture, which became widely imitated in the second half of the half-century.Mor painted with unflinching objectivity, but the noblemen that he painted like Fernando are more than very important people. These portraits were not meant for our eyes but instead for the eyes of Fernando’s peers at court. This portrait is a statement of high status as cultivated products. Mor’s portraits display a singular superiority among men, but they still remain distinct individuals and don’t become idealized types. 22. Antonis Mor. Portrait of Mary Tudor. 1554. The Prado, Madrid. 23. Rogier van der Weyden. Isabel of Portugal. Mid 1400s. J. Paul Getty Museum. 24. Antonis Mor. Catherine of Austria. 1552.Prado, Madrid. 25. Jean Bondol. Portrait of Louis II, Duke of Anjou. 1412-15. Cabinet des Estampes, Bibliotheque Nationale, Paris. ——————————————– [ 1 ]. Charles M. Rosenberg, The Court Cities of Northern Italy. New York, NY. 2010. 334-337. [ 2 ]. Richard Vaughan, Philip the Bold. Longman, London and New York. 1962. 188-208. [ 3 ]. Alison Weir, Henry VIII: The king and his Court. New York, NY. 2001. 260-264 [ 4 ]. Greg Walker, The Private Life of Henry VIII. London and New York. 2003. 11-26. [ 5 ]. John Oliver Hand and Martha Wolff, Early Netherlandish Painting. Washington D. C. 1986. 216-218