Robert Brownings Poetry | Analysis

Robert Brownings Poetry | Analysis Compare the examination of abnormal psychology in Robert Brownings poetry, and in Iain Banks novel, The Wasp Factory. Make illuminating connections with the work of Edgar Allan Poe.   The abnormal mental state of the narrators in both Brownings poetry and in Banks novel, The Wasp Factory, is intrinsic in achieving the gothic style. Whilst the protagonists insanity is more implicit in Brownings poetry, the narrators, nevertheless, display similar characteristics of psychosis and delusion. Indeed, this madness disconnects the characters from the rest of society, and this element of monstrosity is vital in creating the intrigue and terror that ensues. Inclusion of such monstrous figures destabilises the natural order: it challenges the fixed social structures and ideology, and becomes inconsistent with what the majority considers both acceptable and intelligible. Yet, whilst on the surface gothic works may appear to reinforce these seemingly grotesque characteristics, in many respects, through exposing the unnatural, they deconstruct the illogical, and thereby attempt to create a set of social norms. The first chapter of The Wasp Factory, The Sacrifice Poles, serves as a warning to the reader that they are entering into the domain of Franks psyche. The unconventional behaviour she displays is evident through her intentional replacement of common nouns with proper nouns: for instance, the capitalisation of words such as Factory and Poles. Essentially this represents the objects which Frank views as significant in the private world that she has constructed for herself. Franks tendency to fantasise is further demonstrated through the naming of her catapult- The Black Destroyer. In fact, Frank goes beyond symbolism- for instance she assigns the house with humanistic attributes through personification: powerful body buried in the rock. Of course, this description may well be representative of the dark life she lives, in regards to both her social isolation and the sinister lifestyle that she leads. The conflicting behaviour that Frank exhibits, that is her seemingly child-like behavio ur and her meticulosity with rituals, underlines her highly unusual mental state. The initial lines of Porphyrias Lover similarly imply the protagonists unusual frame of mind. The use of pathetic fallacy and personification, for instance, the sullen wind is not only effective in creating a cold and melancholy atmosphere, but may be representative of the narrators mind; consequently, there is a strong sense of foreboding. The abnormal psychology of the narrator is further exemplified through the description of how the wind did its worst to vex the lake. Likewise, the wind is awake and tears down the elm-tops for spite. Thus, the wind is perhaps an emblem of the narrators destructive capacity: it could be argued that the lake is representative of Porphyria, and the wind is representative of the narrators anger towards Porphyria. In this sense, the narrators anger is possibly a consequence of his inability to possess the femininity that Porphyria exudes. The Laboratory also reveals a narrator that exhibits an unstable mental state. The anapaestic meter of the poem po ssibly reflects her enthusiasm and engagement in producing the poison. Additionally, the tricolon Grind away, moisten and mash up thy paste is representative of her increasing exhilaration as the poison approaches completion, whilst active verbs such as grind and pound convey violent connotations, which present us with an ambience of foreboding. The exquisite blue and the gold oozings of the poison, however, are possibly an allusion to the opulence of the French court. There is a stark contrast between the murky laboratory, which is arguably representative of the decadent aristocrats, and the affluence of the court; this is perhaps symbolic of the widespread corruption that encompassed the French aristocracy. During the emergence of the gothic literary movement, history was characterised by widespread political unrest often resulting in revolution. Subsequently, the genre became very popular with writers as it enabled them to express sympathy and moral concern over such movements. I n The Fall of the House of Usher, Poes imagery describing the attrition of the house is perhaps an attempt to symbolise the narrators degenerating mental state. Also, the Haunted Palace that is occupied by evil things (that) assailed the monarchs high estate is possibly an allusion to how his mind is being possessed by the malevolent forces that ostensibly surround the house. In The Wasp Factory, Franks father also displays an abnormal state of mind, which is demonstrated through his efforts to exert constant authority over his daughter. Mr Cauldhame has ultimately left Frank excluded from society through his decision to conceal his identity and home educate him. More sinisterly, however, Angus, through experimentation, has essentially created a contemporary Frankenstein. Fundamentally, Angus has suppressed Franks innate feminine characteristics through experimental hormone therapy and has indoctrinated her with misogynistic views. This enables Mr Cauldhame to think that he is in control of what he views as the correct father- son relationship. Of course, normality has no association with Franks life: the child-like mentality that she exhibits through her fantasy, perhaps signifies that, in reality, Frank is scared of the real world in a multitude of ways. Alternatively, this fantasy world may keep Frank at least partially sane: Eric shows the stark conse quences that may result from the real world. Moreover, their use of imperial measurements is not only indicative of Mr Cauldhames compulsive disorder, but accentuates the concept that the island does not progress with time. In this respect, the Cauldhame family is a microcosm of the demise of the empire and the island is a last remnant of it. Accordingly, it can be argued that it was the demise of Angus position as a patriarch that has ultimately brought about his decision to devise an all male enclave. Angus obsession with control, therefore, stems from his fear of being replaced as the monarch of the empire because of the emergence of the new feminist movement. Thus, Angus Cauldhames behaviour is synonymous to the description found in Jerrold Hodges gothic textbook: Angus has created a patriarchal enclosure designed to contain and even bury a potentially unruly female principle'. The way in which Banks presents the reader with a typical boys story whose protagonist is, in truth, a girl is perhaps a critique of the way in which society devises fixed binary gender stereotypes, and thus is an attempt to undermine these traditional gender expectations. Frank, however, conforms to the typical gothic female character, who is suppressed by a domineering male; the irony is that Frank is both the subjugated female and the tyrannical male. A similar desire for control is displayed by the narrator in Brownings My last Duchess. This element of control, that the narrator wishes to possess over his wife, is exemplified through the poems iambic pentameter. With twenty-eight rhyming couplets, the very tight structure of the poem is possibly representative of the level of authority and control that he expects to exert over his wife. The curtain that he has drawn over his late wifes picture is again perhaps symbolic of the level of authority that he desires to exercise over his female partners. Indeed, he gave commands; Then all smiles stopped together. The underlying sense of threat signifies his expectations of how his wife should behave. Ironically, however, the Duke can only, when his wife is dead, counteract what he perceives as her earnest glance. Fundamentally, his wife has been objectified from subject to object; she is simply one of his possessions. Similarly, the narrator in Porphyrias Lover demonstrates a notion of control. The sibilance in the sentence, she shut the cold out stresses how she is able to alleviate the narrators mental anguish. However, it also stresses the narrators dependency on Porphyria and this concept is reiterated through the way she was mine, mine. The use of repetition thus highlights the possessive nature of the protagonist. Certainly, it is possible that the narrator is resentful of both her social superiority and of her more commanding presence. In the nineteenth century, society was characterised by patriarchal codes, which women had to adhere to; men typically exerted absolute control over their female partners. Thus, Porphrias gay social life may also be a source of the protagonists bitterness and the only way to free himself of such powerlessness is to kill her. Browning may be attempting to indicate a reversal of gender roles; the male is the weak character through his inability to keep control of himself- let alone Porphyria. In this sense, the protagonists obs ession with maintaining control is similar to that displayed by Mr Cauldhame in The Wasp Factory. Franks aggressive behaviour also illuminates her abnormal psychology. In many ways, the buck, which Frank encounters, is symbolic of all the things that she wishes to possess: that is, ironically, an alpha-male persona. This concept of masculinity is maintained through the way that Frank hissed. This animalistic imagery, once again, highlights Franks aggressive and territorial nature, which reveals her very apparent abnormal mindset. In essence, though, this encounter is an externalisation of Franks internal battle. This externalisation of an internal conflict is perhaps representative of Franks struggle with her dual gender identity. Additionally, this attack of revenge on the buck reinforces that Frank has the capability to kill and in fact clarifies her monstrosity. More disturbing, however, is Franks admittance that it felt good; this compounds her mental disposition. This scene provides the reader with a very clear image of Franks ability to inflict suffering and destruction whi lst chillingly deriving pleasure out of it. The externalisation of internal conflicts is equally manifested in Poes work. For instance, in The Tell-Tale Heart and The Black Cat the narrators attempt to bury the corpse symbolises their attempts to conceal the problem. In The Black Cat, the narrators attempt to hide the corpse under the wall is ultimately representative of his desire to contain his problems within. Alas, for the narrators, their failure to deal with their problems effectively, leads to the resurfacing of the initial problem, and, inevitably, their downfall. However, despite Franks seemingly grotesque and in many ways nauseating behaviour, the reader can, nevertheless, sympathise with her. Franks manipulative nature may well be an attempt to expose her abnormal mind further. However, an encounter with this element of monstrosity is sometimes known to provoke paradoxical emotions. This notion of abjection as Julia Kristeva describes is the in-between, the ambiguous, the composite. Thus, the monstrous element has the ability to induce sentiments of horror and desire, disgust and fascination. Indeed, Franks mix of monstrosity and humanity possibly provide us with a forewarning of the transgression of which we may all be capable of; this, of course, presents a poignant and unsettling dimension. The Inclusion of animals is evident in Franks encounter with the buck, and in Poes The Black Cat. Poes story, like Banks novel, perhaps includes these animalistic aspects to reiterate that by undertaking such vicious acts the narrators are in complete deficiency of a logical human psyche, and are more comparable to animals who ultimately do not work within such moral frameworks. The authors are perhaps attempting to demonstrate that the narrators are deficient in human ethics: as philosopher Daniel Dennett states, many regard human ethical knowledge as a marvellous perspective that no other creatures have. The unconventional behaviour displayed by the narrator in Porphrias Lover, is implied further through the way he debated what to do. This uncertainty accentuates that when he kills Porphyria, it is a conscious decision and not an impulsive act. The composure, which the narrator exhibits is also shown through the very orderly ABABB rhyme scheme which is ultimately suggestive of the attitude, albeit this makes him appear all the more dangerous. However, alliteration in the sentence Blushes beneath my burning kiss presents a degree of desire for Porphyria. The paradox may nonetheless simply epitomise his psychosis. In The Wasp Factor, Franks casual admittance that his killings were Just a stage (he) was going through, stress his lack of remorse; in fact, like the narrator in Porphrias Lover, Frank is essentially justifying his actions. Hence, it reveals the very apparent psychosis of both narrators. In addition, despite Brownings clues towards the protagonists madness, it is never evide nt through the tone or diction of the poem. Instead of being presented with a stereotypical mad character, like Eric in The Wasp Factory, it is more implicitly implied. Alternatively, his madness is suggested through what the narrator does not say and the fact that he perceives Porphyria as being happy and at peace: The smiling rosy little head; the narrators portrayal of events can simply not accord with reality. Undoubtedly, the narrative of Porphrias Lover could well be a figment of the protagonists imagination; if this is the case, then it clearly reinforces that the narrator exhibits an element of abnormal psychology. The concept of the narrator justifying their actions is illuminated in The Tell-Tale Heart. The narrator is essentially justifying the murder of the old man through the notion that he had an evil eye: I think it was his eye!- yes, it was this! In essence, the narrators uncertainty alludes to the concept that it is simply an attempt to justify the sinister and irra tional behaviour that the reader is about to witness. A parallel can be drawn between the way in which the narrators justify their behaviour and the notion of self-deception. In The Wasp Factory, Franks self-deception is exemplified through the way in which she has essentially created her own fantasy. Franks propensity to self-deceit is apparent through the final chapter: the factory was my attempt to construct life, to replace the involvement which otherwise I did not want. Moreover, the level of deception is explicitly expressed through her engagement in rituals, which is an attempt to affirm her position as man. Franks repetition of the secret catechisms thus helps her to create the illusion of her male persona. Ultimately, though, her attempts are futile: the juxtaposition of the bowie knife and comb that Frank carries around presents the reader with a subtle intrusion of Franks real gender identity. These two contrasting objects possibly symbolise Franks conflicting personality: the knife is representative of the destructive behavi our that she asserts to conform to her male persona, whilst the comb is representative of her inherent, albeit more restrained, feminine character. This lingering uncertainty regarding sexual identity, as Boris Kà ¼hne argues, is a source of the uncanny and presents us with a pervasive gothic feeling; this ostracises Frank from societal norms and is inevitably the major source of her monstrosity. This is also evident in Brownings Soliloquy of the Spanish Cloister. Essentially, the narrator soliloquises his own inadequacies and attributes them to Brother Lawrence. Stanza four illustrates the narrators perception of his own self-righteousness, and indeed his dedication to denouncing Brother Lawrences commitment to his faith. The narrator describes Brother Lawrences ostensible lusting over the two nuns, Dolores and Sanchicha. Yet he goes on to explain that that is, if hed let it show; crucially, there is no evidence that Brother Lawrence has been looking at the nuns lecherously. Rather, the detailed account of the nuns activities must be a product of the narrators own impure thoughts, and his attempts to attribute these unchastely thoughts to Brother Lawrence can only serve to accentuate his self-deceptive and manipulative personality. The monks attempt to describe himself as the epitome of morality continues with his comment regarding the symbolic divide between their table eti quette. The crossing of his silverware, the narrator argues, symbolises his remembrance of Christs death on the cross; Brother Lawrence displays no such gesture. Additionally, the narrators absurd suggestion that Brother Lawrences drinking of the watered orange pulp in three sips supposedly denies the Arian doctrine again provides us with an illustration of his attempt to reaffirm his moral superiority. Ironically, despite the narrators belief, his attempt to condemn Brother Lawrence into eternal damnation reiterates his spiritual inferiority; this irrational behaviour provides an indication that Brownings narrator also exhibits an elementary characteristic of abnormal psychology. The quasi-religion that Frank constructs evidences the depth of her delusion and, correspondingly, her abnormal psychology. However, Franks religion has not stemmed from an intrinsic religious belief, but arguably out of a necessity to harbour some control, whilst denying any element of responsibility. Frank, in light of the failure of familial relationships, relies on The Wasp Factory to guide and ironically protect her. Frank creates a polytheistic religion: water, fire and death are all pseudo-Gods and perhaps compose Franks trinity. Indeed, Franks monstrosity is a result of her moral indifference. Since sea has destroyed what (she has) built wiping clean the marks (she) made Frank perhaps deduces that this permits her to inflict suffering on animals, which are below the pseudo-hierarchical order that she has constructed. However, the contrast to the sea destroying her dams and the sadistic killing of the rabbit is not apparent to Frank. Franks quasi-religion naturally has many Ch ristian elements: the lighting of the candles in Franks religions, nevertheless, contrastingly symbolises a destructive power. Banks notes that this was an attempt to satirise religion, and expose the ways in which we are all deceived, misled and harking back to something that never existed. Consequently, Banks ridicules all religions perhaps in a bid to create a society that is free from religious doctrine, and one that advocates logic and equality. Poes work also contains religious undertones. For instance, in The Tell-Tale Heart, the narrator essentially ascribes himself the role of God; this is reinforced by the way he describes the extent of my powers- of my sagacity. The delusion of grandeur ultimately reveals his damaged psychological state. Religious overtones are similarly apparent in Porphyrias Love. The imagery arguably possibly portrays Porphyria as an angelic entity. The way she glided in and her ability to make the cottage warm suggest a supernatural quality, with her yellow hair and bare white shoulder possibly alluding to her angelic purity; even when Porphyria is dead, the narrator describes her blue eyes without a stain. The presentation of Porphyrias purity and innocence may well be an attempt by Browning to accentuate a feeling of anguish after Porphyrias death. Conversely, the magical element that the narrator has ascribed to her may ultimately be a result of the magic in his head. In this respect, the reference to her eyes, which were without a stain, is perhaps his warped perception that Porphyria worshipped him; after all, the eyes are a window to the soul. Certainly, the notion that she worshipped him is reinforced by his absurd insistence that she is happy and at peace in his arms: the smiling rosy lit tle head. The fact that God has not said a word, however, is perhaps a direct attack on God: a sin has been committed yet no justice has been obtained. Indeed, Brownings poem was written during the Age of Enlightenment, a time where the legitimacy of the Bible was challenged and an emphasis of rationalism over religion occurred. In a rather different perspective, the God which is referenced may simply be a rhetorical God, which the narrator uses to convey his perception of how any God across all religious spectrums would view the strangulation of Porphyria as morally correct; this would clearly reinforce that the narrator exhibits an abnormal mental state. To conclude, all the texts examined contain quintessential characteristics of gothic mode and symbolism, which disclose the abnormal psychology of the narrators. The monstrous aspect pervades us with a feeling of uneasiness and revulsion. Yet, through including the seemingly grotesque and disconnected narrators, the gothic is able to defuse the transgressive, and challenge the conventional expectations of society. In The Wasp Factory, Banks perhaps attempts to satirise the way in which society constructs binary gender stereotypes and, in doing so, challenges what appears to be an illogical social norm. Similarly, Brownings Porphyrias Lover and My Last Duchess, through including subjugated female characters, possibly battles to expose the patriarchy that characterised Victorian society. Poes narrator in The Fall of the House of Usher, perhaps similar to Frank in The Wasp Factory, possesses a dual persona, or doppelganger, which accentuates the transgressions of which all humans may be capable of. In this way, through exposing the unnatural, the gothic advocates rationality and, as Kà ¼hne argues, acts as final safeguarding device against the invasion of the monstrous in the readers actual life.

The Smacking of Children should be banned by Law :: Child Abuse Violence

I firmly believe that the smacking of children should be banned by law. For me, there is no real debate in this matter. Many parents abuse the right to smack their children, which can lead to severe consequences. Children grow up copying and learning from their parents from a young age. If parents drink and smoke, their children may want to copy them. If parents smack, their children will think that it is acceptable to be violent and will be more likely to smack their own children in the future. Surely the main consideration in this case is that, if parents choose to smack their children they are damaging them, not always physically but definitely psychologically. I don?t believe that smacking is in any way acceptable, as the smallest bit of violence against children could cause them to use it themselves when they are older. Today, the law states that parents are allowed to hit their children as long as they leave no mark, graze or bruise. There are constantly cases in the media, involving the abuse of the right to smack children in Northern Ireland. This is because parents have been abusing this right more frequently in the past couple of years. I believe the reason for this is that most children have been exposed to violence in their homes, which has led them to be violent in their future. It is a vicious circle. Also, by beating children we are telling them that it is acceptable to smack, which will create more violence in the future, therefore making the matter worse. In dealing with this issue can we ignore the fact that there is no debatable reason why it shouldn?t be made illegal? In everyday life, violence doesn?t need to be used to control children?s behaviour. Most parents say that they use smacking as a way of controlling their children when they are disobedient. For example, if a child kept reaching for an open fire even when they are repeatedly told not to by the parent, the parent would eventually resort to smacking the child. I think the better alternative to this situation would be to buy a fire guard. This way, the child would learn that the fire is out of bounds in a non-violent way. I believe smacking can affect children when they become adults in two ways. They could disagree with smacking their own children because they didn?

Chemistry Acid-Base Titration

Chemistry: Strong Acid and Weak Base Titration Lab Cherno Okafor Mr. Huang SCH4U7 November 21st, 2012 Data Collection and Processing Concentration of the standard HCl solution: 0. 1 M Data Collection: | Trial 1| Trial 2| Trial 3| Final HCl Buret Reading  ± 0. 05 mL | 38. 3| 45| 54. 5| Initial HCl Buret Reading  ± 0. 05 mL | 29. 9| 38. 3| 45| Volume of NaHCO3 used  ± 0. 1 mL | 9. 2| 9. 5| 9. 8| Qualitative Data: I used the methyl orange indicator which was suitable for my titration because of its clear and distinct colour change from orange to a bright red at the endpoint * At the beginning of the titration after I added 3 drops of methyl orange into the base (NaHCO3) and swirled, I began titrating the acid (HCl) slowly, and initially in the methyl orange and base, there was a tiny amount of red colour present, but then it quickly disappeared due to insufficient HCl (H+ ions)then I gradually kept titrating more acid while swirling and there was even more red colour present, unti l finally I reached the endpoint when the orange-yellow colour had completely transformed into a red colour * Changes from an orange-yellow colour (slightly higher pH 4. 4) to a bright red colour (at low pH 3. 1) at the endpoint and point of equivalence * Baking Soda (NaHCO3) absorbed the odour caused by the strong acid of HCl when I mixed the two: bleach-like smell ProcessingIf the concentration of an acid or base is expressed in molarity, then the volume of the solution multiplied by its concentration is equal to the moles of the acid or base. Therefore, the following relationship holds: nVb x Cb = Va x Ca Where: Vb = the volume of the base Cb = the concentration of the base Va = the volume of the acid Ca = the concentration of the acid n = the mole factor In the case of hydrochloric acid and Sodium Bicarbonate (Baking Soda), the mole ratio is one to one, thus the mole factor is 1. Therefore, the volume of sodium bicarbonate multiplied by its concentration in molarity is equal to the moles sodium bicarbonate. The moles of sodium hydroxide are equal to the number of moles of hydrochloric acid in the reaction.The neutralization equation becomes: HCl + NaHCO3 NaCl + H2O + CO3 Hence, Cb = Va x Ca / Vb. Trial 1 Calculation: * First we need to find the change of volume of the acid used up in the titration: Va = Vfinal – Vintial Va = 38. 3  ± 0. 05 – 29. 9  ± 0. 05 Va = 8. 4  ± 0. 1 mL Therefore, nVb x Cb = Va x Ca (1)(9. 2  ± 0. 1)(Cb) = (8. 4  ± 0. 1) (0. 1  ± 0. 0005) Cb = (8. 4  ± 0. 1) (0. 1  ± 0. 0005) / (9. 2  ± 0. 1) Cb = (8. 4  ± 1. 19%) (0. 1  ± 0. 5%) / (9. 2  ± 1. 09%) Cb = (0. 84  ± 1. 69%) / (9. 2  ± 1. 09%) Cb = 0. 0913  ± 2. 78% 0. 0913  ± 0. 00254M is the concentration of the base for trial 1Theoretical Base Concentration = 0. 1  ± 0. 0005 M Experimental Base Concentration = 0. 0913  ± 0. 00254 M Trial 2 Calculation: * First find change of volume of the acid used up in the titration: Va = Vfinal â⠂¬â€œ Vinitial Va = 45  ± 0. 05 – 36  ± 0. 05 Va = 9. 0  ± 0. 1 mL Therefore, nVb x Cb = Va x Ca (1)(9. 5  ± 0. 1)(Cb) = (9. 0  ± 0. 1) (0. 1  ± 0. 0005) Cb = (9. 0  ± 0. 1) (0. 1  ± 0. 0005) / (9. 5  ± 0. 1) Cb = (9. 0  ± 1. 1%) (0. 1  ± 0. 5%) / (9. 5  ± 1. 05%) Cb = (0. 9  ± 1. 6%) / (9. 5  ± 1. 05%) Cb = 0. 0947  ± 2. 65% 0. 0947  ± 0. 00251M is the concentration of the base for trial 2 Theoretical Base Concentration = 0. 1  ± 0. 005 M Experimental Base Concentration = 0. 0947  ± 0. 00251 M Trial 3 Calculation: * First find change of volume of the acid used up in the titration: Va = Vfinal – Vinitial Va = 54. 5  ± 0. 05 – 45  ± 0. 05 Va = 9. 5  ± 0. 1 mL Therefore, nVb x Cb = Va x Ca (1)(9. 8  ± 0. 1)(Cb) = (9. 5  ± 0. 1) (0. 1  ± 0. 0005) Cb = (9. 5  ± 0. 1) (0. 1  ± 0. 0005) / (9. 8  ± 0. 1) Cb = (9. 5  ± 1. 05%) (0. 1  ± 0. 5%) / (9. 8  ± 1. 02%) Cb = (0. 95  ± 1. 55%) / (9. 8  ± 1. 02%) Cb = 0. 0969  ± 2. 57% 0. 0969  ± 0. 00250M is the concentration of the base for trial 3 Theoretical Base Concentration = 0. 1  ± 0. 0005 MExperimental Base Concentration = 0. 0969  ± 0. 00250 M * Now, I will average all 3 trials: Trial 1: 0. 0913  ± 2. 78% 2. 78% / 100% x 0. 0913 = 0. 0913  ± 0. 00254 M Trial 2: 0. 0947  ± 2. 65% 2. 65% / 100% x 0. 0947 = 0. 0947  ± 0. 00251 M Trial 3: 0. 0969  ± 2. 57% 2. 57% / 100% x 0. 0969 = 0. 0969  ± 0. 00250 M Therefore: (0. 0913 + 0. 0947 + 0. 0969)  ± (0. 00254 + 0. 00251 + 0. 00250) / 3 trials = (0. 2829  ± 0. 00755) / 3 = (0. 0943  ± 0. 00252) MAverage Concentration of base for the 3 trials * Percentage Error = Theoretical – Actual / Theoretical x 100% = (0. 1  ± 0. 0005) – (0. 0943  ± 0. 00252) / (0. 1  ± 0. 0005) x 100% = 0. 0057  ± 0. 00302 / 0. 1  ± 0. 0005) x 100% = (0. 57  ± 0. 00352) x 100% = 5. 7%  ± 0. 00352 Conclusion and Evaluation: Conclusion: In this titration lab, I used a s trong acid HCl (hydrochloric acid) vs. a weak base NaHCO3 (sodium bicarbonate/baking soda). My intent was to find the concentration of the weak base after it has been titrated with the strong acid. The theoretical basic solution had a concentration of 0. 1  ± 0. 0005 M. In my experiment, the value I obtained was 0. 0943  ± 0. 00252 M, which is pretty close to 0. 1. I also had a very small error percentage at just 5. 7%  ± 0. 00352 error. My experimental value was only off by 0. 0057 (0. 1- 0. 0943) with a total uncertainty of 0. 00402 (0. 005 + 0. 00352) from the theoretical value of the base concentration. Evaluation/Improvement: Some of the most notable errors in my procedure to mention are the small quantities being used and hence the inaccuracy in measurements. Perhaps I could have arranged the titration to have bigger titres, which would reduce errors by using larger quantities such as a higher concentration for the standardized solution. In addition, there was also some splattering/loss of the acidic solution being titrated into the basic solution, as it came into contact with the edges and surface of the flask, which in turn, presumably initiated errors in volume measurements.Also, this means that not all of the acid that was added reacted efficiently with the basic solution mixed with methyl orange indicator. Moreover, there could have been impurities in the basic solution itself and as well as the indicator causing a higher reading than the theoretical value of concentration. The leakage that resulted from the stock cock may have caused the HCl to alter slightly in content because of the reaction with some of the chemicals in the external environment (air). There was also some residue that could have been left behind in the basic flask when I washed it with distilled water after the neutralization of each trial. Perhaps drying it could have made a difference instead of leaving it wet.Maybe some of the neutralized solution was left behind after I washed out the flask, and it mixed with the tiny water droplets also left behind in the flask. Before I started the next trial, it could have interfered with that titration and provide inaccuracy. Another error to mention is getting the exact endpoint during the titration. The indicator could have ranged from different shades of red (starting with orange) but I assumed that the moment it turned a standard red colour, it was finished. In addition, I could mention that I may not have properly swirled the solutions before beginning the titration process to make sure nothing (residue) settles at the bottom.This could have impacted the inaccurate colour change of the indicator in the neutralization and hence unknown standard colour. I also kept on adding drops when the solution was already a red colour towards the end. However, this may have either darkened or lightened the colour too much in an effort to change the precision of the indicator colour at the equivalence point or end point . Finally, at some moments, I was in a hurry to finish titrating, and so I may have flushed out the acid in large amounts. I realize that near the neutralization point, the acid must be released in drops. However, for the third trial, I did sort of flush out a large amount of the acid and therefore could have missed the neutralization point which could cause errors in results.

Citizen Kane Fice Of The Inquirer And Somewhere On The...

Setting Just like many other films, Citizen Kane is filmed in many different places. The two most common places are the office of the Inquirer and somewhere on the property of Xanadu. These two places do a great job of adding to the film and creating a fitting atmosphere. The office at the Inquirer is often decorated lightly, with several messy desks and typewriters, it looks just like a newspaper office should. In other situations the office looks very different. When Kane is hosting his celebration after hiring the Chronicle news men, elaborate ice statues have been erected, a gigantic table weighed down with food is present, and a band along with dancing women have been hired. These pieces of the setting assist in sending across†¦show more content†¦Kane is typing up the rest of Mr. Leland’s bad review of Susan Alexander Kane’s opera. In Citizen Kane there was some groundbreaking use of lighting as well. Because Orson Welles wanted to have ceilings i n many of his shots, he and the crew needed a way to get light into the shots from above. However, with ceilings that is not very easy to do, so Welles put bedsheets over holes in the ceiling and shown lights down through the bedsheets. Without this innovative technique, Citizen Kane would not have been able to use many of the shots throughout the movie. Citizen Kane was used lighting in several brilliant ways which sub-consciously affect the viewer to manipulate his or her emotions towards a certain character or certain scene. Without such effective use of lighting Citizen Kane would almost certainly been a much less interesting film Sound Sound effects are essential to a high quality film. Citizen Kane is a film that was produced and edited very well, the sound effects throughout the film play an important role in making it so. Citizen Kane has many well timed sound effects that emphasize actions taking place on the screen. A good example of this is when Mr. Kane is standing on the curb outside the drugstore and gets splashed with mud. Even though the viewer cannot see Mr. Kane, the sound effect tells the story. Another example of this is when Mr. Kane slaps Susan Alexander Kane.