Why I Am A Public School - 922 Words

When I first got out of the car I was petrified. Fear started to take over me in every inch of my body. I had entered public school with fear on one hand and anxiety on the other. There was no way out of this nightmare. Saying it was a nightmare would be an understatement. I was going into the tenth grade; to me, personally, it was like a whole other realm. I felt powerless. I didn’t know how it would be like, considering I have never attended a public school before. For about eight years I attended a private school, IFS, about thirty minutes away from home. It was like home to me, â€Å"our second home†, my friends and I would say. I always used to imagine what it would be like if I were to go to a public school but I never thought it would†¦show more content†¦Of course, changing schools and everything, I became the quietest person I ever knew. Not a word would come out of me unless I was asked to speak. This one day, though, I acted up a little trying to be funny. Ms.Hanson did not like it at all let me tell you. Every day, I would be the last one to enter class and you best believe I was the first one out of it. Without a care if there was anything important being said. For three years I contemplated homeschooling or going back to my â€Å"second home† but it was far too difficult. It wasn’t too long before someone had made a racist remark to me. It was my first day there, actually. Above the crowded, noisy, congested hallways soared the words â€Å"Yo, what’s up terrorist!?† from some jock by the lockers. I didn’t bother turning around. What a great start to my first day, huh? Second day of school was nothing new. While walking in the hallway, someone from behind me whispered â€Å"don’t bomb, don’t bomb.† I didn’t bother turning around the first time and I definitely didn’t bother turning around this time which was a mistake on my part. I wasn’t surprised; people looked at my headscarf before they looked at me. Th inking back at it, I have no idea why I didn’t stand up for myself sometimes. I guess I was just afraid. People say high school is supposed to be one of the best times of your life; complete and utter garbage that was. I was so happy when I finally graduated last June. When they called my name there was no

The Woman’s Christian Temperance Union and the Creation...

The Woman’s Christian Temperance Union and the Creation of a Politicized Female Reform Culture In 1879, a group of evangelical churchwomen, all members of the Illinois Woman’s Christian Temperance Union (WCTU), presented to their state legislature a massive petition asking that Illinois women be granted the right to vote. The architect of this ambitious petition campaign, which resulted in 180,000 signatures of support, was Frances Willard, then president of the Illinois WCTU. In using her position as a prominent WCTU leader to agitate for enfranchisement of women, Willard went against the express commands of the National WCTU and its president, Annie Wittenmeyer, who had made clear only one year earlier that the WCTU would not†¦show more content†¦Difficult because, as the early suffrage battles indicated, the membership was as varied as it was large. Many WCTU chapters—especially those in small towns and those in the South—were narrowly focused gospel temperance societies. Using moral suasion (e.g., affecting change through religion and educ ation rather than through politics), these chapters concentrated on ending the sale and manufacture of alcohol at the local level. But other WCTUs—especially those in the North and in urban areas—were highly politicized organizations committed to wide-spread societal reform. WCTU leaders needed to build a national organization that made space for both these extremes. Between 1874 and 1879, the NWCTU was led by Annie Wittenmyer, an ex-Civil War nurse and a staunch anti-suffragist. During her presidency, WCTU women were encouraged to hold prayer meetings, organize and educate children about the dangers of alcohol, circulate temperance pledges, do â€Å"home missionary† work among the poor and supposedly intemperate, and make their own homes more attractive in order to counteract the lure of the saloon. Although Wittenmyer voiced the belief that â€Å"the world will halt or move in its onward march towards millennial glory, as we [women] halt or march,† she nonetheless cautioned women to be â€Å"thoughtful and prayerful† asShow MoreRelatedOne Significant Change That Has Occurred in the World Between 1900 and 2005. Explain the Impact This Change Has Made on Our Lives and Why It Is an Important Change.163893 Words   |  656 PagesPublic Memories Tiffany Ruby Patterson, Zora Neale Hurston and a History of Southern Life Lisa M. Fine, The Story of Reo Joe: Work, Kin, and Community in Autotown, U.S.A. Van Gosse and Richard Moser, eds., The World the Sixties Made: Politics and Culture in Recent America Joanne Meyerowitz, ed., History and September 11th John McMillian and Paul Buhle, eds., The New Left Revisited David M. Scobey, Empire City: The Making and Meaning of the New York City Landscape Gerda Lerner, Fireweed: A Political

Kafka’s The Metamorphosis Free Essays

Many literary critics were both awed and puzzled with Franz Kafka’s brilliantly written yet absurd, and often, grossly surreal form of writing. Die Verwandlung or The Metamorphosis is Kafka’s longest work, almost resembling a novel, and is also one of the most acclaimed. From the story of Gregor, who woke up one morning to find himself transformed into an insect (beetle), the readers can slowly see the exploration of an individual’s existence and the pain he experiences due to physical isolation and other people’s indifference. We will write a custom essay sample on Kafka’s The Metamorphosis or any similar topic only for you Order Now Using a purely psychological outlook, it is easy to view The Metamorphosis as a mirror of Kafka’s own demons–for every artist is said to impart a portion of his self into his works. Thus, The Metamorphosis may be Kafka’s own struggle with his past and present, a personal process that gradually made its way to the writer’s conscious writings and developed into a nightmarish plot about the life of Gregor Samza who curiously transmuted into a physically hideous creature. This is why Kafka stands to gain the empathy and compassion of viewers when the story is told from the standpoint of Gregor. First, Kafka is a struggling writer early on in his life. He lived his life in emotional dependence on his parents. There were mixed feelings of love and hate   and though he longed to marry, he considered   sex as dirty. By choosing Gregor as the main character who experiences the transformation, he elicits the empathy of readers even as he performs a lackluster life.(Franz Kafka. 1883-1924). In the story, Gregor Samza is the pillar that supports his family. He is a fairly successful salesman and earns enough to pay off his father’s debt and bring food on the table. He is the one who strives hard for the family’s upkeep. When the tragedy happens to him and not to any member of the family, then, the repercussions are greater. The pillar of their family is suddenly gone and they have to strive to go about their daily lives without his help. In fact, they have to bear the burden of seeing a horrible creature in their house and then to think that the creature is Gregor, back to pretending that their lives are normal, nevertheless. Second, Kafka had no intention of publishing any of his works.   He actually wanted it destroyed. It was his friend Max Brod who pursued its publication. Thus, Kafka, actually had all the liberty to create Gregor as the target of all his frustrations and dependency feelings. He gained all the outlet to release these emotions and then destroy it in the end. It gave a vicarious feeling of relief to him. (Franz Kafka. 1883-1924). Lastly, Kafka felt a certain kind of weakness despite the rebellion he showed. Creating Gregor as the brunt of all his impotence gave an apt target for the same kind of impotence that Gregor had to be imbued with. .(Franz Kafka. 1883-1924). We find reasons for Kafka’s way of telling the story because Kafka never worked as a traveling salesman nor even experienced acting as a primary financier for his family. Yet a parallelism can be seen between the two men, both before and after Gregor’s transformation. Gregor knows his father’s ruthless temper, and with respect for the old man intermingles fear. There are scenes in the story where the older Samsa demonstrates this merciless attitude towards his son because of the latter’s repugnant appearance. Mr. Samsa cruelly shoves Gregor into his room using a walking cane, and during a stressful encounter, pelts him with apples wherein an apple lodges into his insect back and begins to rot (Kafka 37-38). Nevertheless, it was through Gregor that Kafka was able to show how goodness permeates in everyone, but only when instances are happy and perfect. When things turn to worst, individuals resort to a coping strategy that alienates the ugly and the useless. Putting Gregor as the member of the family that is transformed into an insect gives us a glimpse of how Kafka may have felt at times in his life. Apart from the refined and healthy appearance, Kafka was depressed most of the time. It was known that he suffered from migraine, constipation, and boils, which are all products of pent-up stress and unhealthy emotions common to those with troubled pasts   (â€Å"Franz Kafka†). No wonder that the bizarre dominated his form of expression, probably as a form of a release from the rigid normality that imprisons individuals into normalness. In fact, there is no other way of invoking from the readers such strong feelings akin to the emotions of the writer than by using frightful and graphic images resembling man’s outlandish nightmares.   Then again, Kafka never wanted some of his works published for the entire world to read. Writing is sacred for Kafka, and a refuge from a seemingly menacing and indifferent world (Franz Kafka. Books and Writers). Gregor’s transformation into a beetle is parallel to Kafka’s acquiring of tuberculosis. The physical degradation means the collapse of a person’s once important status and the revulsion of others. At first, loved ones react with grief whilst trying to be considerate to the afflicted one. In the long run, however, those with debilitating weaknesses are soon scorned. This long-time fear of being weak and being segregated translated into writing, while Kafka tried his best to look normal even when recuperating. Kafka’s tuberculosis purportedly affected his writings in such a way that his stories show â€Å"fear of physical and mental collapse,† which was of course also seen in The Metamorphosis (Franz Kafka). Further, the nightmarish plots pertain to â€Å"dehumanization† as exemplified with Samsa’s metamorphosis into an insect. Even more frightening is the effect of this dehumanization, wherein everything beautiful, even Grete’s kind-heartedness, comes to its fearful end. For some readers, The Metamorphosis is allegorical. Reading the story makes one constantly hope for a totally different conclusion, or if not, for some figurative message hidden behind the lines. Yet what happened in the story is totally literal and blunt: Gregor died as a beetle, his death comes silently in the night. It is devoid of any melodrama or of any dramatic revelations, so that the whole meaning or essence of the story is left for the readers to figure out. Kafka’s literature, The Metamorphosis included, have since served as windows into the late writer’s own life and soul: his experiences, fears and tribulations. His works are full of the complexities that are deemed as representative of the human existence, and most importantly, complexities that endlessly haunted the author until his end. Kafka stands to be redeemed of his supposedly ordinary existence, even if temporary, in the way he depicted Gregor. All the angst that Kafka experienced in his life poured out on Gregor who had to bear the brunt of his disappointments. He made Gregor useless by transforming him into a hideous insect in order to assuage his own uselessness.   It had to be Gregor because he was the breadwinner. When Gregor dies in the end, the impact is great because as Kafka writes it, that there is a heavy weight lifted from the spirit of the family and their mourning is short. The story ends with the whole family driving into the countryside and their parents’ thoughts wondering about how to find a husband for Grete. There is a great sadness in the way Kafka decides to end his story because Gregor is not missed at all, but instead, his parents just try to find ways of looking for a possible husband for Grete—a replacement for Gregor who was their breadwinner. In the final analysis, Kafka succeeds in getting the sympathy of readers as he wove his story until Gregor’s death. Works Cited Kafka, Franz. Appelbaum, Stanley (trans.). The Metamorphosis and Other Stories. New York: Dover. 1996. â€Å"Franz Kafka.† In Wikipedia, The Free Encyclopedia. 7 Dec 2006. Retrieved Feb. 1, 2007 at: https://en.wikipedia.org/w/index.php?title=Franz_Kafkaoldid=92749510 â€Å"Franz Kafka.† Books and Writers. 2002. Retrieved Feb. 1, 2007 at: â€Å"Franz Kafka. (1883-1924).† Retrieved Feb. 1, 2007 at: http://www.levity.com/corduroy/kafka.htm How to cite Kafka’s The Metamorphosis, Essay examples

Centrifugal Force Essay Sample free essay sample

Centrifugal force ( from Latin centrum. intending â€Å"center† . and fugere. intending â€Å"to flee† ) is the evident outward force that draws a revolving organic structure off from the centre of rotary motion. It is caused by the inactiveness of the organic structure as the body’s way is continually redirected. In Newtonian mechanics. the term centrifugal force is used to mention to one of two distinguishable constructs: an inertial force ( besides called a â€Å"fictitious† force ) observed in a non-inertial mention frame. and a reaction force matching to a centripetal force. The term is besides sometimes used in Lagrangian mechanics to depict certain footings in the generalised force that depend on the pick of generalised co-ordinates. The construct of centrifugal force is applied in revolving devices such as extractors. centrifugal pumps. centrifugal governors. centrifugal clasps. etc. . every bit good as in centrifugal railroads. planetal orbits. banked curves. etc. These devices and state of affairss can be analyzed either in footings of the fabricated force in the revolving co-ordinate system of the gesture relation to a centre. or in footings of the centripetal and reactive centrifugal forces seen from a non-rotating frame of mention ; these different forces are equal in magnitude. but centrifugal and reactive centrifugal forces are opposite in way to the centripetal force. History of constructs of centrifugal and centripetal forces The construct of centrifugal force has evolved since the clip of Huygens. Newton. Leibniz. and Hooke who expressed early constructs of it. Its modern construct as a fabricated force originating in a rotating mention frame evolved in the eighteenth and 19th centuries Centrifugal force has besides played a function in arguments in classical mechanics about sensing of absolute gesture. Newton suggested two statements to reply the inquiry of whether absolute rotary motion can be detected: the revolving pail statement. and the rotating spheres statement. Harmonizing to Newton. in each scenario the centrifugal force would be observed in the object’s local frame ( the frame where the object is stationary ) merely if the frame were revolving with regard to absolute infinite. About two centuries subsequently. Mach’s rule was proposed where. alternatively of absolute rotary motion. the gesture of the distant stars relative to the local inertial frame gives rise through some ( conjectural ) physical jurisprudence to the centrifugal force and other inactiveness effects. Today’s position is based upon the thought of an inertial frame of mention. which privileges perceivers for which the Torahs of natural philosophies take on their simple st signifier. and in peculiar. frames that do non utilize centrifugal forces in their equations of gesture in order to depict gestures right. The analogy between centrifugal force ( sometimes used to make unreal gravitation ) and gravitative forces led to the equality rule of general relativity. Fabricated centrifugal force Centrifugal force is frequently confused with centripetal force. Centrifugal force is most normally introduced as an outward force apparent in a rotating frame of mention. It is evident ( fabricated ) in the sense that it is non portion of an interaction but is a consequence of rotary motion – with no reaction-force opposite number. This type of force is associated with depicting gesture in a non-inertial mention frame. and referred to as a fabricated or inertial force ( a description that must be understood as a proficient use of these words that means merely that the force is non present in a stationary or inertial frame ) There are three contexts in which the construct of fabricated centrifugal force arises when depicting gesture utilizing classical mechanics: In the first context. the gesture is described comparative to a revolving mention frame about a fixed axis at the beginning of the co-ordinate system. For observations made in the rotating frame. all objects appear to be under the influence of a radially outward force that is relative to the distance from the axis of rotary motion and to the square of the rate of rotary motion ( angular speed ) of the frame. The 2nd context is similar. and describes the gesture utilizing an accelerated local mention frame attached to a traveling organic structure. for illustration. the frame of riders in a auto as it rounds a corner. In this instance. rotary motion is once more involved. this clip about the centre of curvature of the way of the traveling organic structure. In both these contexts. the centrifugal force is zero when the rate of rotary motion of the mention frame is zero. independent of the gestures of objects in the frame. The 3rd context arises in Lagrangian mechanics. and refers to a subset of generalised forces that frequently are non tantamount to the vector forces of Newtonian mechanics. The generalised forces are called â€Å"generalized centrifugal forces† in this context ( the word generalized is sometimes forgotten ) . They are related to the square of the rate of alteration of generalised co-ordinates ( for illustration. polar co-ordinates. used in the Lagrangian preparation of mechanics. This subject is explored in more item below. If objects are seen as traveling from a rotating frame. this motion consequences in another fabricated force. the Coriolis force ; and if the rate of rotary motion of the frame is altering. a 3rd fabricated force. the Euler force is experienced. Together. these three fabricated forces are necessary for the preparation of right equations of gesture in a rotating mention frame. Reactive centrifugal force A reactive centrifugal force is the reaction force to a centripetal force. A mass undergoing curved gesture. such as round gesture. invariably accelerates toward the axis of rotary motion. This centripetal acceleration is provided by a centripetal force. which is exerted on the mass by some other object. In conformity with Newton’s Third Law of Motion. the mass exerts an equal and opposite force on the object. This is the reactive centrifugal force. It is directed off from the centre of rotary motion. and is exerted by the revolving mass on the object that originates the centripetal acceleration. This construct of centrifugal force is really different from the fabricated force. As they both are given the same name. they may be easy conflated. Whereas the ‘fictitious force’ Acts of the Apostless on the organic structure traveling in a round way. the ‘reactive force’ is exerted by the organic structure traveling in a round way onto some other object. The former is utile in analysing the gesture of the organic structure in a rotating mention frame ; the latter is utile for happening forces on other objects. in an inertial frame. This reaction force is sometimes described as a centrifugal inertial reaction. that is. a force that is centrifugally directed. which is a reactive force equal and opposite to the centripetal force that is swerving the way of the mass. The construct of the reactive centrifugal force is sometimes used in mechanics and technology. It is sometimes referred to as merely centrifugal force instead than as reactive centrifugal force. ExampleFree organic structure diagram demoing the forces on a ball and a twine maintaining it in round gesture. Left: inertial frame where the ball is seen to revolve. Right: co-rotating frame where the ball appears stationary. All the forces have the same magnitude. but their waies may be opposite. The belongingss of the two forces in the above Table are illustrated by an illustration shown in the figure. The figure shows a ball in round gesture. tied to a station by a twine. The station is fixed in the land. and the twine is considered excessively light-weight to impact the forces. The figure is an illustration of a free organic structure diagram. an â€Å"exploded† technology word picture of the different parts with the forces on each shown individually. The forces in the inertial frame where the ball is seen to travel are shown in the left column. the co-rotating frame where the ball appears non to travel is shown in the right column. The halfway image of the inertial frame ( left ) shows the ball rotating. This round gesture departs from a consecutive line because the ball is capable to the centripetal radially inward force provided by the twine tenseness. As described in the article unvarying round gesture. in the instance where the velocity of the ball is changeless. the centripetal acceleration is: with a the acceleration. v the changeless velocity. and r the radius of the way. The force is. of class. this acceleration multiplied by the mass of the ball. The halfway image of the co-rotating frame ( right ) shows the ball sitting still in a rotating frame of mention. The force on the ball due to the tenseness in the twine is balanced by the centrifugal force introduced by the rotary motion of the co-rotating frame. so when the centrifugal force is included in Newton’s Torahs of gesture there is zero net force upon the ball. The visual aspect of a centrifugal force in this non-inertial frame is indicated in the Table. and its belongingss agree with those in the Table. The lower figures show the forces upon the twine. which are the same in both frames: the two terminals of the twine are capable to equal but oppositely directed forces. At the terminal of the twine attached to the ball. the force is the reactive centrifugal force. the outward force exerted by the ball upon the twine in reaction to the force exerted upon the ball by the tenseness in the twine. as predicted by Newton’s â€Å"action and reaction† 3rd jurisprudence of gesture. As indicated in the Table. this force appears in all frames of mention. and its belongingss agree with those listed in the Table. This force is transmitted to the centre station. where the twine pulls upon the station. At the post-end of the twine. the station reacts to the pull by the twine and exerts an inward directed force upon the twine. labeled station reaction. The force upon the twine exerted by the station balances the outward reactive centrifugal force at the other terminal. ensuing in zeronet force upon the twine. However. the two forces drawing opposite terminals of the twine in opposite waies place the twine under tenseness. Detection of the non-zero tenseness in the twine alerts the perceivers in the co-rotating frame that they are in fact rotating. and the ball merely appears to be stationary because they are turning with it. This observation was used by Newton in his revolving spheresdiscussion of ways to observe absolute rotary motion. Use of the term in Lagrangian mechanics See besides: Lagrangian and Mechanicss of planar atom gesture Lagrangian mechanics formulates mechanics in footings of generalized co-ordinates { qk } . which can be every bit simple as the usual polar co-ordinates [ pic ] or a much more extended list of variables. [ 19 ] [ 20 ] Within this preparation the gesture is described in footings of generalised forces. utilizing in topographic point of Newton’s Torahs the Euler–Lagrange equations. Among the generalised forces. those affecting the square of the clip derived functions { ( dqk ? dt ) 2 } are sometimes called centrifugal forces. The Lagrangian attack to polar co-ordinates that dainties [ pic ] as generalized co-ordinates. [ pic ] as generalised speeds and [ pic ] as generalised accelerations. is outlined in another article. and found in many beginnings. For the peculiar instance of single-body gesture found utilizing the generalised co-ordinates [ movie ] in a cardinal force. the Euler–Lagrange equations are the same equations found utilizing Newton’s 2nd jurisprudence in a co-rotating frame. For illustration. the radial equation is: where [ movie ] is the cardinal force potency and ? is the mass of the object. The left side is a â€Å"generalized force† and the first term on the right is the â€Å"generalized centrifugal force† . However. the left side is non comparable to a Newtonian force. as it does non incorporate the complete acceleration. and similarly. hence. the footings on the right-hand side are â€Å"generalized forces† and can non be interpreted as Newtonian fo rces. The Lagrangian centrifugal force is derivedwithout expressed usage of a revolving frame of mention. but in the instance of gesture in a cardinal potency the consequence is the same as the fabricated centrifugal force derived in a co-rotating frame The Lagrangian usage of â€Å"centrifugal force† in other. more general instances. nevertheless. has merely a limited connexion to the Newtonian definition.