Rates of Reaction Essay Example for Free

Rates of Reaction Essay An enzyme is a protein molecule that helps other organic molecules start chemical reactions with one another; however, the enzyme itself is not affected by the reaction. A substrate is the substance acted upon by the enzyme. In this lab, catalase is the enzyme and hydrogen peroxide is the substrate. Catalase is found in both plant and animal tissues, and is abundant in plant storage organs. In this experiment, catalase is used from potatoes. Catalase is important to living things because it prevents the accumulation of hydrogen peroxide in the cell. Hydrogen peroxide is produced naturally as a byproduct of metabolism. It tends to disrupt the cells’ chemistry, too much can kill a cell. Therefore, the presence of catalase is needed to survive. Catalase breaks down the toxic hydrogen peroxide into harmless water and oxygen. If the concentration of the substrate hydrogen peroxide is related to the reaction rate of the enzyme catalase, then an increase in the concentration of hydrogen peroxide will increase the reaction rate of catalase. Catalase: Methods and Materials In order to experiment and determine the affects concentration has on reaction rate, you will need several materials. Such as, potato extract, crushed ice and water in a large beaker to keep the catalase cool, since catalase is sensitive to temperature. Hydrogen peroxide solution is needed at six different concentrations (10%, 25%, 40%, 60%, 75%, and 100%). Also, 0% hydrogen peroxide is needed, which is just simply water. In addition, you will need a 10 ml graduated cylinder, a 50 ml beaker, forceps, paper dots (Whatman #1 filter paper, 1 cm diameter), a paper towel, a stopwatch, and graph paper. During this lab, be careful of the hydrogen peroxide because it can damage skin and clothes. Be sure to immediately rinse and spills with water. Throughout the lab, always keep the potato extract in the ice-water bath; catalase is very sensitive to warm temperatures. For starters, 0% hydrogen peroxide was tested as the control group; 10 ml of hydrogen peroxide was measured of using a graduated cylinder. This sample is then poured into a 50 ml beaker. After swirling the potato extract, using forceps a paper dot is picked up and immersed into the potato juice for five seconds. Then the dot is drained on a paper towel for 10 seconds. Using the forceps the dot is picked up and placed in the bottom of the beaker containing the hydrogen peroxide solution. Soon the dot was expected to rise to the surface because the potato juice’s catalase would break down the hydrogen peroxide into water and oxygen. The oxygen gas gets trapped in the pores of the paper and caused to float. A stopwatch was used to measure the time in seconds from when the dot touched the solution until it reached the surface. The data was then recorded. The class was split into groups and each group was assigned a different percentile of hydrogen peroxide solution.

The Development Of Characterisation From Everyman

The Development Of Characterisation From Everyman Everyman is a medieval morality play believed to be written late in the fifteenth century (Worthen 2004: 236), while Six Characters in Search of an Author was written in 1920. The vast difference in time periods between the two plays suggests that the development of characterisation could also be vast. In Medieval times civilisation had reverted back to simplicity (Holland 2010), with plays typically involving the personification of moral or psychological abstractions, and single characters to represent society as a whole (Worthen 2004: 236). However, by the writing of Six Characters it was common for plays, like other literature, to penetrate the minds of their characters more deeply (Greer and Lewis 2004: 661), creating more complex and individualised characters. The idea of complexity is significant in comparing the characterisation from Everyman to Six Characters. While Everyman has a simple purpose to instruct morality to the masses, Six Characters has a more complex aim, as Pirandello uses his characters to raise questions that ultimately are left unanswered. Dillon suggests that Medieval theatre aimed to teach and improve its audiences (Rees 2010), therefore the characters in Everyman act as religious metaphors to clearly communicate morals to the spectators. It is apparent that the language of Everyman presents no great difficulties to an audience, and in fact the whole play follows a clear plot where the meaning is rarely in doubt (Allen 1953: ix). The audience see Death, that no man dreadeth (Anonymous 115), order Everyman to make the pilgrimage to death (Anonymous 146), who then struggles to find anyone to accompany him. In contrast to this fairly simple plot and aim, Six Characters questions the ideas of reality and illusion, using the characters to bring these issues to the foreground. The complexity of the play is self-consciously stated when the Producer says, if you can understand them [Pirandellos plays] you must be very clever (Pirandello 1.77-78), as they question the very play the audience are watching. As highlighted in a review of the play by the Manchester Guardian in 1925, the characters pose the question What is real? (Bassnett 1989: 44), trying to create their own vision of humanity (Bassnett 1989: 78). As Worthen suggests, the play makes the audience reflect in depth on reality and illusion, but is inconclusive in that it doesnt provide a final answer on whether it is the actors or characters in the play that depict reality (Worthen 2004: 687). The Son even states, I am a character who has not been fully developed dramatically (Pirandello 1.712-713), which again provokes ambiguity on characters identity. In questioning our identity by discussing how each of us is several different people in diff erent situations (Pirandello 1.642), it would be easy to suggest that the Father would provoke self-reflection in some members of the audience. The contrasting aims of the two plays therefore suggests the reasons behind Pirandellos arguably more developed characters than those presented in Everyman. Development of character could be gauged on a characters purpose in a play. As the purpose of Everyman is to teach morality to the audience, the characters are constructed as merely functional. Rather than acting as well-rounded characters that each have a different personality, many of the characters could easily merge into one. For example Fellowship, Kindred, Cousin, Strength, Discretion, and Beauty all come together to help Everyman, but then all leave him to undertake his journey alone. Most of these characters are therefore presented as kind and helpful, and then regress into cowardice at the end of the play, to represent that nothing can be taken with you in death except good deeds. There is no need for the characters to be complex with multifaceted personalities, as this could distract the audience and complicate the simple meaning of the play. Performed amongst other morality plays the audience should understand that the characters function to represent typical Christian lif e and to put across a moral message (Holland 2010). Six Characters could also be seen as using its characters for a functional purpose. The idea that the six protagonists are trapped for all eternity in one moment (Pirandello The Scene.304), and only exist to tell their own story could be intended to provoke thought on character in the audience. It also suggests that they are simply constructions of the play to perform their story, questioning whether they are well-developed. It would be easy to assume that as time goes on the characters that playwrights create become more individual and life-like. While this could be deemed correct in the idea that Everyman features characters that are based on abstract concepts, such as Knowledge and Good Deeds, and Pirandello presents human characters, this argument is a lot more complex than it appears on a superficial level. In both plays, the characters are named by the role they play in life, and act as we would assume them to according to this role; as what Wallis and Shepherd refer to as recognisable social types (Rees 2010). For example, the character of Everyman is presented to act as all humans do, and is therefore restricted to having general characteristic traits of mankind rather than individual ones (Holland 2010). He is simply guilty of the sins that humans generally make, for example when he states, All my life I have loved riches (Anonymous 388), and money maketh all right that is wrong (Anonymous 413). Here, Goods is portrayed as an evil character, representative of how in Christian belief, love of money is the root of all evil (Clarke 1823: 559), as he states, My condition is mans soul to kill (Anonymous 442), and laughs at Everymans misfortune. As well as these allegorical characters that act as metaphors for concepts (Allen 1953: viii), in Six Characters the metatheatrical theatre workers on stage are referred to as the roles they play in the company. Rather than having individual names, they are grouped together with titles such as Leading Actor, Young Actress, and Producer. Like in Everyman, the group of actors also act how actors are stereotypically portrayed to be; Worthen suggests the Leading Actor must always be acting the Leading Actor, whether he is onstage or not (Worthen 2004: 687). This applies especially to the Leading Actor and Actress, for example the Leading Actor is elevated in complaining, If the theatre, ladies and gentlemen, is reduced to thisà ¢Ã¢â€š ¬Ã‚ ¦ (Pirandello 1.806-807), and the Leading Actress patronisingly orders, Put him in my dressing-room for me will you (Pirandello 1.36). Interestingly, when questioned about identity, the Producer replies that he is, the Director, the Producer Im in charge (Pirandello 3.107-108); rather than seeing himself as an individual personality he is defined by his job title. Personally, I define role as a character type that obeys stereotypical assumptions, while I see a character as being a created person who has individual characteristics and idiosyncrasies that represent themself. In this way I would class both the characters in Everyman and the actors in Six Characters as undeveloped roles, who behave how an audience would expect them to behave depending on their stereotypical features. While these characters are confined by their stereotypical labels and are therefore unable to develop fully, the six characters highlighted in the title of Pirandellos play are, ironically, the only ones who are portrayed to be individual, rejecting the stereotypes theyve been branded with. Though it is clear that the six characters have actual names, for example Amalia (Pirandello 2.90), on the stage and in the script they are referred to by their family roles, such as Father and Stepdaughter. In addition to the labels they are given in relation to each other, like t he characters in Everyman they are presented wearing masks, which are designed to give the impression of figures constructed by art, each one fixed forever in its own fundamental emotion (Pirandello 1.103). The six characters are therefore intended to be defined by both their family role and the emotion they represent, for example Remorse for the FATHER, Revenge for the STEPDAUGHTER, Scorn for the SON and Sorrow for the MOTHER (Pirandello 1.103). Looking at the characters with this perspective, they could seem as underdeveloped as the theatre workers and the concept characters in Everyman, as they are stuck in one moment and in one emotion (Worthen 2004: 686). However, Pirandello designs these characters with individual traits. While the Stepdaughter is presented as intent on revenge, and at one point resumes her previous position (Pirandello 1.463) as if she is in a fixed state, she is also portrayed as full of a warm tenderness for her younger sister (Pirandello 1.103). In terms o f character development, it seems that even though both plays suggest each character is fixed, or a stereotype, the six family characters in Pirandellos play are the most developed as they are the most individually unique, and they break away from the barriers they are constructed in. In the preface to Six Characters in Search of an Author, Pirandello stated that, Every creature of fantasy and art, in order to exist, must have his drama, that is, a drama in which he may be a character and for which he is a character (Bassnett 1989: 85). The essential drama of the six characters is to allow their secrets to be unfolded on stage, and therefore in doing this they can stand alone as characters. While the characters in Everyman were given no exposition so an audience can focus on the moral, the exposition and back-story for the six characters in Pirandellos play make them appear much more developed, and therefore real. The Father suggests a fact is like a sackà ¢Ã¢â€š ¬Ã‚ ¦ To make it stand up, first you have to put in it all the reasons and feelings that caused it in the first place (Pirandello 1.602-604). Likewise, to understand a character, to make it developed and more life-like, the audience needs to see its exposition. For example the Father reveals how he could nt bear the sight (Pirandello 1.464) of his wife because he felt sorry she was incapable of love (Pirandello 1.296), allowing the audience to understand why he sent the Mother away. These individual and detailed feelings show the development of character as he seems life-like, a life full of his own specific qualities (Pirandello 3.101-102). While the stock characters in Everyman could only be imagined in similar situations, such as giving moral advice, the six main characters of Six Characters seem to be alive in their own right (Bassnett 1989: 79), and the audience would have enough information about them to imagine them in scores of situations (Pirandello 3.157). The characters of Six Characters seem to be more developed and rounded than those in Everyman, but we can also explore which ones develop as the plays go on. The character of Everyman begins as a sinner, and gradually uses more religious language such as, O Gracious God (Anonymous 153) and high Judge, Adonai (Anonymous 245), to his realisation that he is worthy to be blamed (Anonymous 477) where he then confesses his sins. While his character does develop, we dont see any real thought processes that present an individual state of mind, therefore it is difficult to empathise with the character. On the other hand, while in Six Characters the Stepdaughter has been defined as a character searching for revenge, she begins the play a confident, teasing and attention-seeking character, and then becomes increasingly angry and intense, and we see her individual emotions laid open. Adriano Tilgher suggests the characters in Six Characters have souls (Bassnett 1989: 41), and are therefore devel oped and life-like in comparison to the inhuman concepts created in Everyman. How developed a character is can significantly affect the audiences reaction to a performance. A characters expositional background and complexity can make it easier for audience members to engage emotionally and empathise with them. It would therefore probably be easier to empathise with the family characters in Pirandellos play than the concept characters in Everyman. Morality plays often used masks to avoid empathy (Rees 2010), therefore Everyman would be successful in making the audience think about morality rather than be emotionally moved. Contrastingly, the development of characters in Six Characters in Search of an Author could help the audience emotionally engage, allowing them both to think and feel. Character development, therefore, can be subjective. While in Everyman the characters could seem like simple personifications, when interpreted by performers they could become recognizable as individuals on stage (Worthen 2004: 236), and they could be as complex as a performer wants them to be. The lack of stage directions in Everyman can give freedom to a performer, therefore enabling the characters to be made much more complex, while Pirandellos stage directions could restrict a performer to following the predetermined, fixed character traits. While it is straightforward to suggest that characterisation develops significantly from simple to complex from Everyman to Six Characters, it is debatable who the most developed characters are. All are given stereotypical labels, and while the protagonists of Six Characters seem to have more individuality than those in Everyman, if their reality is an illusion (Pirandello 3.72-73), are they actually complex? 2187 words

Ana Castillo Seduced by Natssja Kinski Critique :: essays research papers

A quick read of Ana Castillo’s poetry will provide a reader with much knowledge of the style she uses. The style used in â€Å"Seduced by Natassja Kinski† and â€Å"El Chicle† is conveyed vividly. A key ingredient to Castillo’s style is imagery. Castillo uses imagery to portray the environment, object movements, emotions, and everything else that is of utmost importance. Also important to Castillo’s style is her choice of words. Castillo refers to all words in poems as gold. Every word must be picked and placed with all the care in the world. Along with her imagery and choice of words, metaphors, poetry form, and flow are essential to creating the two featured poems.   Ã‚  Ã‚  Ã‚  Ã‚  After many reads of both â€Å"Seduced by Natassja Kinski† and â€Å"El Chicle† I have been able to visually interpret the worlds created in both poems. â€Å"El Chicle† is all about imagery, however, â€Å"Seduced by Natassja Kinski† also contains valuable imagery. In â€Å"El Chicle†, Castillo portrays a piece of bubble gum falling out of Mi’jo’s mouth into her hair; she cuts her hair; the piece of gum falls onto the back of a dragonfly which flys to its death as a turtle eats it whole. Now, I haven’t been able to really determine what this is exactly referring to, but the imagery created here is as vivid, or more vivid than if I were to witness this in real life. This imagery is as intriguing as the following quote from â€Å"Seduced by Natassja Kinski†: â€Å"And we dance, I am a strawberry, ripened and bursting, devoured, and she has won.† With deep visions I have been able to recreate this scene of Kinski devouring the world’s most orgasmic strawberry. An orgasmic strawberry is what I came up with if I were to describe the scene in few words.   Ã‚  Ã‚  Ã‚  Ã‚  In few words I said â€Å"orgasmic strawberry† which defines the previous quote. Now, the technique I have just done is what Castillo has done throughout her life’s work with poetry. In â€Å"Seduced by Natassja Kinski† and â€Å"El Chicle† I have found many words that are more suiting than the rest of the entire deck of English words. For example, Castillo uses the adjective â€Å"fleshy† to describe a strawberry. This word creates a picture of the strawberry while relating the strawberry to a beautiful girl. Also, when Castillo relates herself to an atom; she lives in the town, but the girls are taking her out for a night and showing her a good time.

All about star wars :: essays research papers

Star Wars, by George Lucas, is an excellent movie. This movie is filled with archetypal and mythic patterns , and the ideas represented in the film are essential ingredients to human emotion . The most obvious idea represented by the movie is religion. Good versus Evil, Light versus Dark, and the Rebels versus the Empire -- these are all spiritual overtones in the elaborate story line. The religious connections become apparent when aspects of the movie are analyzed. Star Wars opens with a deserted desert planet where the viewer is introduced to the main character, Luke Skywalker, and his aunt and uncle. Luke is a young kid who yearns for adventure, he is gifted with a strong grasp of "The Force", a mystical ability to manipulate the environment with one’s mind. At first, Luke is unaware of his gift, and unsure of his beliefs. He is guided by a old wise man named Obi-Wan Kenobi, A once Jedi Knight. Jedi Knights were once the protectors of the galaxy but are all but extinct. Obi-Wan provides guidance for the young Skywalker, teaching him how to use his gift for good. Once Luke lets go of his mental block, and is able to feel the force, Obi-Wan tells him "You've taken your first step into a larger world." The force is a religion that is not only an idea, but seems to have physical properties to it. It's all powerful, like a God, but yet the Jedi have found a way to interact with it. The force is balanced between good and evil, providing room in the galaxy for both. Obi-wan describes the force as "†¦what gives the Jedi his power... It's an energy field created by all living things. It surrounds us, it penetrates us, and binds the galaxy together.† Also on the good side of The Force, there are the Rebels, and Princess Leia. It is interesting to note that all of the foot soldiers of the Rebel Alliance wear helmets which are open faced, so that the viewer can see the face of the rebel, and humanize them. Princess Leia represents the damsel in distress that is held captive by the evil lord, Darth Vader. The Princess is dressed in a white gown to show innocence, purity, and truth. There are also characters in Star Wars that are somewhat neutral when it comes to The Force.

Knights and Thier Role In Medieval Society Essay -- European History

Knights and their role in medieval society. Knights were an integral part of medieval society. They originally began with primitive warriors such as the Mongols who fought on horseback for added speed and power, but quickly advanced to chivalrous gentleman such as the Normans. Much has been written about medieval knights with the most famous being a series of legends about King Arthur and his Knights of the Round Table. Arthur and his knights were the ultimate example of what a perfect knight should have been. They were brave and skilful in battle, but merciful to their enemies once vanquished. They were courteous to ladies, and never ate or drank to excess. Knights associated in groups which they called orders. They vowed loyalty to the king they fought under and formed military org...

Jeremiah as a Christ Figure in Peace Like a River

Jeremiah as a Christ Figure in Peace like a River In the novel Peace like a River, Leif Enger creates the character Jeremiah Land as a Christ figure in order to convey the character’s role as a person whose life is spent serving others. Throughout the novel, there are many miracles performed, and some seem to obviously connect with Jeremiah. The intent of making Jeremiah a Christ figure comes to fulfillment by the novel’s end, when Jeremiah sacrifices his life to save his son, Reuben.In the creation of Jeremiah as a Christ figure, Enger reminds the reader of the importance of self-abnegation and apprehension for others, attitudes that make the pains of human experience tolerable. As stated, there are many miracles in the novel. In the beginning of the novel, Reuben sneaks outside to use the bathroom, when he sees his dad, praying in the bed if the truck and he walks straight off and continues walking without falling. At Christmas time, Davy gives Swede a saddle, but it has an unfixable break in the seam, which is miraculously fixed after Jeremiah tripping over it and bringing it up to her room.One night, after Davy had broken out of jail, Tin Lurvy stops by the Land house and is served soup, but after at least eleven bowls total were served, the pot in which it was made was more than half full. Some miracles are very obviously connected to Jeremiah, like his walking off the truck, but there are others that are not so obvious. In the New Testament, Jesus feeds five thousand people with five loaves of bread and three fish, which connects to the somehow refilling pot of soup that Tin Lurvy kept eating.Supposedly, Jeremiah would boil water with some vinegar and that would help Reuben breathe better, but I believe it was Jeremiah himself when he made it for him. There is a point in the novel where the miracles seem to cease. It is the arrival at Roxanna’s house. They were running on the extremely small amount of gas that apparently lasted for th e entire morning until the found Roxanna and the gas company. After a while, Jeremiah had decided to court Roxanna, and the miracles stopped after that, for he spent most of his time in the Airstream inherited from Tin Lurvy after his heart attack.Reuben still had trouble breathing, but when Swede made the boiled water for him, it didn’t work well. After identifying many facts that support the claim, it is certain that Enger created Jeremiah Land as a Christ figure. But, miracles sometimes being called â€Å"acts of God†, most are not. There are many ordinary miracles happening all over. A woman that works two jobs an still finds time to take her kid to soccer practice; a teenager who says no to drugs and yas to an education; these are miracles you see each day, all the time, everywhere.

Wellness Worksheet

Wellness Worksheet 39 Due: Oct. 6th by 11:59 pm. Facts About ContraceptionPoints: ___/20 To help you choose the best method of contraception for you and your partner, you must be familiar with the different methods. Fill in the boxes with the advantages and disadvantages of each method, along with how well each one protects against pregnancy and STD’s, I am looking for percentages/failure rates. Use outside resources if necessary. Method| Advantages| Disadvantages| Effectiveness/STD Protection| Oral Contraceptives| Easy to use, reduces mentsral cramps, can improve acne, prevents ectopic pregnancy. Weight gain, blood clots, headaches, and depression. | 99% effective and does not protect from std’s. | Vaginal spermicides| Can be purchased without a prescription, inexpensive, immediate protection. | Allergic reactions may occur, and can be difficult to insert. | 50-95% effective and does not protect against std’s. | Vaginal contraceptive ring| Can leave it in for 3 weeks, don’t have a period while it is in| Vaginal irritation, discharge, nausea, headache| 99% effective and does not protect against std’s. Contraceptive implants| Contraception for 3 years, doesn’t interfere with intercourse, low cost and you don’t have to remember to take it. | Changes in periods, headaches, and acne. | 99% effective and does not protect agains std’s. | Withdrawal| No side affects, don’t have to remember to take anything,| May not withdraw in time, may forget to withdraw when in the moment. | Probably about a 50% effectiveness, and definitely does not protect against std’s| Emergency contraception| Safe, excellent form of backup if something fails| Nausea, abdominal pain, fatigue, and headaches. 75-89% effectiveness, and does not protect against std’s. | IUD| Immediately effective, does not change hormonal balance, can be used for 5 years| Requires a doctor for insertion and removal, may cause infection, ma y injure the uterus during insertion. | One of the most effective forms of birth control, does not protect against std’s. | Male Condom| Convenient, easy to obtain, inexpensive, lightweight, and disposable. | May dull sensation, may be less enjoyable, must be pre-planned, some don’t like that you can’t feel the warm fluid. 95% effective, protects against std’s. | Female Condom| Easy insertion, doesn’t require a prescription, doesn’t change hormonal balance, easy to obtain. | May move around, may irritate both vagina and penis, feeling and sensation may be reduced. | 79-95% effective, greatly reduces chances of std’s. | Male and Female Sterilization| Don’t have to think about birth control, works right away. | Have to have surgery, risk of infection and reversals almost always do not work. | 99% effective, does not protect against std’s. |