Bicycle Thieves (1948) and Umberto D (1952) Analysis

Bicycle Thieves (1948) and Umberto D (1952) Analysis Two films from the neorealism movement are Bicycle Thieves (1948) and Umberto D (1952) both directed by Vittorio De Sica. Both films in their own way show the real-life hardships that were faced during this time of poverty and more particularly show it from the point of view of normal everyday people. The most pronounced thing about neorealism that sets it apart from other cinematic movements is its birth from necessity. During a time when everything was scarce films were produced using whatever was at hand, filming out on the streets and using non-professional actors, a reason why these films are so genuine in their authenticity. They dont show the past or the future they show the struggles of the present.[1] Vittorio De Sica said his goal was to look for the dramatic in ordinary situations, the wonderful in the smallest, the tiniest news item, in the material everybody considers insignificant. It was with this goal in mind that he created Bicycle Thieves. This film is a key example of the neorealism movement and can be argued to be the most notable. It shows the journey of a man and son as they search for his stolen bicycle. A bicycle which is key in the father getting the job he needs to support his family during a time in which jobs were scarce. This bicycle represents their livelihood and stealing the bicycle also steals this familys hope of surviving.[2] Bicycle Thieves can be described as shockingly authentic in two main ways; the way in which the film has been shot and the message that the narrative expresses. Figure 1 Bicycle Thieves (1948) At the start of the film we see the husband and wife pawn their bedding to be able to get their bicycle back, here De Sica gives us a glimpse of not just our on-screen family, but others when he shows the shot of the high shelves completely full of bed sheets as shown in Figure 1, each representing a family which has done the same. It shows the amount of people that were in poverty after the war and that there is a harsh reality outside this world that De Sica shows us. A reason why his films were so impacting is that he released films based on the post-war era during the post-war era. A time when the audience themselves may have had to pawn something to support their family. Filming at this time meant everything was scarce, films in the post-war era were created using the bare necessities. We can see this through Bicycle Thieves as its it almost completely filmed out on location and any inside shots are cramped, De Sica was also known for his use of non-professional actors, another way of making use of what was available and at the same time making his characters more believable.[3] When looking at the Mise-en-Scà ¨ne of the film De Sica uses very little expressive camera techniques, tending just to show straight on, wide and mid shots; apart from this scene with the bed sheets which is taken from a low angle and pans up as if to express the largeness of the scale of the shelves. He just shows the scene for what is happening and communicates mostly through the narrative alone. There are few interesting camera movements to catch the audiences attention and no more than simple cuts between scenes. The scenes in Bicycle Thieves tend to be long takes as if De Sica is trying to keep cuts to a minimum, this could explain his fondness for wide shots as it allows more actions to happen in the frame, these long shots also allow for a lot of background movement to be in the frame in these real-life locations expressing De Sicas wish to show the outside world. He also relies on natural lighting while filming out on location. These techniques, or lack of, work together to show the films authenticity.   De Sica takes us on a journey of ups and downs in the search for the bicycle and the relationship between father and son, the addition of the son is very important in expressing this shock authenticity. A child adds sentiment with their innocence and makes an audience more emotionally invested in the film. We see throughout the film however, a strange relationship between them. Antonio ignores Bruno throughout the film, being so set on his search for his bicycle and young Bruno is there to witness his father at his lowest point. De Sica avoids the idea that Antonio should realise that his son is whats important, not the bicycle. This ignorance could be De Sica showing that this is not a luxury that the poor can afford.[4] Knowing his fate is directly proportional with his fathers and that of the bike shows a harsh reality of the time, that not even children were not safe from the hardships of the post-war era. De Sica gives us reprieve from the bleakness of the narrative by introduci ng short moments of happiness, such as our main character Taking his son out for lunch. It almost seems they can forget their troubles for a moment, however the table next to them with the multiple servings of food break them from the illusion. This parallels the unjust support the bike thief receives from his neighbours, whereas the innocent man from which it has been stolen is the one who truly needs it for survival, it shows the unfair world of the post-war era.[5] The end scene is the most defining for our main character. He looks around him at a sea of bicycles and he lowers himself to do what has been done to him throughout the entirety of the film. it gives us an idea that no one at this time is below the acts of others, this era has driven this man to do what he initially found immoral. During our ending scene, we see the owner of the bike let him go when he sees the young boy, showing his understanding of the hardships of others and that the end of the day everyone is in so me way in the same boat. Father and son inevitably walk home defeated, De Sicas brutal honesty lasts through to the end, he doesnt shy away from the harsh reality, he makes this film shockingly authentic by showing that happy endings arent inevitable in real life. De Sica continued to work in the neorealism movement and moved onto the film Umberto D. This film has recognisable similarities to Bicycle Thieves in the way both were filmed and the fact that they both show the struggles of the time. We see the main character Mr Umberto being thrown out of his home by his indifferent land lady. A man who comes into solitude apart from his dog. There is an idea through Umberto D of the wish of the main character to live his life by his own terms, with dignity, and being unable to. He is left with no home, no family and no health. Although the narrative of Umberto D is different it still portrays the same era as Bicycle Thieves and can also be described for its authenticity. When It comes to using the bare necessities, this is where we see the greatest similarities. Umberto D also uses real locations for filming as well as non-professional actors, they make use of everything around them with a budget that was most likely close to nothing, again portra ying an authenticity for the time.[6] Looking at Umberto Ds Mise-en-Scà ¨ne we see a little more expression through camera work but not a lot. An example would be the scene where Mr Umberto looks out of his window and we see the sudden zoom in on the street below with this hard hit of non-diegetic music to accompany it. This was De Sicas way of showing the thoughts of our main character, that he has this sudden idea of jumping to his death rather than live in this world he feels he has no control over. Again, De Sica tends towards wide shots and mid shots, showing the streets that hes filming in, showing the people and including the outside world. De Sica again uses simple cuts in between his scenes and opts for long takes which these wide shots manage to capture with the odd pan to include the surroundings more. In accordance with the neorealism movement Umberto D takes advantage of natural lighting whilst out on location, one of the bare necessities and making the most of what was available. Figure 2 Umberto D (1952) When It comes to the characters that De Sica portrays they arent loved for their perfection or their beauty. Mr Umberto is left with only his dog and a maid who has her own troubles. He is almost completely alone. This movement means a camera that shows things for exactly how they are, the character if Mr Umberto isnt romanticised yet he is loved by the camera and it sticks with him through an ordinary experience.[7] The actor himself is one which was chosen from a sea of thousands, like this opening scene in Figure 2, showing the men marching demanding fair pension, any one of them could have been De Sicas muse, all of them in a way are Mr Umberto. This would be the first and last film that this non-professional actor would play and yet this man manages to create such an emotion because he is authentic, and this is what the camera captures.[8] Like in Bicycle Thieves we see a character going on a journey, however, in bicycle thieves it is a journey looking for life whereas Umberto D focusses on a man searching for his death. This is however complicated by his dog Flike which he loves above anything else. He cant bear to abandon him. He finds himself at times having to beg on the street something which he cant stand to do himself, hence using Flike, but even when Flike is recognised by an acquaintance he claims he is only messing around in the hopes of saving his own dignity. Mr Umberto represents the middle class, one which is concerned with the protection of outward appearances. He is more afraid looking poor than actually being so.[9] Everything is taken from him so only Flike and his dignity remain, he represents a character which doesnt want to be defined a nuisance by a post-war society. A society which already sees a group of men marching down the street in protest as a pest. In the ending scene, we see Mr Umberto walking straight onto the rail tracks with Flike with the intention of ending both their lives, this is accompanied by dark music and an accompanying atmosphere. However, last minute Flike jumps out of his arms and Mr Umberto chases him, missing the train that would have ended his life. In chasing after Flike Mr Umberto chooses life. The music in changes from one of despair to one of buoyancy, for the first time in the film we see a happy and carefree Mr Umberto as he jogs off into the distance with Flike, escaping the manipulation of society and showing an understanding that his fate Is truly in his own hands. Even though the ending is ambiguous it leaves an audience with hope, a different yet preferable ending to that of Bicycle Thieves. One which shows that even though an individual may feel hopeless for a time they may find themselves again in the end, a true reflection of the damage yet survival of the war (Lu, 2010).[10] In conclusion both these films capture a true authenticity for the time that they were released. Since the neorealism movement meant filming using a scarcity of resources and a reliance on real world locations, and the fact that both narratives tell stories that were incredibly impacting and realistic for this time. So much so that they could be described as documentary like in their depiction of real places and real people. References Bradshaw, P. (2008). Film review: Bicycle Thieves. [online] the Guardian. Available at: https://www.theguardian.com/film/2008/dec/19/film-review-bicycle-theives [Accessed 3 Mar. 2017]. Eggert, B. (2009). Umberto D.. [online] Deep Focus Review. Available at: http://deepfocusreview.com/definitives/umberto-d/ [Accessed 4 Mar. 2017]. Haaland, T. (2009). Bicycle Thieves (Ladri di biciclette) (review). Project Muse, [online] 16, pp.463-465. Available at: http://muse.jhu.edu/article/263879 [Accessed 3 Mar. 2017]. Hamzaki, Z. (2010). The Bicycle Thief. [online] Twocentsworthafilm.blogspot.co.uk. Available at: http://twocentsworthafilm.blogspot.co.uk/2010/06/bicycle-thief.html [Accessed 3 Mar. 2017]. Kartal, E. (2013). Defining Italian Neorealism: A Compulsory Movement. Cinej Cinema Journal, [online] 2.2(2158-8724). Available at: http://cinej.pitt.edu [Accessed 4 Mar. 2017]. Lannone, P. (2016). Deep focus: The roots of neorealism | Sight Sound. [online] British Film Institute. Available at: http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/roots-neorealism [Accessed 4 Mar. 2017]. Lu, J. (2010).  » Film Analysis on Umberto D. Media Studies. [online] Jennylu.qwriting.qc.cuny.edu. Available at: http://jennylu.qwriting.qc.cuny.edu/2010/10/21/film-analysis-of-umberto-d/ [Accessed 4 Mar. 2017]. Snyder, S. and Curle, H. (2000). Vittorio De Sica. 1st ed. Toronto: University of Toronto Press. [1] Esma Kartal, defining Italian Neorealism: A Compulsory Movement, Cinej Cinema Journal, 2.2.2158-8724 (2013) . [2] Pasquale Lannone, Deep Focus: The Roots Of Neorealism | Sight Sound, British Film Institute, 2016 [accessed 4 March 2017]. [3] Zulfiya Hamzaki, The Bicycle Thief, Twocentsworthafilm.Blogspot.Co.Uk, 2010 [accessed 3 March 2017]. [4] Peter Bradshaw, Film Review: Bicycle Thieves, The Guardian, 2008 [accessed 3 March 2017]. [5] Torunn Haaland, Bicycle Thieves (Ladri Di Biciclette) (Review), Project Muse, 16 (2009), 463-465 [accessed 3 March 2017]. [6] Brian Eggert, Umberto D., Deep Focus Review, 2009 [accessed 4 March 2017]. [7] Stephen Snyder and Howard Curle, Vittorio De Sica, 1st edn (Toronto: University of Toronto Press, 2000). [8] Brian Eggert, Umberto D., Deep Focus Review, 2009 [accessed 4 March 2017]. [9] Esma Kartal, defining Italian Neorealism: A Compulsory Movement, Cinej Cinema Journal, 2.2.2158-8724 (2013) . [10] Jenny Lu,  » Film Analysis On Umberto D. Media Studies, Jennylu.Qwriting.Qc.Cuny.Edu, 2010 [accessed 4 March 2017].

Appearance vs. Reality Essay

Appearance vs. Reality is a prominent theme in The Crucible as some people are carried and blinded by appearance while others actually look at the facts, John Proctor and Elizabeth are not carried away by lies while Abigail and the rest of her friends are ignorant and spread lies. The town of Salem, Massachusetts went through a yearlong period of witch trials. A group of girls led by Abigail the reverend’s niece manipulated the people of Salem to make them believe that witchcraft was happening in Salem. It began with Mrs. Puttman wanting Tituba to conjure up spirits of her dead babies, Abigail and her cousin Betty joined in along with other girls. â€Å"She always sings her Barbados songs, and we dance.†(Act1 line102)This is when she is trying to explain to her uncle what was actually going on in the woods. They were caught by Parris, Betty became sick and the girls decided that they were going to convince everyone this was witchcraft. This led to Abigail spreading rumo rs about people she did not like in the town. â€Å"We must tell the truth Abby!†(Act1 line 318) this was Mary Warren trying to convince Abby to tell the truth. It appeared that Elizabeth was committing witchcraft because of the voodoo doll found in her house when Cheever went to her house to arrest her. â€Å"Tis’ hard proof?(To Hale)I find here a poppet Goody Proctor keeps. I have found it, sir.(Act2 lines 812) Marry Warren told her she was mentioned in court but not yet accused and she attempted to clear her name but clearly failed. She knew that Abigail just wanted to get rid of Elizabeth because she wanted John for herself. â€Å"It’s a bitter woman, a lying, cold, sniveling woman†(Act1 line138) Abby was bitter that Elizabeth had fired her from the job but it was all Abby’s fault as she was getting to close to John. She needed Elizabeth in jail or killed for that to happen. So Abigail started the rumor that Elizabeth was doing witch craft on her. â€Å"Why Abigail Williams charge her.†(Act2 lines753) and that the voodoo doll was for her, she even went as far as stabbing herself with a needle. â€Å"And in the belly of the poppet a needle’s stuck.†(Act2 Lines813) Mrs. Putman is also adding to the fire of the hysteria, she brings up her even dead babies he  makes a big deal to reverend Hale â€Å"They were murdered, Mr. Parris! And mark this proof! Mark it! Last might my Ruth were ever so close to their little spirits†(Act1 lines232) She wants everyone to believe it wasn’t a coincidence all but one of her babies died. And now Betty is sick and so she is blaming it on an unholy cause. She is representing the appearance of things. The reality is Ruth is faking being sick and maybe she wasn’t making healthy babies, enough for them to be alive and well. Another example of appearance vs. reality is when john proctor finally gives in and admits he is a witch, he goes to the court. â€Å"He’s only playin’ you! He means to hang us all!† (Act3lines 382) He realizes that the truth will set you free he confessed but later took it back because he didn’t want his name soiled in the town â€Å"I have given you my soul; leave me my name!† (Act4 lines728) He doesn’t want his children to grow up having a father with a soiled name a blackened name. He prefers to be hung rather than lie to keep his life. In conclusion Appearance and reality are too different things it is one thing to see something but another to understand it. Appearance is never enough you must know the facts before jumping to conclusions. Most of the town would be better of knowing this lesson before they got carried away with silly stories made up by bored teenagers. They should look at the facts before getting carried away with appearance.

Definition and Examples of Dialect in Linguistics

A dialect is a regional or social variety of a language distinguished by pronunciation, grammar, and/or vocabulary. The adjective dialectal describes anything related to this topic. The study of dialects is known as dialectology or sociolinguistics The term dialect is often used to characterize any way of speaking that differs from the standard variety of a language which is largely considered to be dialect-free. With that said, few people actually speak the standard variety and most language represents a dialect. Definition of Dialect A dialect is a variety of English which is associated with a particular region and/or social class. To state the obvious, speakers from different geographical regions speak English rather differently: hence we refer to Geordie (Newcastle English), New York English or Cornish English.   In addition to geographical variation, the social background of a speaker will also influence the variety of English that person speaks: two children may grow up in the same Yorkshire village, but if one is born into a wealthy family and attends an expensive private school, while the other is born into a less well-off family and attends the local state school, the two are likely to end up speaking rather different varieties of English. It is this combination of regional and social variation that I refer to collectively as dialect, (Hodson 2014). Distinctions Between Language and Dialect The very fact that language and dialect persist as separate concepts implies that  linguists  can make tidy distinctions for speech varieties worldwide. But in fact, there is no objective difference between the two: Any attempt you make to impose that kind of order on reality falls apart in the face of real evidence...English tempts one with a tidy dialect-language distinction based on intelligibility: If you can understand it without training, it’s a dialect of your own language; if you can’t, it’s a different language.   ï » ¿But because of [the] quirks of its history, English happens to lack very close relatives, and the intelligibility standard doesn’t apply consistently beyond it...In popular usage, a language is written in addition to being spoken, while a dialect is just spoken. But in the scientific sense, the world is buzzing with a cacophony of qualitatively equal dialects, often shading into one another like colors (and often mixing, too), all demonstrating how magnificently complicated human speech can be. If either [of] the terms language or dialect [has] any objective use, the best anyone can do is to say that there is no such thing as a language: Dialects are all there is, (McWhorter 2016). Distinctions Between Dialect and Accent Accents have to be distinguished from dialects. An accent is a persons distinctive pronunciation. A dialect is a much broader notion: it refers to the distinctive vocabulary and grammar of someones use of language. If you say eether and I say iyther, thats accent. We use the same word but pronounce it differently. But if you say Ive got a new dustbin and I say Ive gotten a new garbage can, thats dialect. Were using different word and sentence patterns to talk about the same thing, (Crystal and Crystal 2014). Prominence of Dialects It is sometimes thought that only a few people speak regional dialects. Many restrict the term to rural forms of speech—as when they say that dialects are dying out these days. But dialects are not dying out. Country dialects are not as widespread as they once were, indeed, but urban dialects are now on the increase, as cities grow and large numbers of immigrants take up residence...Some people think of dialects as sub-standard varieties of a language, spoken only by low-status groups—illustrated by such comments as He speaks correct English, without a trace of dialect. Comments of this kind fail to recognize that standard English is as much a dialect as any other variety—though a dialect of a rather special kind because it is one to which society has given extra prestige. Everyone speaks a dialect—whether urban or rural, standard or non-standard, upper class or lower class, (Crystal 2006). Regional and Social Dialects The classic example of a dialect is the regional dialect: the distinct form of a language spoken in a certain geographical area. For example, we might speak of Ozark dialects or Appalachian dialects, on the grounds that inhabitants of these regions have certain distinct linguistic features that differentiate them from speakers of other forms of English. We can also speak of a social dialect: the distinct form of a language spoken by members of a specific socioeconomic class, such as the working-class dialects in England, (Akmajian 2001). Prestige Dialects In the earlier history of New York City, New England influence and New England immigration preceded the influx of Europeans. The prestige dialect which is reflected in the speech of cultivated Atlas informants shows heavy borrowings from eastern New England.  There has been a long-standing tendency for New Yorkers to borrow prestige dialects from other regions, rather than develop a prestige dialect of their own. In the current situation, we see that the New England influence has retreated, and in its place, a new prestige dialect has been borrowed from northern and midwestern speech patterns. We have seen that for most of our informants, the effort to escape identification as a New Yorker by ones own speech provides a motivating force for phonological shifts and changes, (Labov 2006). Dialect in Writing Do not attempt to use dialect [when writing] unless you are a devoted student of the tongue you hope to reproduce. If you use dialect, be consistent...The best dialect writers, by and large, are economical [with] their talents, they use the minimum, not the maximum, of deviation from the norm, thus sparing the reader as well as convincing him, (Strunk, Jr. and White 1979). Sources Akmajian, Adrian, et al.  Linguistics: an Introduction to Language and Communication. 7th ed., The MIT Press, 2017.Crystal, Ben, and David Crystal.  You Say Potato: a Book about Accents. 1st ed., Macmillan, 2014.Crystal, David.  How Language Works. Penguin Books, 2007.Hodson, Jane.  Dialect in Film and Literature. Palgrave Macmillan, 2014.Labov, William.  The Social Stratification of English in New York City. 2nd ed., Cambridge University Press, 2006.McWhorter, John. â€Å"Theres No Such Thing as a Language.†Ã‚  The Atlantic, Atlantic Media Company, 20 Jan. 2016.Strunk, William, and E. B. White.  The Elements of Style. 3rd ed., Macmillan, 1983.

Impact of Culture on Negotiating Styles in Relation

Impact of Culture on Negotiating Styles: in Relation to Hofstede’s Dimensions of National Culture Abstract An effective business negotiation is very significant in achieving a successful business relationship. As the businesses expand globally, so do the conflicts between the interacting parties. These conflicts only get amplified if the interacting parties are from different cultural background. An individual s cultural background plays a big role in his perception, which affects his judgment, motivation and behavior at the bargaining table. The perception of an individual is the manifestation of the deeper held values and beliefs he has grown up with. In short, culture affects the whole negotiating process. A better†¦show more content†¦Hofstede’s website provides an overview of his research on dimensions of national cultures. Negotiating Tendencies Based on Cultural Background It is inferred from Hofstede’s research data for a few selected countries derived from his website (http://www.geerthofstede.nl/) and presented in Appendix B, that Mexico has a high power distance, uncertainty avoidance, and masculinity indices but low individualism index. Cultures with strong uncertainty avoidance have low risk taking capabilities. A comparative analysis of negotiating tendencies by Metcalf et al. (2006) concludes that Mexican respondents are least likely to favor a high-risk approach to negotiating. This is consistent with the high uncertainty avoidance (UAI) scores assigned to Mexico in Hofstede’s research. Heydenfeldt (2000) studied the Mexican behavior based on the individualistic/collectivistic model of cultural variation and concluded that Mexicans exhibited collectivism by engaging in behaviors that suggested relational concern. According to Metcalf et al. (2006), small power distance is characteristic of Finnish culture. The small power distance was evident from the Finnish team organization skills where individuals were responsible for decisions, but large power distance was evident for both Indians and Mexicans as the authority to make decisions was vested in a few at the top. According to Hofstede (1980), countries such as Austria, Denmark, Israel, New Zealand, Ireland, Sweden, Norway,Show MoreRelatedThe International Business Negotiations Influenced By Chinese And American Cultures And Differences743 Words   |  3 Pagesinfluenced by Chinese and American cultures and differences Jialin Zhao CMN6060 Professor Stephen Novick October 26, 2016 Abstract Cultural negotiations are business negotiations with different cultural conditions. Under the background of economic globalization and international economic integration, the business ties between countries are becoming more and more closely. 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Children With Intellectual Disabilities Down Syndrome...

Intellectual disability is when a person has certain limitations in cognitive functioning and skills, including communication, social and self-care skills. It can be caused by an injury, a disease or may exist from birth and manifest itself in the child’s early development. People with intellectual disabilities like Down Syndrome also face discrimination and this is shown in the article â€Å"Down syndrome boy excluded from pool† (February 2016) from the Anti-Discrimination Board of NSW. Another problem is that many intellectually disabled people, in their desire to be cooperative, will readily agree to propositions suggested to them that aren’t true. This is a distinct disadvantage when dealing with the criminal justice system, and can result in an unfair outcome. A physical disability is a limitation on a person s physical functioning, mobility or stamina. These disabilities may have arisen at birth as a result of genetic abnormality, through a contraction of disease, or through an injury. It can make it difficult for people to perform simple everyday tasks and may lead to discrimination and a lack of opportunities in areas such as education, employment and promotion. For example, people confined to wheelchairs represent how a physical disability can restrict movement to and around schools or workplaces unless there are appropriate support mechanisms. However, they can usually manage their own affairs and generally do not require a guardian. Discrimination is anShow MoreRelatedEssay special education11975 Words   |  48 Pagesï » ¿CONCEPTS AND DEFINITIONS OF DISABILITY The contemporary conception of disability proposed in the WHO International Classification of Functioning, Disability and Health (ICF) views disability as an umbrella term for impairments, activity limitations and participation restrictions. Disability is the interaction between individuals with a health condition (e.g. cerebral palsy, Down syndrome or depression) and personal and environmental factors (e.g. negative attitudes, inaccessible transportation,Read MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 Pages10.5/12 ITC New Baskerville Std Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text. Copyright  © 2013, 2011, 2009, 2007, 2005 by Pearson Education, Inc., publishing as Prentice Hall. All rights reserved. Manufactured in the United States of America. This publication is protected by Copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrievalRead MoreDeveloping Management Skills404131 Words   |  1617 PagesWeidemann-Book Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on appropriate page within text. Copyright  © 2011, 2007, 2005, 2002, 1998 Pearson Education, Inc., publishing as Prentice Hall, One Lake Street, Upper Saddle River, New Jersey 07458. All rights reserved. Manufactured in the United States of America. This publication is protected by Copyright, and permission should be obtained from the publisher prior to any prohibited reproduction

Genetic Engineering Tutorial Free Essays

Chapter 14 Genetic Engineering Choose the best answer for each question. 1. Using this key, put the phrases in the correct order to form a plasmid carrying the recombinant DNA. We will write a custom essay sample on Genetic Engineering Tutorial or any similar topic only for you Order Now Key: 1) use restriction enzymes 2) Use DNA ligase 3) Remove plasmid from parent bacterium 4) Introduce plasmid into new host bacterium. A. 1, 2, 3, 4C. 3, 1, 2, 4 B. 4, 3, 2,1 D. 2, 3, 1, 4 2. Which is not a clone? A. a colony of identical bacterial cells B. identical quintuplets C. a forest of identical trees D. eggs produced by oogenesis E. copies of a gene through PCR 3. Restriction enzymes found in bacterial cells are ordinarily used A. during DNA replication B. to degrade the bacterial cell’s DNA C. to degrade viral DNA that enters the cell D. to attach pieces of DNA together 4. Recombinant DNA technology is used A. for gene therapy B. to clone a gene C. to make a particular protein D. to clone a specific piece of DNA E. All of these are correct 5. In order for bacterial cells to express human genes, A. the recombinant DNA must not contain introns. B. reverse transcriptase is sometimes used to make complementary DNA from an mRNA molecule. C. bacterial regulatory genes must be included. D. All of these are correct. 6. The polymerase chain reaction A. utilizes RNA polymerase B. takes place in huge bioreactors C. utilizes temperature insensitive enzyme D. makes lots of nonidentical copies of DNA E. All of these are correct 7. DNA fingerprinting can be used for which of these? A. identifying human remains B. identifying infectious diseases C. finding evolutionary links between organisms D. solving crimes E. All of these are correct 8. DNA amplified by PCR and then used for fingerprinting could come from A. ny diploid or haploid cell B. only white blood cells that have been karyotyped C. only skin cells after they are dead D. only purified animal cells E. both B and D are correct 9. Which of these pairs is incorrectly matched? A. DNA ligase – DNA fingerprint B. Restriction enzymes – Cloning C. DNA fragments – DNA fingerprinting D. DNA polymerase – PCR 10. Which of these is an incorrect statement ? A. bacteria secrete the biotechnology product into the medium B. plants are being engineered to have human proteins in their seeds. C. nimals are engineered to have a human protein in their milk. D. animals can be cloned, but plants and bacteria cannot. 11. Which of these is not needed in order to clone an animal? A. sperm from a donor animal B. nucleus from an adult animal cell C. enucleated egg from a donor animal D. host female to develop the embryo E. All of these are needed 12. Because the human genome Project, we know or will know the A. sequence of the base pairs of our DNA B. sequence of genes along the human chromosomes C. mutations that lead to genetic disorders D. All of these are correct 13. The restriction enzyme called EcoRI has cut double stranded DNA in the following manner. The piece of foreign DNA to be inserted has what bases from the left and from the right? 14. Which of these is a true statement? A. Plasmids can serve as vectors B. Plasmids are linear DNA found in viruses C. Plasmids can replicate in the host cell D. Both A and C are correct 15. Which of these is a benefit of having insulin produced by biotechnology? A. It is just as effective B. It can be mass produced C. It is less expensive D. All of the above How to cite Genetic Engineering Tutorial, Essay examples

Robert Schumann Essay Example For Students

Robert Schumann Essay Robert Alexander Schumann was born in the small riverside town ofZwickau, Saxony, in 1810.The youngest of five children, Robert Schumannwas brought up in comfortable, middle-class respectability. As a child, heapparently exhibited no remarkable abilities. At the age of six, Robert was sent to the local preparatory school, runby Archdeacon Dohner. He had in fact already begun his education, with theyoung tutor who gave lessons in exchange for board and lodging at theSchumann home. At the age of seven Robert received his first piano lessons, fromJohann Gottfried Kuntzsch, organist at St. Marys Church, and schoolmasterat the Zwickau Lyceum. Kuntzsch was a kindly, conservative musician oflimited abilities; his knowledge stemmed from leisure-time study. Nevertheless, Robert was soon improvising, and even composing a set ofdances for the piano. Roberts musical talent was recognized by his father. He bought anexpensive Streicher grand piano for his son, and soon four-handedarrangements of the classics were heard in the Schumann home. With afriend named Friedrich Piltzing, another pupil of Kuntzchs, Robert started toexplore Haydn, Mozart and Beethoven. As a child, Schumann took part in several concerts at the ZwickauLyceum. He once played Moscheles Alexander March variations, whichdemanded considerable dexterity. At the public Lyceum Robert was active as both pianist and publicspeaker. When he was fourteen, Kuntzsch decided that his pupil hadprogressed beyond the point where he could give further help, and declined toteach him anymore. Shortly before leaving the Lyceum, Schumann collaborated with hisbrother Karl in preparing a new edition of Forcellinis Latin dictionary,Lexicon Totius Latinatinis. Although now very busy as a composer, Robert yearned for affection. He soon fell for seventeen-year-old Ernestine von Fricken, who came toLeipzig in April 1834 to live in at the Wiecks, and to study with Clarasfather. She had grown up in the little town of Asch with her father, Baronvon Fricken, and was the illegitimate daughter of Countess Zedtwitz. At the beginning of September 1835 Robert and Ernestine weresecretly engaged. Within days, Baron von Fricken heard that something wasafoot, arrived in Leipzig, and took Ernestine back to Asch. After secretdiscussions, the engagement was broken off by mutual agreement. PossiblyRobert had been kept in the dark about Ernestines origins. In any event, the affair had a catalytic effect on Roberts music. He had theidea of writing a series of piano pieces based on the letters ASCH; these helater turned into Carnival. He also composed some piano variations on atheme provided by Baron von Fricken. But Roberts friend Schunke had fallen seriously ill. Unable to bearthe sight, Robert went back to Zwickau again, only returning to Leipzig inDecember to negotiate a change of publisher for the Zeitschrift. From thebeginning of 1835 the journal was published by the Leipzig firm of JA Barth. Late in 1835 Mendelsson arrived in Leipzig to take over as musicdirector of the Gewandhaus. Still only twenty-six, Mendelsson was thedirector of the age, and Schumann felt an immediate attraction when they metat Wiecks house. Following the newcomers debut in Leipzig, Schumannwrote praising him in the Letters of an Enthusiast column of his Zeitzcrift. Schumann did however venture to criticise Mendelssohns use of the baton;he believed that an orchestra should function as a republic and that ridgityshould be avoided.At about this time, too, Robert met both Chopin andIgnaz Moscheles at the Wiecks. Throughout the autumn of 1835 Schumannwas a regular visitor at the Wiecks home, seeing much of Clara, who wasnow sixteen. He had been following her career as a virtuoso closely since shewas nine.when he was depressed, she cheered him up. Their talent affectionwas now becoming increasingly evident. Robert had now finished his first piano sonata, dedicated The evening Clara set out onan important concert tour, Robert came to wish her well, and kissed hergood-bye. They saw each other again in Zwickau, and kissed again. In thenew year Robert traveled to Dresden, where he knew Clara was spending aholiday without her father, and made his declaration of love. .u1ef4907fd72496330ea9ffff6dd68b49 , .u1ef4907fd72496330ea9ffff6dd68b49 .postImageUrl , .u1ef4907fd72496330ea9ffff6dd68b49 .centered-text-area { min-height: 80px; position: relative; } .u1ef4907fd72496330ea9ffff6dd68b49 , .u1ef4907fd72496330ea9ffff6dd68b49:hover , .u1ef4907fd72496330ea9ffff6dd68b49:visited , .u1ef4907fd72496330ea9ffff6dd68b49:active { border:0!important; } .u1ef4907fd72496330ea9ffff6dd68b49 .clearfix:after { content: ""; display: table; clear: both; } .u1ef4907fd72496330ea9ffff6dd68b49 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1ef4907fd72496330ea9ffff6dd68b49:active , .u1ef4907fd72496330ea9ffff6dd68b49:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1ef4907fd72496330ea9ffff6dd68b49 .centered-text-area { width: 100%; position: relative ; } .u1ef4907fd72496330ea9ffff6dd68b49 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1ef4907fd72496330ea9ffff6dd68b49 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1ef4907fd72496330ea9ffff6dd68b49 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1ef4907fd72496330ea9ffff6dd68b49:hover .ctaButton { background-color: #34495E!important; } .u1ef4907fd72496330ea9ffff6dd68b49 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1ef4907fd72496330ea9ffff6dd68b49 .u1ef4907fd72496330ea9ffff6dd68b49-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1ef4907fd72496330ea9ffff6dd68b49:after { content: ""; display: block; clear: both; } READ: Parts of the run EssaySchumann seems to have thought Claras father would welcome himas his son-in-law. He was wrong. Hearing that Robert and Clara had beenmeeting behind his back, Wieck was enraged, and wrote to Robert insistingthat all relations be severed. At the same time he distracted Claras attention by flaunting her anew singing teacher, Karl Banck. Clara, only just sixteen, was regarded by her father as a mere child. Wieck had nurtured her talents, and now saw her on the threshold of anoutstanding career. He was not going to stand by and watch her marrySchumann, who he knew, to his own irritation, had neglected his training andsquandered his resources. Naturally Robert was desperate. Extravagant spending sprees led topleas to his brothers for money. He started drinking heavily, and his generallyimpolite habits led to a noisy argument with his landlady. Finally he wrote toher. To understand Wiecks attitude, we need to examine his feelings aboutClara. She represented his special creation, his lifes work. He had laboredwith her for long years at the keyboard. She had finally emerged as his bestpupil, the star exemplar of his techniques. At the same time she nowrepresented a valuable commercial asset. She simultaneously fed Wieckswallet and his ego. In May 1837, after another long tour, Clara arrived back in Leipzig. Not long afterwards banck, like Schumann before him, was rejected byWieck as a suitor for Clara. At this time Schumanns disappointment seems tohave turned to malice. He declared himself ready to avenge himself on Clara. But this was only a temporary mood; in a letter to her in August, with wordscold and serious, yet so beautiful, Robert protested she remained thedearest in the world. His feelings were echoed by his beloved. On August 14they became sacredly engaged. On Claras eighteenth birth day, Robert Wrote to Wieck asking for hisconsent to their marriage. He argued that his prospects were greatlyimproved, and his stability enchanced; You owe it to my position, my talentand my character. The wedding finally took place on 12 September, the day beforeClaras twenty-first birthday. After that she would in any case free of herfathers will. Possibly Robert chose the day as a final signal of defiance to hisnew father-in-law. Very later in their marriage Robert started to have a mental illness. Heheard a solitary note beating in Roberts ears, giving him no peace. On 26February 1854 Robert begged Clara to have him committed to an asylum, butwas finally persuaded by the doctor to go to bed. Later Clara discovered that Robert had thrown himself into the RiverRhine, and fisherman had rescued him. On March 4 Robert was taken to Dr. Richarzs private asylum atEndenich, near Bonn. At intervals his mind cleared a little. On June 8 1856, Roberts birthday, Brahams found him thin,oblivious of every thing outside, picking names out of an atlas and puttingthem into alphabetical order. On Thursday 29 July Robert was finallyreleased from his suffering. At four in the afternoon he fell asleep. He passedaway without anyone noticing. Clara did not see him until half an hour later. Schumann was buried at seven oclock on the morning of 31 July1856 in Bonn. Brahms and Joachin walked in front of the coffin which wascarried by some of the Dusseldorf choir. Clara asked that a few friends bethere. That was the life and death of Robert Schumann. Words/ Pages : 1,176 / 24