Affirmative action should be continued Research Paper

Affirmative action should be continued - Research Paper Example Since its inception, affirmative action has succeeded in balancing the scale of opportunities available to men and women of all ethnicities. A quota system generally reflects the area’s ethnic demographics thereby allowing for real equality opportunity that is not discriminatory towards any particular race. Although the majority ethnic group may now feel they are being treated unjustly because they have indeed lost ground from an economic standpoint, the scale is actually now adjusted closer to the middle thanks primarily to the use of affirmative action, demonstrating the need for this practice to continue. Since its inception in the mid 1960’s, affirmative action has aided many thousands of previously disadvantaged peoples who have since gained previously denied access. This includes those of color, other minorities and all women who were previously excluded from jobs, educational opportunities, or were denied chances for advancement within the institution once given access. These gains have led to very real changes not only in individual’s lives but in the advancement of society’s value of justice for all. Affirmative action programs do not have the ability to eradicate racist attitudes, just some of the effects caused by it. The idea of affirmative action has had its detractors and its implementation has not been without problems, but to eliminate this policy of equal treatment would be to take away the hard fought victories of the Civil Rights Movement and turn back the clock towards the dark days of overt racism in the pre-1960’s U.S. Debates surrounding affirmative action policies are much more far reaching than the legal issue alone. It is the moral responsibility of every citizen and institution in this country to affect all means of ending racism. Yet there is a faction of society who does not accept and have vehemently

Show how Hardy responds to the death of his wife Essay Example for Free

Show how Hardy responds to the death of his wife Essay In the years after the death of his wife, Emma, in 1912, the main subject of Hardys poems was his wife and how he missed her and grieved her death. In his poems during this period he uses a lot of euphemism, so that he never actually tells the reader his wife has died. However, the strong sense of sadness and regret he feels comes through in every poem. The first poem Hardy wrote after the death of Emma was The Going in December 1912. This poem has a highly regular rhythm and rhyme, with the important words often rhyming at the end of the lines to draw attention to them. The title of the poem is a euphemism for death, and he continues with these throughout the poem, using phrases such as vanishing, close your term here and where I could not follow. This poem is written as if Hardy is addressing Emma. In the first stanza, Hardy addresses and questions his dead wife, and gives a sense of what seems like anger and irritation towards her, that she gave him no hint that she was going to die. He suggest she was indifferent and didnt care about leaving him, and this shows how he is grieving and maybe not thinking straight. He emphases her swift, quick death as she left with wing of swallow but this imagery also suggests her beauty in his eyes and how much he will miss her. Now he regrets he cannot follow her and he knows he will not gain one glimpse of her ever anon. The start of the second stanza reiterates how he did not know that Emma was going to die and again he shows his regret that he could never bid good-bye. His use of soft sounds indicates his wish that he could give the softest call to say goodbye to her properly, and this is reinforced by his use of alliteration in the soft, wishful sounds of utter a wish for a word, while. These soft sounds are then quickly replaced by the harsh reality of the situation, as Hardy sees morning harden upon the wall. The rest of the stanza is concentrated on how much her death has affected him and more precisely how he did not know that it would affect him so much. The assonance in the gloomy sounds of unmoved, unknowing reflects his mood at this point, and again the rhyme draws attention to the important words in the poem unknowing..great going that he did not know how much her death would grieve him. The third stanza, like the first, starts with a question aimed towards Emma. He asks her why she makes him leave the house and why he sees visions of her. Again, there is a sense of irritation as if it is her fault for causing him this suffering. Hardy says that he imagines seeing her again and maybe that he is seeing hallucinations of her as he tells Emma., I think for a breath it is you I see. He tells us that then he realises it is not her, and becomes bitter and upset once again. The rhyming of darkening darkness.yawning blankness emphasises to the reader the huge emptiness he feels now that his wife is dead, and how her memory is already gradually fading away from him, in the same way as the visions he experiences do as he gets closer. The exclamation mark at the end of the stanza makes it seem as if he is shouting in frustration, at how much the experience sickens me!. In the fourth stanza, Hardy changes into the past tense, and the poem becomes more cheerful as he remembers the time the two of them spent together. There is a large amount of imagery used in this stanza, which Hardy uses to show the beauty of his wife, and the strength of their relationship. The red-veined rocks symbolise the passion and love he felt for Emma. He says she was the swan-necked one, a statement of her beauty and he describes her riding along the beetling Beeny Crest with him, maybe a sign they were happy and free to do what they wanted to, and how this contrasts to his feelings now. In the last line of this stanza, Hardy changes his language from me and you to us, which shows how their relationship grew stronger and they grew to love each other and be together more in the good times when life unrolled us its very best. Again, the fifth stanza starts with a question, but this time the impression is given that Hardy is talking to himself, and not addressing Emma. This stanza tells us how later on in their relationship Hardy and Emma did not speak. Hardy shows a huge amount of regret and sadness in this stanza, that he did not talk to her properly and that their relationship got weaker before she died. He then moves back to happier memories of the distant past, and describes them together in bright spring weather: a pathetic fallacy whereby the weather shows the mood at that time. In the final stanza of this poem Hardy appears to give up all hope and becomes resigned to the situation. He adopts a very conversational tone and uses caesura to show that he is talking, using colloquialisms such as well, well!. In the last lines of the poem Hardy feels as if he will sink down soon into despair. These lines are directed at Emma, as he again tells her, but this time in stronger terms, that he did not know how her swift fleeingwould undo me so. He uses pause between the caesuras to increase the impact of each short statement. In The Haunter, Hardy writes the poem as if it was his dead wife talking to him. He imagines Emma can see him and feel his emotions as a means of consoling himself. However, the main emotions which come out of this poem are Hardys guilt and regret and, although he adopts his wifes voice, it is his emotions which come through strongly in the poem. He appears to be haunted by memories, which may be the reason for the title of the poem. Alternatively, it could be that he sees his wife as a ghost haunting him. Each stanza has the same words rhyming at the end of every second line; know.go.do.thereto. These are important as they show Hardys mains hopes about his wife; that she knows everything hes doing and thinking, but the go shows he knows she has gone for ever and there is nothing he can do to go there and be with her. The poem opens with irony as Emma says he does not think I haunt here nightly, when he is writing the poem. This shows Hardy hopes she is there with him, but that he just cant see her; but in reality he probably knows she is not really there and it is just wishful thinking. This line also starts the theme which continues throughout the stanza: that Emma is always there with him. The repetition of hover and hover reinforces this point. Hardy is creating ideas which he hopes his wife would have about him, as a way of comforting himself. Hardys feelings of guilt and regret come through strongly in the second stanza. He did not do many of the things he should when he had the chance and this is shown by the repetition of when I could in the first two lines of this stanza. Emma says how she would like to join his journeys, which shows Hardy feels guilty that he didnt let her go with him when he went away, and now blames himself that they didnt spend enough time together. The voice of his wife tells us that he misses me more than he used to do which means he didnt realise how much he needed her when she was alive but now he knows that he did and he misses her even more. Emma is described as a faithful phantom, which suggests that she was loyal to him, and maybe that he was not as faithful to her. The alliteration is soft to suggest the kindness and beauty of Emma. In stanza three, there is a large amount of imagery, as Emma tells us how she likes to accompany him to places. There is a strong sense of night time in the opening of this stanza, as dreamers, shy hares and night rooks are mentioned. Emma tells us she follows Hardy into old aisles, which show Hardy is still thinking about the past, which is all to him, because he is reminiscing the happy times when Emma was alive and with him, and he now thinks he will not get that happiness back. However, although she is his shade suggesting she is like his shadow and always with him she is always lacking the power to call to him. We get the sense that, although Hardy is trying to believe his wife is near him, he is upset and frustrated that he can and will never talk to her. In the final stanza of this poem, Hardy is trying to cheer himself up, as this is what he thinks his wife would want. The reader is told that if Hardy but sigh, Emma goes straight to his side. This shows that when Hardy is upset, he thinks of Emma to try to console himself. Hardy tries to make himself feel better by thinking that Emma would want him to be in gloom no longer. This show he wants to be happier but he cannot so now he has to think Emma wants him to be happier as well. The Voice, also written in December 1912, is a much more eerie and less rhythmical poem than the first two. However, although there is less rhythm and structure to the poem, it still has a strong and continual rhyme. The title of the poem indicates that now Hardy can now hear Emmas voice and the poem is written in the first person, as Hardy reveals his feelings and memories. As The Voice opens, Hardy shows us his grief and sadness as he describes his wife as woman much missed. The sounds alliterate to draw attention to their importance right at the start of the poem, as this will be a continual theme throughout. The words call to me, call to me are repeated at the end of the first line and this give the impression that although she is calling to him, like an echo to show how her voice is fading away from Hardy, along with his memories of her. This repetition also gives the impression that Emma is insistent to reach Hardy and will not give up. Hardy informs us that Emma tells him she is not the same as she was when she changed from the one that was all to Hardy. Hardy believes Emma is saying to him that she is not now as she was when Hardy changed and maybe stopped loving her, but she is the same as she was when they were in love. This shows that this is how Hardy remembers Emma, when their day was fair and their life was better than when they started to split apart. In the last line, Hardy changes from using you and me to our to show that now he is thinking of them together and happy. Hardy then looks back to the past and his memories of his wife, and imagines a perfect image of her in his head. He sees the memory very clearly and includes a lot of detail to show this. He can remember her even to the original air-blue gown, which is a pleasant and cheerful colour, showing the mood in the memory. It is one specific memory he is thinking about and, as he sees it more clearly, Hardy becomes exited and shows this through the caesura of yes and the exclamation mark at the end of the line, as if he is becoming louder and more energised. The transition between stanzas is a change between Hardys happiness in the past and his grief now. The sounds change from joyous to heavy, as does the mood of the poem. The whole stanza is a question, asking if it is really Emma talking or just the wind that Hardy can hear, although the reader will know that Hardy knows the answer to his own question. The listlessness of the breeze is a pathetic fallacy of Hardys mood, and the words such as listlessness and wet mead are onomatopoeic as they are heavy and sound tired, as if now he knows that his wife is fading away from him. Hardy tells Emma she is being dissolved and dying away from him. This suggests he has realised her voice is not real and just in his mind and she will be heard no more again. The lines in the last stanza of the poem are shorter than those in other stanzas. This gives the impression that the poem is fading away on the page, as Emma is ebbing away from Hardys memories. This stanza shows Hardy is now resigned to the fact that he is never going to hear her voice again and does not really make sense, maybe showing Hardys tiredness. The pathetic fallacy of leaves around me falling gives an impression of things dying and coming to an end and the unpleasant assonance used in the wind oozing thin through the thorn gives and unpleasant feel to the end of the poem. This stanza shows that Hardy feels he cannot move on because of his memories and the woman calling. This last line completes the eerie sense given in the poem and relates back to the start of the poem, giving the sense that what has happened in this poem keeps on happening to Hardy, and there is nothing he can do to stop it. Beeny Cliff has a strong rhythm and strong rhyme, using the same sounds at the end of each line of each stanza. Beeny Cliff was a special place for Hardy and Emma that they visited together. O at the start of the poem indicates Hardys happiness and excitement as he reminisces about him and Emma. The first line is full of description and imagery, and the opal and the sapphire suggest preciousness and beauty a description of the sea in the poem, but a description of his wife in Hardys mind. Hardys description of Emma is almost angelic as she is described as the woman riding high above with bright hair flapping free. The alliteration is an onomatopoeia of the wind and the high wind suggests high spirits between Hardy and Emma. Hardy also states that he loved Emma and she loyally loved him, suggesting that, although they both loved each other, she was more faithful than he was. Hardy knows this and is therefore now regretting that he did not make the most of his time with her when she was alive. In the next stanza Hardy concentrates on how when they were together, nothing or no one could touch them. Hardy tells us that birds were plained below them and seemed far away, to show they were only concentrating on each other and nothing else could distract them. The waves are shown to be what could be a big distraction by the onomatopoeic sibilance of engrossed in saying their ceaseless babbling say, but Hardy and Emma were engrossed in each other thereby showing how close they were at this point in time. They laughed light-heartedly aloft which reinforces their high spirits and again suggests their height above everything else happening. Pathetic fallacy is also used to show the mood on that clear-sunned March day. This pathetic fallacy continues throughout the third stanza, as Hardy uses it to show that the mood is changing. A little cloud cloaked them and there was an irised rain, which shows that this trip to Beeny Cliff is like their relationship. These small changes in weather show there are some bad times in the relationship between them, but it is never enough to force them apart and these blips are just a dull disfeatured stain, the same as the cloud is on the landscape. However, although the sun burst out again, the cloud was an indication to them that foreshadowed worse things to come, as now purples prinked the main. The at the start of the fourth stanza indicates to the reader that Hardy is going from the past into the present. Hardy tells us that old Beeny is still in all its chasmal beauty. The use of old shows familiarity and Hardy is showing that he is in a familiar place to contrast his unfamiliar emotions. In addition, this line shows that, although a lot has happened to him, the things and landscape around him are still the same as they used to be; huge and gaping but still beautiful. Hardy asks himself with a sense of wistfulness if she and I [Hardy] could not go there again and repeat the sweet things said in that March. He does not use we, which shows he feels they will never be together again and, although he asks the question, he knows he cannot see her again. The caesura of Nay. at the start of the concluding stanza shows Hardy coming back to reality, and answering his own question. He repeats that Beeny has the same chasmal beauty but this time it is a wild weird western shore. This tells us that things around him have stayed the same, but Hardy sees them differently now in a worse light, as this is the effect his wifes death has had on him. Hardy says the woman is nowelsewhere; the pauses are showing he doesnt want to say Emma is dead, and he is thinking of a euphemism. She nor knows nor cares for Beeny and has moved on, but Hardy has not and is still stuck in the past. The end of the poem is very final, as if Hardy has eventually made up his mind; that she will see it nevermore. In At Castle Boterel, written in March 1913, Hardy again remembers him and his wife together in happier times. Again, a strong sense of rhyme and rhythm appears throughout the poem. Most of the poem is a euphemism for Hardys thoughts, memories, feelings and emotions as he is writing. The poem opens in the present as Hardy gives a description of himself driving through the drizzle in a wagonette to the junction. This suggests he will have to make a decision as to which path he should take, as he does in life to decide whether to move on from thinking about Emma. He looks behind at the fading byway; a euphemism for him looking back into the past. His memories show him with a girlish form Emma in a chaise in dry March weather. Although he is looking into the past, he writes in the present tense, to show how involved he is in his own memory and how he wants it to be real and actually happening. The contrast between the wagonette, a heavy, large vehicle, in which he is driving in the present and the chaise, a small, light vehicle, which he was driving in in the past, is a reference to the happiness he felt then, and the gloom that hangs over him now that Emma is dead. The contrasting pathetic fallacies drizzle and dry March weather further reinforce this point. Hardy describes himself and Emma as we throughout the stanza, which indicates their togetherness. Hardy goes on to tell us that it matters not much what he and Emma talked about on that journey, and he also states it doesnt matter to what it led. This is strange as it surely led to Hardy and Emma falling in love and getting married and he is now saying that this didnt matter. He continues the point by saying what it led to is something life cannot be balked of, so love is an inevitable part of life. He tells us that it cannot be stopped until something happens so that hope is dead, and feeling fled. This is maybe a sign that Hardy is starting to recover from the death of his wife, and has maybe realised he could have done nothing to stop it. Hardy reveals how much he treasured the moments he had with his wife, by telling us that there was never a time of such quality, since or before, in that hills story. He asks this as a question as if he is challenging anyone to disagree with his view, as he is right. The fact that Hardy thinks that this moment is the most important ever to happen on the hill, though it has been climbedby thousands more tells the reader that he is now extremely focused on himself and his wife, and cannot think of anything or anyone else but her, showing that the impression he gave in the previous stanza was false. In the next stanza, Hardy states that their passing has been recorded in the colour and cast of the primeval rocks and will now be for always. He feels that although their passing, and therefore their relationship, is only transitory in Earths long order, so only happened for a short time, they have helped to change things happening on the Earth. He thinks these changes will be left behind after he is gone she has gone already. This is a happy moment for Hardy as he thinks about the impact Emma and he had and this is shown through his pause in the middle of the last line, as he reflects on what he is saying. In the penultimate stanza, Hardy comes back into the present and reflects that Times unflinching rigour has taken his wife, and it cannot be stopped, so there is no way of going back once an event has passed. All that is left for him to see is one phantom figure, there is nothing real remaining, only his memories. He feels as if he has left Emma behind and is being forced further and further away from her; she is disappearing into the distance. Hardy reverts to the use of I in the final stanza. He looks back and sees the figure shrinking, shrinking. This repetition is like an echo fading away; to show that, although he is still having the memories, they are fading away and he will never get them back. He finishes with a great sense of finality; that he is now seeing her for the very last time. He says his sand is sinking, this reference to an hourglass meaning his time is nearly up, and he believes that he will soon die as well. The ending is very powerful and final, as Hardy states that he shall traverse old loves domain Never again. His use of old suggests a familiarity; that he has revisited his memories too often, and now wants to move on. The caesura gives the statement a sense of finality so that it stands out as the main fact to come from this poem, that he now has accepted he cannot go back to Emma, and will not let his memories and grief overcome him. The Phantom Horsewoman is written in the voice of a person observing the behaviour of Hardy, in the first person. There is a very regular and repetitive rhyming pattern throughout every stanza, which suggests that Hardys life has become repetitive, as all he does is think about his wife. Now Hardy himself knows he needs to move on but he shows this through an observer. The whole of the first stanza is a euphemism for Hardys thoughts and feelings and how he, Hardy, describes himself as queer which shows he knows the behaviour he is experiencing is not normal to him. He is described as a man I know to show that it is not Hardy talking, but someone describing his ways. Hardy is portrayed as being in a careworn craze, which tells us that the emotions he is feeling have worn him down and are maybe even driving him mad. The next few lines suggest Hardy is looking back but what he sees is unclear. This is shown as he looks at the sands, suggesting time as this is a reference to an hourglass, but there is a seaward haze so his memories are indistinct and vague. The use of moveless hands in reference to a clock show time stands still when he looks into the past. When he turns to go Hardy pauses showing his regret to leave and regret to move back into the present. The use of rhyme in this stanza draws attention to the connected and important ideas: stands, sands and hands show the idea of time in reference to an hourglass and a clock and the impression that it stands still when Hardy looks back to the past; craze, haze and gaze are also connected, as they show how Hardy is looking back but is unsure what to make of what he remembers. The stanza ends with the question of what he sees when he gazes so? The second stanza answers the question posed at the end of the first. There is a strong and clear contrast between the haze and indistinctness in the present as shown in stanza I and the clarity and deep description used in stanza II, looking back into Hardys memories of the past. This point is reinforced as we are told what he sees is more clear than today. The description used has a happy and joyous tone because his memories are warm, real and keen. Hardy sets a pleasant scene using a rhythmical tone, as if suggesting the rhythm of the sea. This shows that Hardys memories of the past are happier and he would much rather be living in the past than in his life now. The sibilance of the sweet soft scene implies the softness of his past life and points to the sound and rhythm of the sea, as does the description of that briny green. The end of the stanza tells us that he sees in his memories a phantom of his own figuring; he is remembering the past but he knows it is not real now, no matter how much he wants it to be. Hardy then tells us that of this vision they might say more because there is more to him than a man looking at the sea. He sees his wife not only there but he sees her everywhere and all the time as shown by day, night. His memories are vivid and bright as if they were drawn rose-bright on the air and they are all consuming to him as if he is almost haunted by them. At the end of the stanza, Hardy pauses, as if to think, before reiterating the same point again that he has to carry this vision, to make this point clear to the reader. At the start of the final stanza, Hardy describes what this vision is. He tells us he sees a girl-ghost-rider, using a compound word to describe exactly what he sees in his visions. The sounds in the alliteration are happy and soft when Hardy describes Emma, and contrast the harsh sounds Hardy uses to describe himself; toil-tried. Hardy also tells us that although he withers daily, and is always getting older, time touches her not and she is always the same in his thoughts and memories of her. She still rides gaily in his rapt thought, which shows that his memories of her are when she was happy and free, and that he cannot think of anything else but her. The harsh sounds in the alliteration of shagged and shaly drag him back to reality and back to the sea, which is the idea the whole poem revolves around. The last line of the poem shows that Hardys lasting memory of Emma will be a happy one; Emma is singing to the swing of the tide, and that the sea will always be in his memories of her, as it was a special place for them. In conclusion, we can see clearly how Hardy attitude and response to the death of Emma changed over time through his poems. At first he is grieving and mourning her, and wishes he could bring her back; he thinks it is his fault that she has died and regrets that their relationship was not as happy as it had been and he wishes he had had a chance to say goodbye to her. However, he stops being so overcome by guilt and regret and focuses more on his memories of himself and Emma in happier times such as on Beeny Cliff. The main devices Hardy repeatedly uses are writing the poems sometimes not using himself as the first person and euphemism in place of saying what has actually happened, especially when referring to Emmas death.

Lift And Drag Coefficients Of Planes Engineering Essay

Lift And Drag Coefficients Of Planes Engineering Essay The term fluid in everyday language typically refers to liquids, but in the realm of physics, fluid describes any gases, liquids or plasmas that conform to the shape of its container. Fluid mechanics is the study of gases and liquids at rest and in motion. It is divided into fluid statics, the study of the behavior of stationary fluids, and fluid dynamics, the study of the behavior of moving, or flowing, fluids. Fluid dynamics is further divided into hydrodynamics, or the study of water flow, and aerodynamics, the study of airflow. Real-life applications of fluid mechanics included a variety of machines, ranging from the water-wheel to the airplane. Many of the applications are according to several principles such as Pascals Principle, Bernoullis Principle, Archimedess Principle and etc. As example, Bernoullis principle, which stated that the greater the velocity of flow in a fluid, the greater the dynamic pressure and the less the static pressure. In other words, slower-moving fluid exerts greater pressure than faster-moving fluid. The discovery of this principle ultimately made possible the development of the airplane. Therefore, among the most famous applications of Bernoullis principle is its use in aerodynamics. In addition, the study of fluids provides an understanding of a number of everyday phenomena, such as why an open window and door together create a draft in a room. Wind Tunnel Suppose one is in a room where the heat is on too high, and there is no way to adjust the thermostat. Outside, however, the air is cold, and thus, by opening a window, one can presumably cool down the room. But if one opens the window without opening the front door of the room, there will only be little temperature change. But if the door is opened, a nice cool breeze will blow through the room. Why? This is because, with the door closed, the room constitutes an area of relatively high pressure compared to the pressure of the air outside the window. Because air is a fluid, it will tend to flow into the room, but once the pressure inside reaches a certain point, it will prevent additional air from entering. The tendency of fluids is to move from high-pressure to low-pressure areas, not the other way around. As soon as the door is opened, the relatively high-pressure air of the room flows into the relatively low-pressure area of the hallway. As a result, the air pressure in the room is reduced, and the air from outside can now enter. Soon a wind will begin to blow through the room. The above scenario of wind flowing through a room describes a rudimentary wind tunnel. A wind tunnel is a chamber built for the purpose of examining the characteristics of airflow in contact with solid objects, such as aircraft and automobiles.   Theory of Operation of a Wind Tunnel Wind tunnels were first proposed as a means of studying vehicles (primarily  airplanes) in free flight. The wind tunnel was envisioned as a means of reversing the usual paradigm: instead of the airs standing still and the aircraft moving at speed through it, the same effect would be obtained if the aircraft stood still and the air moved at speed past it. In that way a stationary observer could study the aircraft in action, and could measure the aerodynamic forces being imposed on the aircraft. Later, wind tunnel study came into its own: the effects of wind on manmade structures or objects needed to be studied, when buildings became tall enough to present large surfaces to the wind, and the resulting forces had to be resisted by the buildings internal structure. Still later, wind-tunnel testing was applied to  automobiles, not so much to determine aerodynamic forces per second but more to determine ways to reduce the power required to move the vehicle on roadways at a given speed. In the wind tunnel the air is moving relative to the roadway, while the roadway is stationary relative to the test vehicle. Some automotive-test wind tunnels have incorporated moving belts under the test vehicle in an effort to approximate the actual condition. Its represents a safe and judicious use of the properties of fluid mechanics. Its purpose is to test the interaction of airflow and solids in relative motion: in other words, either the aircraft has to be moving against the airflow, as it does in flight, or the airflow can be moving against a stationary aircraft. The first of these choices, of course, poses a number of dangers; on the other hand, there is little danger in exposing a stationary craft to winds at speeds simulating that of the aircraft in flight. Wind tunnel Wind tunnels are used for the study of aerodynamics (the dynamics of fluids). So there is a wide range of applications and fluid mechanic theory can be applied in the device. airframe flow analysis (aviation, airfoil improvements etc), aircraft engines (jets) performance tests and improvements, car industry: reduction of friction, better air penetration, reduction of losses and fuel consumption (thats why all cars now look the same: the shape is not a question of taste, but the result of laws of physics!) any improvement against and to reduce air friction: i.e. the shape of a speed cycling helmet, the shape of the profiles used on a bike are designed in a wind tunnel. to measure the flow and shape of waves on a surface of water, in response to winds (very large swimming pools!) Entertainment as well, in mounting the tunnel on a vertical axis and blowing from bottom to top. Not to simulate anti-gravity as said above, but to allow safely the experience of free-falling parachutes. The Bernoulli principle is applied to measure experimentally the air speed flowing in the wind tunnel. In this case, the construction of Pitot tube is made to utilize the Bernoulli principle for the task of measuring the air speed in the wind tunnel. Pitot tube is generally an instrument to measure the fluid flow velocity and in this case to measure the speed of air flowing to assist further aerodynamic calculations which require this piece of information and the adjustment of the wind speed to achieve desired value. Schematic of a Pitot tube Bernoullis equation states: Stagnation pressure = static pressure + dynamic pressure This can also be written as, Solving that for velocity we get: Where, V is air velocity; pt is stagnation or total pressure; ps is static pressure; h= fluid height and à Ã‚  is air density To reduce the error produced, the placing of this device is properly aligned with the flow to avoid misalignment. As a wing moves through the air, the wing is inclined to the flight direction at some angle. The angle between the  chord line and the flight direction is called the  angle of attack  and has a large effect on the  lift  generated by a wing. When an airplane takes off, the pilot applies as much  thrust  as possible to make the airplane roll along the runway. But just before lifting off, the pilot  rotates  the aircraft. The nose of the airplane rises,  increasing the angle of attack  and producing the  increased lift  needed for takeoff. The magnitude of the lift  generated  by an object depends on the  shape  of the object and how it moves through the air. For thin  airfoils,  the lift is directly proportional to the angle of attack for small angles (within +/- 10 degrees). For higher angles, however, the dependence is quite complex. As an object moves through the air, air molecules  stick  to the surface. This creates a layer of air near the surface called a  boundary layer  that, in effect, changes the shape of the object. The  flow turning  reacts to the edge of the boundary layer just as it would to the physical surface of the object. To make things more confusing, the boundary layer may lift off or separate from the body and create an effective shape much different from the physical shape. The separation of the boundary layer explains why aircraft wings will abruptly lose lift at high angles to the flow. This condition is called a  wing stall. On the slide shown above, the flow conditions for two airfoils are shown on the left. The shape of the two foils is the same. The lower foil is inclined at ten degrees to the incoming flow, while the upper foil is inclined at twenty degrees. On the upper foil, the boundary layer has separated and the wing is stalled. Predicting the  stall point  (the angle at which the wing stalls) is very difficult mathematically. Engineers usually rely on  wind tunnel  tests to determine the stall point. But the test must be done very carefully, matching all the important  similarity parameters  of the actual flight hardware. The plot at the right of the figure shows how the lift varies with angle of attack for a typical thin airfoil. At low angles, the lift is nearly linear. Notice on this plot that at zero angle a small amount of lift is generated because of the airfoil shape. If the airfoil had been symmetric, the lift would be zero at zero angle of attack. At the right of the curve, the lift changes rather abruptly and the curve stops. In reality, you can set the airfoil at any angle you want. However, once the wing stalls, the flow becomes highly unsteady, and the value of the lift can change rapidly with time. Because it is so hard to measure such flow conditions, engineers usually leave the plot blank beyond wing stall. Since the amount of lift generated at zero angle and the location of the stall point must usually be determined experimentally, aerodynamicists include the effects of inclination in the  lift coefficient.  For some simple examples, the lift coefficient can be determined mathematically. For thin airfoils at subsonic speed, and small angle of attack, the lift coefficient  Cl  is given by: Cl = 2 where  Ã‚  is 3.1415, and  a  is the angle of attack expressed in radians: radians = 180 degrees Aerodynamicists rely on wind tunnel testing and very sophisticated computer analysis to determine the lift coefficient. Lift coefficient The  lift coefficient  (  Ã‚  or  ) is a  dimensionless  coefficient that relates the  lift  generated by an aerodynamic body such as a  wing  or complete  aircraft, the  dynamic pressure  of the fluid flow around the body, and a reference area associated with the body. It is also used to refer to the aerodynamic lift characteristics of a  2D  airfoil  section, whereby the reference area is taken as the airfoil  chord.  It may also be described as the ratio of lift pressure to  dynamic pressure. Aircraft Lift Coefficient Lift coefficient may be used to relate the total  lift  generated by an aircraft to the total area of the wing of the aircraft. In this application it is called the  aircraft  or  planform lift coefficient   The lift coefficient  Ã‚  is equal to: where   is the  lift force,   is fluid  density,   is  true airspeed,   is  dynamic pressure, and   is  planform  area. The lift coefficient is a  dimensionless number. The aircraft lift coefficient can be approximated using, for example, the  Lifting-line theory  or measured in a  wind tunnel  test of a complete aircraft configuration. Section Lift Coefficient Lift coefficient may also be used as a characteristic of a particular shape (or cross-section) of an  airfoil. In this application it is called the  section lift coefficient  Ã‚  It is common to show, for a particular airfoil section, the relationship between section lift coefficient and  angle of attack.  It is also useful to show the relationship between section lift coefficients and  drag coefficient. The section lift coefficient is based on the concept of an infinite wing of non-varying cross-section, the lift of which is bereft of any three-dimensional effects in other words the lift on a 2D section. It is not relevant to define the section lift coefficient in terms of total lift and total area because they are infinitely large. Rather, the lift is defined per unit span of the wing  Ã‚  In such a situation, the above formula becomes: where  Ã‚  is the  chord  length of the airfoil. The section lift coefficient for a given angle of attack can be approximated using, for example, the  Thin Airfoil Theory,  or determined from wind tunnel tests on a finite-length test piece, with endplates designed to ameliorate the 3D effects associated with the  trailing vortex  wake structure. Note that the lift equation does not include terms for  angle of attack   that is because the mathematical relationship between  lift and  angle of attack  varies greatly between airfoils and is, therefore, not constant. (In contrast, there is a straight-line relationship between lift and dynamic pressure; and between lift and area.) The relationship between the lift coefficient and angle of attack is complex and can only be determined by experimentation or complex analysis. See the accompanying graph. The graph for section lift coefficient vs. angle of attack follows the same general shape for all  airfoils, but the particular numbers will vary. The graph shows an almost linear increase in lift coefficient with increasing  angle of attack, up to a maximum point, after which the lift coefficient reduces. The angle at which maximum lift coefficient occurs is the  stall  angle of the airfoil. The lift coefficient is a  dimensionless number. Note that in the graph here, there is still a small but positive lift coefficient with angles of attack less than zero. This is true of any airfoil with  camber  (asymmetrical airfoils). On a cambered airfoil at zero angle of attack the pressures on the upper surface are lower than on the lower surface. A typical curve showing section lift coefficient versus angle of attack for a cambered airfoil Drag Coefficient In  fluid dynamics, the  drag coefficient  (commonly denoted as:  Ã‚  Ã‚  or  ) is a  dimensionless quantity  that is used to quantify the  drag  or resistance of an object in a fluid environment such as air or water. It is used in the  drag equation, where a lower drag coefficient indicates the object will have less  aerodynamic  or  hydrodynamic  drag. The drag coefficient is always associated with a particular surface area. The drag coefficient of any object comprises the effects of the two basic contributors to  fluid dynamic  drag:  skin friction  and  form drag. The drag coefficient of lifting  airfoil  or  hydrofoil  also includes the effects of lift  induced drag.  The drag coefficient of a complete structure such as an aircraft also includes the effects of  interference drag. Definition The drag coefficient  Ã‚  is defined as: where:   is the  drag force, which is by definition the force component in the direction of the flow velocity,   is the  mass density  of the fluid,   is the  speed  of the object relative to the fluid, and is the reference  area. The reference area depends on what type of drag coefficient is being measured. For automobiles and many other objects, the reference area is the frontal area of the vehicle (i.e., the cross-sectional area when viewed from ahead). For example, for a sphere  Ã‚  (note this is not the surface area =  ). For  airfoils, the reference area is the  planform  area. Since this tends to be a rather large area compared to the projected frontal area, the resulting drag coefficients tend to be low: much lower than for a car with the same drag, frontal area and at the same speed. Airships  and some  bodies of revolution  use the volumetric drag coefficient, in which the reference area is the  square  of the  cube root  of the airship volume. Submerged streamlined bodies use the wetted surface area. Two objects having the same reference area moving at the same speed through a fluid will experience a drag force proportional to their respective drag coefficients. Coefficients for unstreamlined objects can be 1 or more, for streamlined objects much less.

Why Must We Dream in Metaphors? :: Poetry Poem Poet Metaphor Papers

Why Must We Dream in Metaphors? The poet Willis Barnstone begins a poem with this line: "Why must I always see the death in things?" My poem would begin, "Why must I always see the metaphor in things?" If I have any intellectual strength it is in seeing connections between unlikely ideas, theories, and concepts. I sit in classes, in front of the television, in front of books and my brain constantly tries to see how what I donà ­t understand relates to, is like, compares to things I already know about. Part of the poetic process is to be on the lookout constantly for these metaphors, these comparisons between unlike things constantly, as (in a metaphorical sense) a mechanic might hear a car coming down the street and from the noise of the engine discern a kind of secret knowledge, an awareness, that is lost on other hearers. The strong arm of metaphor has led to statements like, "Thatà ­s why schema theory is a kind of Swiss army knife" or "using consultation is like deciding whether to fix your own transmission". Also: good teaching is very often about finding metaphors that give students another way of relating new material to what they have already more or less experienced. The other day I was trying to explain how I expected a paper to be structured, and I found myself saying, "Remember when you came home late from a date and you built an argument to show your parents that coming home late was a perfectly reasonable, even inevitable occurrence given the circumstances?" Even telling stories about my teaching is a kind of metaphor: that is, Ià ­m saying that my experience as a white male teaching in a small high school will be like the experience of my students. Lakoff and Johnson (1980) spend much of their book talking about where metaphors come from, how they function in conversation, what their tie to underlying social structures might be. However, I read the book hungrily looking for some information about why metaphors serve a purpose that nothing else seems to for me. Finally, near the end I found this statement: The reason we have focused so much on metaphor is that it unites reason and imagination. Reason, at the very least, involves categorization, entailment, and inference. Imagination, in one of its many aspects, involves seeing one kind of thing in terms of another kind of thing ­Ã‚ ­what we have called metaphorical thought. Why Must We Dream in Metaphors? :: Poetry Poem Poet Metaphor Papers Why Must We Dream in Metaphors? The poet Willis Barnstone begins a poem with this line: "Why must I always see the death in things?" My poem would begin, "Why must I always see the metaphor in things?" If I have any intellectual strength it is in seeing connections between unlikely ideas, theories, and concepts. I sit in classes, in front of the television, in front of books and my brain constantly tries to see how what I donà ­t understand relates to, is like, compares to things I already know about. Part of the poetic process is to be on the lookout constantly for these metaphors, these comparisons between unlike things constantly, as (in a metaphorical sense) a mechanic might hear a car coming down the street and from the noise of the engine discern a kind of secret knowledge, an awareness, that is lost on other hearers. The strong arm of metaphor has led to statements like, "Thatà ­s why schema theory is a kind of Swiss army knife" or "using consultation is like deciding whether to fix your own transmission". Also: good teaching is very often about finding metaphors that give students another way of relating new material to what they have already more or less experienced. The other day I was trying to explain how I expected a paper to be structured, and I found myself saying, "Remember when you came home late from a date and you built an argument to show your parents that coming home late was a perfectly reasonable, even inevitable occurrence given the circumstances?" Even telling stories about my teaching is a kind of metaphor: that is, Ià ­m saying that my experience as a white male teaching in a small high school will be like the experience of my students. Lakoff and Johnson (1980) spend much of their book talking about where metaphors come from, how they function in conversation, what their tie to underlying social structures might be. However, I read the book hungrily looking for some information about why metaphors serve a purpose that nothing else seems to for me. Finally, near the end I found this statement: The reason we have focused so much on metaphor is that it unites reason and imagination. Reason, at the very least, involves categorization, entailment, and inference. Imagination, in one of its many aspects, involves seeing one kind of thing in terms of another kind of thing ­Ã‚ ­what we have called metaphorical thought.

Asthma :: essays research papers fc

Asthma is a respiratory disorder marked by breathing difficulty caused by temporary narrowing of the bronchi, the airways branching from the trachea to the lungs. Attacks usually are brought on by allergic reaction to ANTIGENS such as grass and tree pollens, mold spores, fungi, animal dander, and certain foods but may also be caused by chemical irritants in the atmosphere or by infections of the respiratory tract. Susceptibility to an asthma attack is based on hyperactivity of the bronchial muscles, which constrict on exposure to one or another of these agents. Episodes of asthma vary widely in severity and may last from a few minutes to several days. They may begin at any age but usually occur in childhood. In children, asthma often is associated with eczema, a skin inflammation that may reflect the tendency of the child to develop hypersensitivity reactions. The attacks usually become less frequent and less severe over the years and disappear in about half of all affected children before adulthood. In one form of asthma, called intrinsic asthma, however, the attacks become less frequent and less severe, but recovery between them is less complete. The bronchi in such patients become chronically narrowed, causing a progressive loss of capacity for physical exertion. The prevalence of asthma is only about 1 or 2 percent worldwide but varies greatly from country to country. In the United States, asthma affects about 6.9 percent of children. Typically, an asthma attack begins within minutes after exposure to a triggering agent. Symptoms include a sensation of tightness in the chest, coughing and wheezing, and difficulty in breathing. Persons having attacks usually find it more difficult to exhale then inhale, which causes overinflation of the chest and impaired lung functions. The breathing difficulty is alleviated somewhat by leaning forward and supporting the trunk with the arms on some object. Attacks that last several hours or more, even several days, despite treatment are called status asthmaticus. Patients with this condition develop a rapid pulse as the heart attempts to compensate for the lack of oxygen in the blood by beating faster. They also develop signs of exhaustion and dehydration. On a long-term basis, asthma usually is managed by determining the agent responsible for the attacks so that the patient can avoid it. When avoidance of allergens is not feasible, patients can sometimes be

The Cost of Obedience :: Hitler Nazi Party German History Essays

The Cost of Obedience The Nazis follow through with Hitler's plan to exterminate the Jews. Many of the soldiers who work at the death camps were not even members of the Nazi party originally. However, most follow orders obediently It begins with one subject strapped into a chair and an electrode strapped to his arm. He is the "learner." The "teacher" is ordered to ask the learner questions and to shock the learner if he answers incorrect (New Life). t is 1919 in Germany. The Army's political department commands a young man named Adolf Hitler to investigate a group called the "German Workers' Party." Hitler ends up joining the group and takes over organization of the party's propaganda (Christy's sec. 15). The party is renamed the Nazi Party, and they adopt a flag with a swastika as their symbol. Hitler quits the army enabling him to devote more time to his party. The "teacher" starts of with low voltage shocks of 15 volts. With each shock the "learner" receives, the voltage is raised by 15 volts (New Life). It is 1921, and Hitler gains leadership over the German Worker's Party after threatening to quit. Hitler is an unlikely leader; he is short-legged, and has a hollow chest. He has a nervous tic in his face and is not a very imposing figure. When he speaks, he begins very nervously and his speeches are rambling (Nizkor). Nevertheless, Hitler is able to captivate his audience by controlling their emotions (Nizkor). He always speaks in the late evening when people are tired and their defenses are down. He makes dramatic entrances, usually escorted by storm troopers and a band playing a fanfare (Nizkor). Hitler exercises his power cautiously at first, but in 1923 he takes over a government meeting. Nazi storm troopers seize official buildings and Hitler is arrested on account of treason (Project GCSE sec. 2). Though Hitler spends the next ten years in prison, he and the Nazi party get incredible publicity (Project GCSE sec. 5). While Hitler is in jail he publishes Mein Kampf. Hitler is very devious in his writing of Mein Kampf. It is a glorified autobiography mixed with political propaganda, but he writes it like a fairy tale: In this little town on the river Inn, Bavarian by blood and Austrian by nationality, gilded by the light of German martyrdom, there lived, at the end of the '80's of the last century, my parents: the father a faithful civil servant, the mother devoting herself to the cares of the household and looking after her children with eternally the same loving kindness (Qtd. The Cost of Obedience :: Hitler Nazi Party German History Essays The Cost of Obedience The Nazis follow through with Hitler's plan to exterminate the Jews. Many of the soldiers who work at the death camps were not even members of the Nazi party originally. However, most follow orders obediently It begins with one subject strapped into a chair and an electrode strapped to his arm. He is the "learner." The "teacher" is ordered to ask the learner questions and to shock the learner if he answers incorrect (New Life). t is 1919 in Germany. The Army's political department commands a young man named Adolf Hitler to investigate a group called the "German Workers' Party." Hitler ends up joining the group and takes over organization of the party's propaganda (Christy's sec. 15). The party is renamed the Nazi Party, and they adopt a flag with a swastika as their symbol. Hitler quits the army enabling him to devote more time to his party. The "teacher" starts of with low voltage shocks of 15 volts. With each shock the "learner" receives, the voltage is raised by 15 volts (New Life). It is 1921, and Hitler gains leadership over the German Worker's Party after threatening to quit. Hitler is an unlikely leader; he is short-legged, and has a hollow chest. He has a nervous tic in his face and is not a very imposing figure. When he speaks, he begins very nervously and his speeches are rambling (Nizkor). Nevertheless, Hitler is able to captivate his audience by controlling their emotions (Nizkor). He always speaks in the late evening when people are tired and their defenses are down. He makes dramatic entrances, usually escorted by storm troopers and a band playing a fanfare (Nizkor). Hitler exercises his power cautiously at first, but in 1923 he takes over a government meeting. Nazi storm troopers seize official buildings and Hitler is arrested on account of treason (Project GCSE sec. 2). Though Hitler spends the next ten years in prison, he and the Nazi party get incredible publicity (Project GCSE sec. 5). While Hitler is in jail he publishes Mein Kampf. Hitler is very devious in his writing of Mein Kampf. It is a glorified autobiography mixed with political propaganda, but he writes it like a fairy tale: In this little town on the river Inn, Bavarian by blood and Austrian by nationality, gilded by the light of German martyrdom, there lived, at the end of the '80's of the last century, my parents: the father a faithful civil servant, the mother devoting herself to the cares of the household and looking after her children with eternally the same loving kindness (Qtd.

Work

When analyzing a book, each point you make must have four points: Statement – you make a point Evidence – you include a quote (something from the text) which supports your statement Analysis – explain how the quote you chose proves your statement Is true Link ? explain how all of this answers the question S – Michael Morgue uses the technique of narrative voice effectively to portray the horrors and futility of war. He does this by showing us the war from the point of view of the horse, Joey. This shows us what the war was like for both the British and the Germans in an unbiased way.E -â€Å"l was busying myself at tearing the last of this away when I saw, out of the corner of my eye, a man In a grey uniform clamber out of the trenches†¦ A small, helmeted figure In a flapping khaki greatcoat climbed up onto no man's land. † A This helps us to understand that none of the men were horrible. They are described and recognized by their uniforms and nothing else. There are no differences between the men apart from their uniforms. L – This shows us the horrors and futility of war as these men were made to fight and did not know what they were fighting for.They were not angry at one another or prepared for war. Try to use this example and write your own version of this paragraph. This format Is used for all of your paragraphs, the Information you give Is the only thing that changes s technique of narrative voice show horror and futility of war Joeys first hand experience First person narrative shows things as they happen Choose one of the following quotes: â€Å"There were wounded everywhere – on stretchers, on crutches, in open ambulances, men cried and fell to the ground, and horses reared and screamed in agony of fear ND pain.The ground erupted on either side of me, throwing horses and riders clear into the air. The shells whined and roared overhead, and every explosion seemed like an earthquake to us. † à ¢â‚¬Å"It was as I staggered out of one such crater that I lumbered into an invisible coil of barbed wire that first snagged and then trapped my foreleg. As I kicked out wildly to free myself, I felt the barbs tearing into my foreleg† â€Å"l saw the grey soldiers ahead of us raise their rifles and heard the death rattle of a machine gun † â€Å"Blind terror drove me on† â€Å"We looked back down the hill at the battle-field. Work When analyzing a book, each point you make must have four points: Statement – you make a point Evidence – you include a quote (something from the text) which supports your statement Analysis – explain how the quote you chose proves your statement Is true Link ? explain how all of this answers the question S – Michael Morgue uses the technique of narrative voice effectively to portray the horrors and futility of war. He does this by showing us the war from the point of view of the horse, Joey. This shows us what the war was like for both the British and the Germans in an unbiased way.E -â€Å"l was busying myself at tearing the last of this away when I saw, out of the corner of my eye, a man In a grey uniform clamber out of the trenches†¦ A small, helmeted figure In a flapping khaki greatcoat climbed up onto no man's land. † A This helps us to understand that none of the men were horrible. They are described and recognized by their uniforms and nothing else. There are no differences between the men apart from their uniforms. L – This shows us the horrors and futility of war as these men were made to fight and did not know what they were fighting for.They were not angry at one another or prepared for war. Try to use this example and write your own version of this paragraph. This format Is used for all of your paragraphs, the Information you give Is the only thing that changes s technique of narrative voice show horror and futility of war Joeys first hand experience First person narrative shows things as they happen Choose one of the following quotes: â€Å"There were wounded everywhere – on stretchers, on crutches, in open ambulances, men cried and fell to the ground, and horses reared and screamed in agony of fear ND pain.The ground erupted on either side of me, throwing horses and riders clear into the air. The shells whined and roared overhead, and every explosion seemed like an earthquake to us. † à ¢â‚¬Å"It was as I staggered out of one such crater that I lumbered into an invisible coil of barbed wire that first snagged and then trapped my foreleg. As I kicked out wildly to free myself, I felt the barbs tearing into my foreleg† â€Å"l saw the grey soldiers ahead of us raise their rifles and heard the death rattle of a machine gun † â€Å"Blind terror drove me on† â€Å"We looked back down the hill at the battle-field. Work Generation Gap When younger workers are hired in the same department as older workers, the results can be frustrating or rewarding. What makes the difference is how management decides to blend the workforces. The 80 million Generation Y workers, called millennial, who were born after 1977 bring a host of talents to the office. They generally are skilled at hands-on, experiential learning and gain skills by attempting to perform a task rather than by reading a book or attending a lecture. They multicast, prefer to work alone, accept change readily, and access Information at all ours of the day.These work habits are contrary to what older workers have experienced during their careers. To blend the cultures, managers must devise methods of fostering coexistence. The project-oriented nature of IT work appeals to the bright, creative, energetic millennial, and they perform best when given new technologies and the freedom to experiment. Enjoying new situations and challenges, they excel at mentoring less tech-saws workers on using the Innovative hardware and software and rotating among various departments to meet new people.They also thrive in an atmosphere that encourages blobbing and testing, so the work environment should allow mobile social networking and communications. What are your thoughts? Do you find this to be the case at your place of work? I believe the current increase in new millennial further assist the older population. For example, as a professional in the Education industry the younger generations, in my opinion juggle various tasks. However, I feel the older population can benefit from most millennial by keeping an open mind to technology. Often times many baby boomers become resistant to change.Remotely no adaptation occurs, leading to undue stress of millennial. On another note, millennial may often be underestimated within the workforce due to autonomy. The world has emerged into a new era involving a high demand to remain abreast with frequent changes. I work alongside various baby-boomers and they are never updated with anything. Work By Lange-Wilcox multicast, prefer to work alone, accept change readily, and access information at all they excel at mentoring less tech-savvy workers on using the innovative hardware my opinion Juggle various tasks. Work Introduction In this report, I will draw on theories into my work experience in a local English training school in my hometown, to analysis their communication system, and then make some recommendations to Improve their school performance. Description Last summer, I worked as a registration assistant in a private languages school called Younger; it is a small private English training school, which aims at improving student's overall English ability to get higher score In English Test.Within Younger organization, the formal communication between school leaders and employees that Ely on paper-based format; the informal communication occurs teachers and students that prefer to face-to-face chats. According to the school communication study of Fred C. The formal communication which focuses on exchange the information regarding the work-related of school, and informal communication which emphasizes the unofficial message that unrelated to the schools education activities.For Younger scho ol case, I will draw the classical approach theories to analyses formal communication, and using the culture approach to examine the informal communication. Through the analysis. I will find some problems about Younger' communications, and give them some suggestions, to help them get improvement in the future. Analysis Theory 1 Younger formal communication system between employer and employee is familiar with classic approach. According to Weeper's theory of bureaucracy, rules are priority for each organizational functioning; he believed all rules should be In written form.In Younger, to improve students' English test score in short term, school leaders written specific daily routine and daily objectives to individuals, like when they would wake up, who can take what class and when, and the number of vocabularies students need to memorized each day. Under this system, all things rely on the rules, hierarchy was clearly established and the power was centralized within school leaders. In Younger, the school leaders built policies and communicate downward to group of managers, teachers and then students; this is a typically top-down communication.Managers, teachers and students need to follow their own Instructions, and do not have rights to change anything. Under bureaucracy management, teachers clearly knowing what the school's goals, strategies, and objectives base on deferent rules; having a better understanding of how their Jobs contribute to other school activities Increase employees involvement; following the specific introduction could improve the work efficiency. School leaders have the big power to control and monitor day-to-day operations of school activities.On the other hand, top-down communication is hard to receive the feedback from lower level people, lacking of communication interaction lead to lost opportunities of making improvement. Sometimes, the hierarchy is complicated, some information lost since assistance from the school principal to stu dents. In Tailor's scientific management theory, † there is one best way to do every Job†, which means managers need to fit Job to individuals. Based on this view, Younger principal divided English teaching into three parts: reading, writing and listening, and only hired the people who specialized in one filed.This kind of teaching specializations lowers individual teacher's responsibility for students' test score, reduce working pressure; hired professional experts in that field, it could be provide high quality education services for students, rather more gained Younger' competitive advantages in educational industry. However, Job specialization and teaching followed by instruction reduces the work autonomy and decrease employees' skills, as a consequent, employee felt less passion for their Jobs. Moreover, it is hard to find the potential problems without communication among different course teachers.Theory 2 Through above analysis, we can conclude that Youngster's fo rmal communication system is based on classical approach that tend to be downward, paper based, and task-related. Unlike the vertical communication between the employer and employee, he horizontal communication occurs in teacher and students. Deal and Kennedy's † Strong Cultures†, theory argued that if an organization has a strong culture, it will form the unique, hard to imitate intangible asset for that company, it would improve individual and organizational performance.This theory including four key elements: values and belief, heroes, rites and rituals, and cultural network. Since private languages education is a high competitive industry, Younger attempt to build their own school culture as their core competitive advantages. Younger used their slogan † Stay passion, Stay younger† as their belief to motivate students keep passion in their leaning, school mission aim to build the unique † Younger† sprit to attractive more students.Youngster's p rincipal is their Hero, for each new student orientation, principal gives the speech about how he builds Younger school to encourage student work hard. Both informal and formal communication made contribute to build the culture network. Majority informal communication during the lunchtime, teachers share legend stories to their students. To The top-leaders used downward immunization transfer school values, belief, culture, and school mission to employee and students. It is try to form a sense of belonging, commitment, and proud of being a part of Younger among the employees and students.In summary, for Youngster's culture approach the strength is they build a strong culture connection through their passion values, principal as the legend hero, using both informal and formal communication channel to set the culture network made employees and students felt like school is a big family. Recommendation As I analyzed above, the biggest problem is the highly centralized hierarchy managemen t system cause the weak communication system. To improve Younger communication system, my recommendation is diversify the direction of communication flows is most priority thing.Since analysis of Youngster's structure, we can see the organization structure has influenced on communication system. Lundeberg & Orenstein indicated, the structure of an effective communication Younger now has both downward and horizontal communication, I suggest building an upward flow communication. In the Younger school, upward communication is that some reflection from lower staff to the top leaders, this kind of communication an examine whether the bottom staff understood the messages from top-leaders, also can improve self-esteem of staff.Upward communication flow will make communication more effectiveness, listen more voice from different perspectives, and get more suggestions. In short, upward communication will provide a new communication channel of feedback to top-leaders, and make contribution t o school's performance. We can build the upward communication in three different types, the first type is class evaluation, gave rights to students which evaluate their teacher's caching performance, this help leader to understand how the employees perform their Job.The second one is suggestions and improvement, gathering the ideas from staffs to increase the quality of work. The last type is exception describe the big problems to leader, make leader aware of how difficulties. To build a healthy upward flow communication there are some barriers need to overcome. Firstly, when low- level staffs try to reflect problems but sometimes, the administrators no time to respond. Secondly, the administrator's bad attitudes or ignore the low-level staffs. Thirdly, the long-time gap between communication and reflection, it will take up to several months to accept the low-staffs' suggestion.The last but not least, low-level staffs lacking of motivation to bring problems to the administrator's of fice. There are some solutions to solve above four questions. Firstly, open door and open hours policy. To set a time, the administrator's door open for those people who find some problems need to discuss. Secondly, school leaders can facilitate some consulting meetings to avoid bad attitudes, and also can rebuild the lower-staff confidence. Thirdly, building social media blob for gather problems, reply feedback as soon as possible.Last, setting some rewards for these useful recommendations, encourage low-level staffs give more suggestions. Conclusion In this essay, in the first part I simply describe the Younger communication strategies. In the second part, I draw the classical approach theories to analyses formal communication, and using the culture approach to examine the informal communication in Younger English training school. Through analysis, I can conclude that Youngster's formal communication system is based on classical approach that end to be downward, paper based, and t ask-related. Work Generation Gap When younger workers are hired in the same department as older workers, the results can be frustrating or rewarding. What makes the difference is how management decides to blend the workforces. The 80 million Generation Y workers, called millennial, who were born after 1977 bring a host of talents to the office. They generally are skilled at hands-on, experiential learning and gain skills by attempting to perform a task rather than by reading a book or attending a lecture. They multicast, prefer to work alone, accept change readily, and access Information at all ours of the day.These work habits are contrary to what older workers have experienced during their careers. To blend the cultures, managers must devise methods of fostering coexistence. The project-oriented nature of IT work appeals to the bright, creative, energetic millennial, and they perform best when given new technologies and the freedom to experiment. Enjoying new situations and challenges, they excel at mentoring less tech-saws workers on using the Innovative hardware and software and rotating among various departments to meet new people.They also thrive in an atmosphere that encourages blobbing and testing, so the work environment should allow mobile social networking and communications. What are your thoughts? Do you find this to be the case at your place of work? I believe the current increase in new millennial further assist the older population. For example, as a professional in the Education industry the younger generations, in my opinion juggle various tasks. However, I feel the older population can benefit from most millennial by keeping an open mind to technology. Often times many baby boomers become resistant to change.Remotely no adaptation occurs, leading to undue stress of millennial. On another note, millennial may often be underestimated within the workforce due to autonomy. The world has emerged into a new era involving a high demand to remain abreast with frequent changes. I work alongside various baby-boomers and they are never updated with anything. Work By Lange-Wilcox multicast, prefer to work alone, accept change readily, and access information at all they excel at mentoring less tech-savvy workers on using the innovative hardware my opinion Juggle various tasks.