Week 4-Applied business research Assignment Example | Topics and Well Written Essays - 1000 words

Week 4-Applied business research - Assignment Example (2) The graph includes only two data points yet wants to argue that this is a trend caused by stricter enforcement.  Chance or random  fluctuation is inherent in nearly every human phenomena.  Two successive observations of anything are likely to vary.  Two observations do not make a trend. (3) The graph lacks context both in terms of a longer series of observations for Connecticut traffic fatalities and in comparisons with other states that, during this period, did not crack down on speeding. (4) The graph doesn’t take population  size into account.  The more people, the more drivers, the more likely you’ll have traffic fatalities.  Increases in fatalities may be an artifact of increases in the number of drivers.  Decreases may be an artifact of population decline. Based on the output table below, what percentage of districts with the fewest experienced teachers can be found among school districts that score among the highest third of all districts on a measure of the percentage of their students who pass standardized tests? What two additional percentages in the table above would you report in an edited table to support an argument that districts with more experienced teachers tend to be the highest scoring districts on standardized

The Waste Land Essay Example for Free

The Waste Land Essay T. S Eliot’s The Wasteland, whilst being laden with rich cultural references and allusions, is a confronting representation of re-establishment and rejuvenation across the entirety of a European post-war society. Eliot addresses the cyclical nature of life and death, encompassed by carefully crafted language and structure designed to disorientate the reader. The reader is offered an interpretation of human behaviour which is akin to all beings across the cohort of society, regardless of ethnicity or social class. There is realism to Eliot’s poetry that is confronting and unflinching, perhaps disturbing at times. While his poems are often filled with harsh imagery – imagery of death, despair and degredation –they are often indicative of his own perceptions of the changing environment around him during his time of writing, and are therefore somewhat genuine and personal. The Waste Land attempts to explore the necessity of rejuvenation in a society that Eliot considers to be tarnished and displaced, and has thus created a delicate balance between portraying a war-torn society where â€Å"the dead tree gives no shelter† and â€Å"the dry stone no sound of water†, and communicating the idea of renewal. As the poem progresses, references to season accumulate, and the reader is given a sense of cyclical, passing time. The reader is given anecdotes set in distinctly different seasons, whether they be â€Å"under the brown fog of a winter dawn†, or â€Å"[listening to] the sound of horns, which shall bring Mrs. Porter in the spring†. Such references remind the reader of two things; time is passing throughout the poem, and life is ephemeral, as can be seen in the dialogue: â€Å"That corpse you planted last year in your garden, Has it begun to sprout? Will it bloom this year? † A similar method is implemented by Eliot in The Love Song of J. Alfred Prufrock, where the prime focus of the poem is the passing of time and the complications that arise from its influence. Furthermore, The Waste Land draws on a wide range of cultural reference to depict a modern world that is in ruins yet somehow beautiful and deeply meaningful. Languages such as German, French and Latin are implemented alongside abrupt and unannounced changes of speaker, location and time, in order to convey the idea that there are no exemptions to Eliot’s interpretation of common human qualities and experiences. Conversely, social class is also explored – in part II of The Waste Land, â€Å"A Game of Chess†, Eliot juxtaposes a lower-class bar conversation with satire of the opulent, while endorsing – via the comparison of the two – the idea that sexual fulfilment is a critical element in feeling valuable and secure in the society depicted. Indeed, it was Eliot’s opinion at the time that too much emphasis was placed on the importance of fertility, aesthetic appeal and marital security – an idea which is also explored in Portrait of a Lady through the satirical portrayal of a fussing woman, who is described as sitting in â€Å"an atmosphere of Juliet’s tomb†. It could perhaps be considered that Eliot’s prime objective during the early years of his poetry was to paint a picture of the uncertainty and social decay that resulted from the aftermath of WW1 and perhaps even the from the end of the Edwardian era. Consequently, readers must look upon his unpoetic diction and lexicon and remember that he is attempting to create a new type of poetry which reflects the complexity of modern living. Often the sincerity and detailed imagery in Eliot’s work results from a lot of his speakers being vessels through which he expresses himself. It has been speculated that ‘J. Alred Prufrock’ and the speaker of Rhaspsody share the same concerns and characteristics as Eliot; often being solitary, neurasthenic, overly intellectual, and utterly incapable of expressing themselves to the modern complexity of the outside world.

Home Tech Essay -- essays research papers

The Toilet Yes...those tales you've heard are true. The toilet was first patented in England in 1775, invented by one Thomas Crapper, but the extraordinary automatic device called the flush toilet has been around for a long time. Leonardo Da Vinci in the 1400's designed one that worked, at least on paper, and Queen Elizabeth I reputably had one in her palace in Richmond in 1556, complete with flushing and overflow pipes, a bowl valve and a drain trap. In all versions, ancient and modern, the working principle is the same. Tripping a single lever (the handle) sets in motion a series of actions. The trip handle lifts the seal, usually a rubber flapper, allowing water to flow into the bowl. When the tank is nearly empty, the flap falls back in place over the water outlet. A floating ball falls with the water level, opening the water supply inlet valve just as the outlet is being closed. Water flows through the bowl refill tube into the overflow pipe to replenish the trap sealing water. As the water level in the tank nears the top of the overflow pipe, the float closes the inlet valve, completing the cycle. From the oldest of gadgets in the bathroom, let's turn to one of the newest, the toothpaste pump. Sick and tired of toothpaste squeezed all over your sink and faucets? Does your spouse never ever roll down the tube and continually squeezes it in the middle? Then the toothpaste pump is for you! When you press the button it pushes an internal, grooved rod down the tube. Near the bottom of the rod is a piston, supported by little metal flanges called "dogs", which seat themselves in the grooves on the rod. As the rod moves down, the dogs slide out of the groove they're in and click into the one above it. When you release the button, the spring brings the rod back up carrying the piston with it, now seated one notch higher. This pushes one-notch's-worth of toothpaste out of the nozzle. A measured amount of toothpaste every time and no more goo on the sink. Refrigerators Over 90 percent of all North American homes with electricity have refrigerators. It seems to be the one appliance that North Americans can just not do without. The machine's popularity as a food preserver is a relatively recent phenomenon, considering that the principles were known as early as 1748. A liquid absorbs heat from its surroundings when it evaporates into a gas; a gas release... ... alone are sold every day in North America. Ink feeds by gravity through five veins in a nose cone, usually made of brass, to a tungsten carbide ball. During the writing process, the ball rotates, picking up a continuous ink supply through the nose cone and transferring it to the writing paper. The ball is a perfect sphere, which must fit precisely into the extremely smooth nose cone socket so that it will rotate freely yet be held tightly in place so that there is an even ink flow. Although it sounds deceptively simple, perhaps the most amazing thing about ball-point pens is the ink. Why doesn't it just run out the end? Why doesn't it dry up in the plastic cartridge? Bic describes the ink as "exclusive, fast-drying, yet free flowing". The formula is, of course, secret. In the 19th century, writer and thinker Ralph Waldo Emerson expressed a fear that perhaps we all feel to some extent, that "things are in the saddle and ride Mankind". But with the help of good household reference books, friendly reference librarians, and helpful manufacturers only too willing to help consumers understand their products, we can at least get a rein on the technology in our homes.

Ajanta Caves Essay

Ajanta Caves in Maharashtra, India are a Buddhist monastery complex of twenty-nine rock-cut cave monuments containing paintings and sculpture considered to be masterpieces of both â€Å"Buddhist religious art†[1] and â€Å"universal pictorial art†[2] The caves are located just outside the village of Ajiná ¹ ­hÄ  in Aurangabad District in the Indian state of Maharashtra (N. lat. 20 deg. 30†² by E. long. 75 deg. 40†²). Since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. Excavation of the caves began in the third-second century B.C.E., during the period when Dakshinapath was ruled by Satavahana dynasty, and activity at the complex continued until the fifth to sixth century C.E., when the region was ruled by Vakatakas. Both the Satavahanas and Vakatakas were followers of Brahmanism, but also patronized the Buddhist shrines. The walls, ceilings and columns of the caves were covered with complex compositions of the Jataka stories (the stories of the Buddha’s former existences as Boddhisattva), and ornate floral and animal decorations. The exuberance and richness of the painting suggests that the artists were accustomed to painting secular as well as religious works. The paintings have a natural fluidity, depth and volume not found in later, more stylized Indian art. Jataka tales from the Ajanta caves Ajanta Caves – view from ticket officeAjanta Caves in Maharashtra, India are a Buddhist monastery complex of twenty-nine rock-cut cave monuments containing paintings and sculpture considered to be masterpieces of both â€Å"Buddhist religious art†[1] and â€Å"universal pictorial art†[2] The caves are located just outside the village of Ajiná ¹ ­hÄ  in Aurangabad District in the Indian state of Maharashtra (N. lat. 20 deg. 30†² by E. long. 75 deg. 40†²). Since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. Excavation of the caves began in the third-second century B.C.E., during the period when Dakshinapath was ruled by Satavahana dynasty, and activity at the complex continued until the fifth to sixth century C.E., when the region was ruled by Vakatakas. Both the Satavahanas and Vakatakas were followers of Brahmanism, but also patronized the Buddhist shrines. The walls, ceilings and columns of the caves were covered with complex compositions of the Jataka stories (the stories of the Buddha’s former existences as  Boddhisattva), and ornate floral and animal decorations. The exuberance and richness of the painting suggests that the artists were accustomed to painting secular as well as religious works. The paintings have a natural fluidity, depth and volume not found in later, more stylized Indian art. Jataka tales from the Ajanta caves Ajanta Caves – view from ticket office Horse shoe shaped Ajanta caves view from Caves Viewpoint some eight kms away Contents [hide] †¢1 Description and History †¢2 Dating of the Caves †¢3 Structure of the Caves o3.1 Cave One o3.2 Cave Two †¢4 Paintings †¢5 See also †¢6 Notes †¢7 References †¢8 External links †¢9 Credits Description and History The Ajanta Caves are a Buddhist monastery complex consisting of 29 caves (as officially numbered by the Archaeological Survey of India), located in a wooded and rugged horseshoe-shaped ravine about 3.5 km from the village of Ajintha, which is situated in the AurangÄ bÄ d district of Maharashtra State in India (106 kilometers away from the city of Aurangabad). Along the bottom of the ravine runs the Waghur River, a mountain stream. The caves, carved into the south side of the precipitous scarp made by the cutting of the ravine, vary from 35 to 110 feet in elevation above the bed of the stream. The monastic complex of Ajanta consists of several viharas (monastic halls of residence) and chaitya-grihas (stupa monument halls), adorned with  architectural details, sculptures and paintings that, even in their partially damaged state, are considered one of the glories of world art.[3] Excavation of the caves began in the third-second century B.C.E., during the period when Dakshinapath was ruled by Satavahana dynasty, and activity at the complex continued until the fifth to the sixth century C.E., when the region was ruled by Vakatakas. Both the Satavahanas and Vakatakas were followers of Brahmanism; nevertheless, they not only generated a liberal climate in which all religions could flourish, but also patronized the Buddhist shrines. The mention of a rock-cut monastery as the abode of the Buddhist monk Achala celebrated Buddhist philosopher and author of well-known books on logic, and the mountain range where it was located, the monastery being for certain Cave No. 26 and the mountain range, Ajanta ridge, appeared in the travel account of the Chinese pilgrim Hiuen Tsang, who visited India in the seventh century C.E. and stayed there for 15 years[4]. Nothing more was known of Ajanta before 1819, when some British officers of the Madras Army made a chance discovery of this magnificent site. They named it Ajanta after the name of the nearest village. In 1843, after a gap of 25 years, James Fergusson presented a paper to the Royal Asiatic Society of Great Britain and Ireland and drew global attention to the site. The M adras Army deputed its officer R. Gill to prepare copies of the Ajanta murals. Gill worked from 1849 to 1855 and prepared 30 paintings, but unfortunately they were destroyed in a fire in 1866. The efforts to discover Ajanta progressed in two directions, the preparation of copies of the murals, and research on Ajanta’s other aspects. Mr. Griffiths, the Superintendent and Principal of Sir Jamshedji Jijibhai School of Art, Bombay, was at Ajanta from 1872 to 1885 with a team of his students, to copy its murals, but unfortunately most of these were also destroyed in a fire. Finally, Lady Haringham and a team of artists comprising Syed Ahmad and Mohammad Fazlud-din of Hyderabad and Nandalal Bose, Asit Kumar Haldar and Samarendranath Gupta of the Calcutta School, camped at Ajanta from 1910 to 1912 copying its murals. In 1956-1957 the Archeological Survey of India took up the project and authentic copies of the murals were prepared. In 1983, the Ajanta Caves were declared a UNESCO World Heritage Site. Dating of the Caves The period during which Ajanta Caves were excavated stretches over eight- or nine hundred years from the third- to second century B.C.E. to the fifth- sixth century C.E. The caves reveal two distinct phases of excavation. Six of them, namely, caves 9, 10, 8, 12, 13, and 15-A (the last one was re-discovered in 1956, and is still not officially numbered), belong to the early period. Caves 9 and 10 appear to have been excavated during the second half of the third or the first half of the second century B.C.E.. The other four date from the first century B.C.E. However, Cave 10 is the earliest; it precedes even Cave 9 by at least 50 years. Caves 12, 13, and 15A of this phase are vihÄ ras (monastic halls of residence). During this period, Buddhism pursued the HÄ «nayÄ na doctrine, which initially prohibited the worship of anthropomorphic images of Buddha. Caves 9 and 10, the Chaitya-grahas (homes of the Sacred, monument halls) do not have anthropomorphic images of Buddha, though on th e faà §ade of Cave No. 9 such images were subsequently added. Around the first century B.C.E.Hinayana allowed the making of Buddha’s personal images. The shift from non-image to image characterizes other caves of this early phase, known as the Hinayana-Satavahana phase. Caves 1, 2, 4, 7, 11, 14, 15, 16, 17, 18, 19, 20 to 24, 25, 26, 27, 28 and 29 belong to the later phase, which began three centuries later, from the fifth to the sixth century C.E.. Buddhism had largely shifted to Mahayana doctrine and the region was ruled by Vakatakas of the Vatsagulma branch, who were also the patrons of these caves; this phase is usually known as Mahayana-Vakataka phase. As suggested by epigraphic records, Caves No. 16 and 17 were commissioned by Vakataka ruler Harishena (475-500 C.E.) through one of his ministers Varahadeva, who was posted at the site for supervising the progress, and a subordinate vassal of the area respectively. Ajanta had been a center of monastic and religious activities since the second- to first century B.C.E.; the embellishment of facades and wall spaces with paintings and sculptures continued all through. However, the excavation of the caves seems to have been suspended until the excavation of Caves 16 and 17. Cave 8 was long thought to be a HinayÄ na cave; however current research shows that it is in fact a Mahayana cave. Three chaitya-grihas, caves 19, 26, and 29, were excavated during the Vakataka or Mahayana phase. The last cave was abandoned soon after it was begun. The rest of the excavations are viharas: caves 1-3, 5-8, 11, 14-18,  20-25, and 27-28. None of the caves in the Vakataka phase were ever fully completed. Based on the archaeological evidence visible on site, the suggestion of Walter M. Spink that a crisis occurred when the ruling Vakataka dynasty suddenly fell out of power and forced all activities to a sudden halt, is increasingly gaining acceptance. Structure of the Caves The viharas are of various sizes, the maximum being about 52 feet. They are often square-shaped. Their designs are varied; some have simple and some have ornate facades, some have a porch and others do not. The hall was an essential element of a vihara. The early viharas of the Vakataka phase were not intended to have shrines because they were meant to be used solely as halls of residence and congregation. Later, a shrine set in the back wall of the vihara became a norm. The shrines were fashion to house a central object of reverence, often the image of the Buddha seated in the dharmachakrapravartana mudra (the gesture of teaching position). In the more recent caves, subsidiary shrines are added on the side walls, porch or the front-court. The facades of many vihÄ ras are decorated with carvings, and walls and ceilings were often covered with paintings. Most of the subjects of the paintings have been identified by the German Ajantologist, Dieter Schlingloff. Cave One Painting from Cave No. 1 Cave 1 The first cave on the eastern end of the horse-shoe shaped scarp, it is, according to Spink, one of the latest caves to have begun on site and brought to near-completion in the VÄ kÄ Ã… £aka phase. Although there is no epigraphic evidence, it has been proposed that the VÄ kÄ Ã… £aka king Harisena may have been the benefactor of this better-preserved cave. This cave has an elaborate carving on its facade with relief sculptures on entablature and fridges, depicting scenes from the life of the Buddha as well as a number of decorative motifs. A two-pillared portico, visible in nineteenth-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side, and a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that  the porch was not excavated in the latest phase of Ajanta, when pillared vestibules had became the norm. Most areas of the porch were once covered with murals, of whi ch many fragments remain. There are three doorways: a central doorway and two side doorways, and two square windows carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet long and 20 feet high. A square colonnade of 12 pillars inside supports the ceiling and creates spacious aisles along the walls. A shrine carved on the rear wall houses an impressive seated image of the Buddha, his hands in the dharmachakrapravartana mudra (position). There are four cells on each of the left, rear, and the right walls. The walls are covered with paintings in a fair state of preservation, depicting mostly didactic, devotional, and ornamental scenes from the Jataka stories (the stories of the Buddha’s former existences as Boddhisattva), the life of the Gautam Buddha, and those of his veneration. Cave Two Painting, Cave No. 2 (?) Painting from the Ajanta caves Ajanta Caves Ajanta Caves Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It resembles Cave 1 and is in a better state of preservation. The porch and the facade carvings are different, and the cave is supported by robust ornamented pillars, but the size and ground plan have many aspects in common with the first cave. The front porch has of cells supported by pillared vestibules on both ends; porch-end cells, which provided more room, symmetry, and beauty, became a trend in all later Vakataka excavations. The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha’s life in former existences as Bodhisattva. The porch’s rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interiors. Four colonnades arranged in a square support the ceiling; the  capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative and semi-divine forms. The paintings covering the walls and ceilings are eroded and fragmentary at various places. Painted narratives of the Jataka tales are depicted on the walls in such a way that a devotee walking through the aisles between the colonnades and the wall would be able to â€Å"read† about the Buddha’s teachings and life through successive births. Paintings The Ajanta Cave paintings are the earliest and most important wall paintings in India and are particularly significant because all other forms of painting, such as palace murals and painting on wood, cloth or palm-leaf from before about 1000 C.E. have not survived. [5] The technique and process used to create the Ajanta cave paintings are unlike any other artwork found in the art history of other civilizations, and are unique within the history of South Asian art. The walls, ceilings and columns of the caves were covered with complex compositions of the Jataka stories and ornate floral and animal decorations. The paintings depict a universe in which aristocratic men and women dwell in harmony with an abundant nature. The exuberance and richness of the painting suggests that the artists were accustomed to painting secular as well as religious works. The process of painting involved several stages. First, the rock surface was chiseled to make it rough enough to hold a plaster made of c lay, hay, dung and lime over a clay under-layer. Differences are found in the ingredients and their proportions from cave to cave. While the plaster was still wet, the drawings were outlined and the colors applied. The wet plaster had the capacity to soak up the color so that the color became a part of the surface and would not peel off or decay easily. The colors were referred to as ‘earth colors’ or ‘vegetable colors.’ Various kinds of stones, minerals, and plants were used in combinations to prepare different colors. The paint brushes used to create the artwork were made from animal hair and twigs. The outline drawing has a fluency and vigor not found in later Indian painting. Modeling and highlights, as well as spatial recession are used to accentuate the volume of the figures. The latest paintings show some of the highly-stylized, flatter qualities of paintings from the succeeding centuries. Sculptures were often covered with stucco to give them a fine finish and lustrous  polish. The stucco had the ingredients of lime and powdered sea-shell or conch. The latter afforded exceptio nal shine and smoothness. In cave upper 6, where some of it is extant, the smoothness resembles the surface of glass. See also The Ajanta Caves (Ajiá ¹â€¡Ã¡ ¹ ­hÄ  leni; Marathi: à ¤â€¦Ã  ¤Å"à ¤ ¿Ã  ¤â€šÃ  ¤  Ã  ¤ ¾ à ¤ ²Ã  ¥â€¡Ã  ¤ £Ã  ¥â‚¬) in Aurangabad district of Maharashtra, India are 30 rock-cut cave monuments which date from the 2nd century BCE to the 600 CE. The caves include paintings and sculptures considered to be masterpieces of Buddhist religious art (which depict the Jataka tales)[1] as well as frescos which are reminiscent of the Sigiriya paintings in Sri Lanka.[2] The caves were built in two phases starting around 2nd century BCE, with the second group of caves built around 600 CE.[3] It is a protected monument under the Archaeological Survey of India.[4] Since 1983, the Ajanta Caves have been a UNESCO World Heritage Site. The caves are located in the Indian state of Maharashtra, near Jalgaon, just outside the village of Ajiná ¹ ­hÄ  (20 °31†²56†³N 75 °44†²44†³E). Caves are only about 59 kilometers from Jalgaon Railway station (on Delhi – Mumbai, Rail line of the Central railways, India); and 104 kilometers from Aurangabad (from Ellora Caves 100 Kilometers). Contents [hide] †¢1 First period †¢2 Second period †¢3 Rediscovery by Europeans †¢4 Cave One †¢5 Cave Two o5.1 The facade o5.2 The porch o5.3 The hall o5.4 The paintings †¢6 Cave Four †¢7 See also †¢8 References †¢9 Literature †¢10 External links [edit]First period According to Spink (2006), the first phase was the construction of sanctuaries (known as chaytia-grihas) built during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) in the canyons of the Waghora River. The caves 9, 10, 12 and 15A were constructed during this period.[5] Murals preserved from this time belong to the oldest monuments of painted art in India. Bird’s eye view of Ajanta Caves. [edit]Second period Ajanta Caves, map Scholars disagree about the date of the Ajanta Caves’ second period. For a time it was thought that the work was done over a long period from the fourth to the 7th century AD, but recently long-time researcher Walter M. Spink declared that most of the work took place over short time period, from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. Some 20 cave temples were simultaneously created, for the most part viharas: monasteries with a sanctuary in the structure’s rear centre. Each of cave temples seem to be patronised by influential authority, numerous best available artists have been involved in the work with fruitful rivalry between the neighbouring construction sites.[6] According to Spink, the Ajanta Caves appear to have been abandoned shortly after the fall of Harishena c. 480 CE. Since then, these temples have been abandoned and gradually forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, un visited and undisturbed.[7] [edit]Rediscovery by Europeans On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to one of the cave temples (Cave No. 10) deep within the tangled undergrowth. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other, larger, animals, Captain Smith scratched his name in on one of the pillars. Still faintly visible, it records his name and the date, April 1819. Since he stood on a five foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult.[8] Shortly after this discovery, the Ajanta Caves became renowned for their exotic setting, impressive architecture, historic artwork, and long-forgotten history. [edit]Cave One Painting of Padmapani and Vajrapani from Cave No. 1 Porch of cave no. 1. Ajanta Caves The first cave was built on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in theVÄ kÄ Ã… £aka phase.[clarification needed] Although there is no epigraphic evidence, it has been proposed that the VÄ kÄ Ã… £aka Emperor Harishena may have been the benefactor of this better-preserved cave. A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta. This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6.1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the ‘dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls. The  walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. The themes are from the Jataka stories (the stories of the Buddha’s former existences as Bodhisattva), the life of the Gautama Buddha, and those of his veneration. [edit] Cave Two Ajanta Caves ï‚ § Painting, cave no. 2. ï‚ § Painting from the Ajanta Caves. ï‚ § A section of the mural at Ajanta in Cave No 17, depicts the ‘coming of Sinhala’. The prince (Prince Vijaya) is seen in both of groups of elephants and riders. ï‚ §The consecration of KingSinhala (Prince Vijaya) (Detail from the Ajanta Mural of Cave No 17). ï‚ § Entrance of cave no. 9. ï‚ § Lord Buddha in preaching pose flanked by Bodhisattvas, Cave 4, Ajanta. Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation. The facade Cave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the first cave. The porch The front porch consists of cells supported by pillared vestibules on both  ends. The cells on the previously â€Å"wasted areas† were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty. The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha’s life in former existences as Bodhisattva. The porch’s rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior. The hall The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms. The paintings Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha’s teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and ‘read’ the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site’s rediscovery in 1819. Dieter Schlingloff’s identifications have updated our knowledge on the subject. Some believe that the art work has erroneously been alluded to as â€Å"fresco†, rather than mural, and assert that the technique and process used to produce this kind of artwork is unlike any other artwork found in the art history of other civilizations, including within the history of South Asian art. Cave Four The Archeological Survey of India board outside the caves gives the following detail about cave 4 : â€Å"This is the largest monastery planned on a grandiose scale but was never finished.An inscription on the pedestal of the buddha’s image mentions that it was a gift from a person named Mathura and paleographically belongs to 6 th century A.D. It consists of a verandah , a hypostylar hall, sanctum with an antechamber and a series of unfinished cells.The sanctum houses a colossal image of Lord buddha in preaching pose flanked

Analysis of Language Essay

â€Å"Keyed in† published by Internet blogger Voxi is a persuasive article regarding the technological boom being experienced by not only today’s youth but by society in general. Published on May 23, 2009 on website Ctrl Alt â€Å"Keyed in† Voxi, contends that society and its members should herald the implementation of new technology and welcome it with open arms, contrasting the internet with great historical discoveries such as Darwinism and the reorganisation of the cosmos. The title itself has a double meaning, the first and most obvious of which is the literal keyboard associated with technology and the second refers to those who are keyed in to an ever-changing society and willing to move with it as opposed to be left behind. The article begins with a non-confrontational tone however throughout Voxi begins to show a more compelling tone. Accompanying Voxi’s article is a picture of a human head withholding a microchip that projects multiple layers, th e main point of this is to make the reader think about how technology has been embedded into the core of society and implemented into every layer of the world today. Voxi’s contention is pro digital technology and is this is strategically withheld until the 5th paragraph so that readers will read on, curious of the writers contention Voxi continuously simplifies and exemplifies his arguments through metaphoric language, allowing for readers to fully comprehend his opinion whilst addressing the additional attention required. By contrasting people who embrace technology with â€Å"the grit [of] an oyster†, readers are initially made to regard individuals who accept change as stubborn, unwanted members of society. However Voxi diverts this analogy, positively presenting these â€Å"gritty people† by explaining how oysters â€Å"produce pearls†. Readers are allowed to distinguish the relationship between the beauty of pearls, with the accomplishments of those who wish to make â€Å"things better†, evoking gratitude towards these individuals who â€Å"ask questions†. Through the inclusion of television series â€Å"The Inventors†, Voxi aims his opinion piece towards those who enjoy witnessing the progression of technology into exciting ventures. By correlating the â€Å"gritt y people† with individuals who eventually enter the show, Voxi aspires to present readers with members of  society who wish to improve quality of life. As readers witness the potential benefits of change in their lives, they feel inclined to accept the alterations in all forms, including technology. Voxi introduces readers to the concept of beneficial change prior to his contention of digital technology being a great opportunity for humanity, as a way of creating susceptibility within readers towards accepting alterations in life. The writer promotes the â€Å"digital revolution† through a quick succession of psychological benefits, in that humans will â€Å"solve the riddles of the universe, find cures faster [and] find ways of preserving the planet†. By presenting a promising future, readers are encouraged to embrace such hope and reject the â€Å"boundaries of darkness†. Through using the comical term â€Å"homo supersapien†, Voxi introduces readers to a more relaxed aspect of his opinion piece, using a less eccentric tone to formulate the possibility of an advanced race of humans. The writer further explains how this superior human species will be capable of â€Å"ending war and violence†, exciting readers to the prospect of world peace. By expressing an aspect of world culture wished by all members of society, Voxi instruments his argument to appeal to reader’s humanity. However Voxi also notes to include the flaws in his argument, through the inclusion of a podcast which consist of the negative attributes associated with technology, such as â€Å"the digital world is a world†¦where nothing has meaning†. The podcast itself is efficient through repetitive language in â€Å"a world†¦Ã¢â‚¬  so as to emphasise the significance of technology on society. By demonstrating that he is unbiased towards the subject, the writer positions readers to be more accepting of his contention as they are exposed to both aspects of the debate, and so are allowed to establish an opinion on the issue themselves. By revealing both facets of the dilemma, Voxi gains readers trust as they are not mislead or withheld from information. The fear of privacy invasion is also addressed, in that Voxi offers relatively simple solutions to an initially complex problem. As a major concern in the development of technology is privacy issues, Voxi explains how â€Å"you can protest† and â€Å"get them removed† if worried. By confronting the  issue and proposing an answer reader’s trust in the writer is reinforced, as he has for the second time confronted a flaw in his argument. Voxi capitalises on this technique by proceeding to include the rhetorical question, â€Å"why wouldn’t you want it in your life?†, so as to impose a one-directional response from readers who proceed to feel pressured to comply with the writer’s contention. Voxi repeats this methodology when addressing the concerns of older readers, when he asks â€Å"What’s there to be afraid of?†. By yielding no obvious response, these individuals are inclined to consider Voxi’s answer and consequently accept it. The writer alters the form of writing to be more personal, by noting that â€Å"hot air balloons are always†¦looking into my windows too†. This is so as to subdue reader concerns for safety in light of technological advancements, by reminding them that he too is an ordinary member of society. By expressing his contempt attitude towards the risk involved with â€Å"digital revolution†, concerned readers are comforted and are less inclined to oppose the writer. Voxi later described individuals who reject technology as â€Å"losers†, implementing a direct attack on people who oppose his contention. Such action is done so as to direct readers to feel part of the majority, playing on the instinctual desire of humans to belong. The strategic placement of this assault at the conclusion of the opinion piece, infers that this last technique is aimed towards readers who are yet to comply with the writer’s argument. Through both inclusive and attacking language, the writer evokes compliance from readers, by allowing them to relate to him and feel pressured to accept the contention. By including flaws the writer gains reader support as they are not mislead and denied information, further reinforcing the argument that the â€Å"digital revolution† should be embraced, and without it you won’t be â€Å"in touch and connected†.