To explain how the enthalpy change of neutralisation can be used to determine the relative strength of an unknown acid Essay Example

To explain how the enthalpy change of neutralisation can be used to determine the relative strength of an unknown acid Essay Monoprotic (monobasic): An acid that has only one acidic hydrogen atom in its molecules; common examples are hydrochloric acid (HCl) and nitric acid (HNO3).Prediction and Scientific Background: Standard Molar Enthalpy of Neutralisation (/Hn,) is the enthalpy change per mole of water formed in the neutralisation of an acid by an alkali, (298K and 1 atm).* Unknown Acid (aq) + NaOH (aq) Salt (aq) + Water (l)* In aqueous solution, strong acids and bases are completely dissociated and Hneut is approximately equal to -57.9 kJ mol-1. This neutralization process corresponds to the reaction: H+ (aq) + OH- (aq) H2O (l)* For weak acids, this enthalpy change is less exothermic because some input of energy is required to dissociate the acid. Therefore the Hneut of weak acids and bases is more positive than -57kJmol-1.Hydrochloric acid (strong acid): As HCl is a strong acid; it is a good proton donor, with near to complete dissociation in water. HCl (aq) H+ (aq) + Cl- (aq). Hence a strong acid completely dissociates into ions.Ethanoic acid (weak acid): As CH3COOH is a strong acid; it is a poor proton donor. The dissociation in the water is equilibrium, with the equilibrium position well to the left-hand side of the equation.CH3COOH (aq) H+ (aq) + CH3COO- (aq). For every 250 molecules of ethanoic acid, only 1 molecule dissociates and only a small proportion of the potential acidic power is released as H+. A weak acid only partially dissociates into ions.Strong Acids: When an acid dissolves in water, a proton (hydrogen ion) is transferred to a water molecule to produce a hydroxonium ion and a negative ion depending on what acid you are starting from. In the general case:These reactions are all reversible, but in some cases, the acid is so good at giving away hydrogen ions that we can think of the reaction as being one-way. The acid is virtually 100% ionised. For example, when hydrogen chloride dissolves in water to make hydrochloric acid, so little of the reverse reaction h appens that we can write:At any one time, virtually 100% of the hydrogen chloride will have reacted to produce hydroxonium ions and chloride ions. Hydrogen chloride is described as a strong acid. Thus, a strong acid is one which is virtually 100% ionised in solution. Other common strong acids include sulphuric acid and nitric acid.You may find the equation for the ionisation written in a simplified form:This shows the hydrogen chloride dissolved in the water splitting to give hydrogen ions in solution and chloride ions in solution. This version is often used in this work just to make things look easier. If you use it, remember that the water is actually involved, and that when you write H+(aq) what you really mean is a hydroxonium ion, H3O+.Weak Acids: A weak acid is one, which does not ionise fully when it is dissolved in water. Ethanoic acid is a typical weak acid. It reacts with water to produce hydroxonium ions and ethanoate ions, but the back reaction is more successful than th e forward one. The ions react very easily to reform the acid and the water.At any one time, only about 1% of the ethanoic acid molecules have converted into ions. The rest remain as simple ethanoic acid molecules. Most organic acids are weak. Hydrogen fluoride (dissolving in water to produce hydrofluoric acid) is also a weak inorganic acid.Apparatus:* 3 100cm3 beakers* 50cm3 burette* Coffee cup calorimeter: This is a simple, inexpensive device used in many general chemistry labs. It is made of two nested and capped cups made of Styrofoam; making it a very good insulator. When a reaction occurs in such a calorimeter, minimal heat is lost to the surroundings. It the reaction involves heat, for example, nearly all the heat stays within the solution in the calorimeter, where it causes an easily measured temperature increase. In the calculations involving a coffee cup calorimeter, the negligible heat absorbed by the Styrofoam will have to be ignored. This works acceptably well when the maximum temperature is reached soon after the reaction is initiated.* Glass rod* Stand and clamp* Stopwatch* ThermometerProcedure: A watch glass will be placed on an electronic balance to provide an accurate reading of its weight; this reading however is not required and may create a series of problems. Therefore to deal with this, the balance will be set to zero, so that it would not record the weight of the watch glass and consequently would only record the weight of the given solute. The white anhydrous solute, of the unknown acid will slowly be placed onto the watch glass with a spatula, so that the reading would accurately match the specified amount required: -RMM = 135Moles = 1.00MGrams (1 litre) = 135 x 1.00= 135gGrams (50cm3) = 135 ? 20= 6.75gNext a measuring cylinder will be filled with an accurate 50cm3 of distilled water. The unknown acid solute will then be poured into a clean 100cm3 beaker (labelled U). Subsequently the distilled water will be gently poured into the bea ker, making sure that any remaining solute on the watch glass will be rinsed gently into the beaker. To ensure the solute had fully dissolved, a thin glass rod could be used to grind and mix any large residual pieces this would ensure that results were not inaccurate, as the acid would be prepared incorrectly.A 100cm3 beaker (labelled NaOH) will be filled with approximately 75cm3 of sodium hydroxide (1.00M). A burette will be rinsed off with approximately 10cm3 of the sodium hydroxide, which will then be run into the sink. This consequently guarantees that each solution will not become diluted by excess water, or otherwise cause inaccurate results to arise due to the addition of any foreign chemicals from previous experiments. Moreover the beakers will be labelled according to their content, so the different colourless solutions can be clearly identified; reducing the probability of mistakes, which may cause serious problems and/or queries to arise.A stand and clamp will be acquire d to which the burette will be placed vertically. The sodium hydroxide must be steadily poured into the burette until the meniscus of the solution is in line with the measurement 0 making sure the measurements and results are as precise as possible. Subsequently the hydroxide will be run into a clean coffee cup, making sure that practically 50cm3 is contained within this calorimeter. An appropriate calorimeter for the investigation will be plastic cup, as it would sufficiently limit the amount of heat loss during the chemical reaction of neutralisation, as the material acts as an insulator, thus providing more reliable and accurate results leading to a defined inference. Afterwards the burette will be firstly rinsed off with tap water and then with approximately 10cm3 of unknown acid, which will consequently be run into the sink (to remove any excess sodium hydroxide).Similarly the unknown acid will be steadily poured into the burette until the meniscus of the solution is in line w ith the measurement 0. Then 50cm3 of the sodium hydroxide will be run into a clean 100cm3 glass beaker. At this point, two comparable thermometers will be used to test the temperature of each solution for 3 minutes; a stopwatch will be used to record the temperature (used effectively to gain accurate recordings) at 0.5-minute intervals (every 30 seconds). When the temperature is efficiently recorded the unknown acid will be added to the sodium hydroxide. Afterwards a lid consisting of a small hole (in the centre) will immediately be placed securely on the cup to ensure a minimal amount of heat is lost (due to evaporation or convection), however in this gap of approximately 10-20 seconds a significant amount of heat could be lost or gained thus causing a change (major or minor) that may result in inaccurate recordings developing. When the initial drop of the acid will be applied to the sodium hydroxide the thermometer (that fits through the specific hole) will be used to stir the mix ture and additionally record the temperature of the mixture, with the aid of the stopwatch at regular 0.5-minute intervals (every 30 seconds) for a period of five minutes. This experiment will be repeated a further two times and due to this a mean value can be obtained for the temperature change.Safety procedures: Safety glasses and gloves will be worn for health and safety reasons, and therefore as the chemicals are hazardous a risk assessment has been constructed in order to reduce the possibility of accidents or future problems. When chemicals have been used they must be sealed to confine any toxic gases being released. Furthermore chemicals may have to be placed within a fume cupboard to rid of any noxious fumes. Below is a risk assessment concerning the chemicals used within the investigation, along with information regarding potential dangers, as well as precautions that may need to be executed when dealing with an unknown acid:Chemical and Structural FormulaRisk AssessmentTox icologyAction (Personal Protection)Sodium Hydroxide (NaOH)Harmful/IrritantVery corrosive and causes severe burns. May cause serious permanent eye damage. Very harmful by ingestion. Harmful by skin contact or by inhalation of dust.Safety glasses, Neoprene or PVC gloves, adequate ventilation.Unknown AcidCould be harmful, an Irritant, highly flammable or even toxicCould causes burns, be toxic by inhalation, ingestion and through skin absorption. Could be probable human carcinogen. Could cause damage to kidneys. Could cause allergic reactions. Could cause sensitisation. Could cause heritable genetic damage. Could be very destructive to mucous membranes, upper respiratory tract as well as eyes and skin.Safety glasses, Neoprene or PVC gloves, adequate ventilation.Calculations: A concentration of 1.00M NaOH and 1.00M of the unknown acid will be used within the experiment as it provides a simple 1:1 ratio enabling calculations to be constructed without difficulty, thus limiting errors in th e analysis. Furthermore these moderately dilute concentrations are able to safely and appropriately handled under standard conditions.Results Table: Temperatures will be measured to the one decimal place. 0 will be the temperature of the reactants (NaOH and unknown acid).Time (minutes 1d.p.)0.00.51.01.52.02.53.04.04.55.0Temperature (oC 1d.p.)In order to demonstrate how the molar enthalpy change of neutralisation would be calculated, temperatures and numerical values could be practically invented, but the molarity and volumes will remain the same.Results: When 50cm3 of 1.00M NaOH at 25.5oC was added to 50cm3 of the 1.00M unknown acid at 25.5oC; in the coffee cup calorimeter, the temperature increased to a 32.4 oCAssumptions:* Because solutions are relatively dilute, it can be assumed that their specific heat capacities are close to that of water, 4.18 J/g/oC* The density of the solutions = 1.0 g/cm3 (actual density of NaOH at 25oC is 1.04 g/cm3)* There are no heat lost to the coffe e cup itself or to the surrounding air* The acid is completely neutralised* Heat evolved = Amount of Substance x Specific Heat Capacity x Temperature ChangeQ = mcTAnalysis: Two particular factors have to be calculated the systems heat capacity and the temperature change.Specific Heat = Heat Capacity/ Mass (g)By rearranging the formula: Heat capacity = Mass (g) x Specific HeatThe mass in this equation refers to the total grams of the combined solutions, but volumes are known. So the densities have to be used to calculate mass.Density = Mass/VolumeSolution: Because the densities for the solution are both 1.00 g/cm3 the cm3 are numerically the same as the grams of the solutions. Each solution mixed has a mass of 50.0g, therefore its total mass = 100.0g. We can now calculate the heat capacity of the final solution at the instant of mixing and immediately before any reaction occurs to increase its temperature. For this solution, the specific heat is 4.18 J/g/oC, so:Heat Capacity = Mass x Specific Heat= 100.0g x 4.18 J/g/oC= 418 J/oCThus the heat capacity of the solution in the calorimeter is 418 J/oC. The reaction increases the systems temperature by t = 32.4 25.5oC = 6.9 oC, so the energy evolved by the reactions can be calculated from:Heat Capacity x t = Heat Energy (Evolved)orHeat Evolved = 418 J/oC x 6.9 oC= 2.9 x 103 JThe temperature change will be obtained from a graph similar to thisNote: Four graphs will be drawn, three to display the individual temperature change for each experiment and another graph to illustrate the mean temperature change. The graphs will bare similarity to this:This is the heat for the specific mixture prepared, but joules per mole of unknown acid are required. To calculate the number of moles of the unknown acid the equation: Molarity (M) = Moles Solute1000cm3 SolutionThe molarity of the acid is 1.00M, so in 50cm3 of the unknown acid solution is 0.0500mol.50.0cm3 of the unknown acid x 1.00 mol = 0.005mol1000cm3The neutralisation of 0.0500mol of acid released 2.9 x 103 J. So, the heat released is:Energy Evolved = 2.9 x 103 J = 58 x 103 J/mol = -58 kJ/mol (exothermic)0.0500molEnthalpy: The term used for the total energy of a system when it is at constant pressure is called the enthalpy of the system, symbolised by H. Enthalpy is a state function so when a system reacts at constant pressure and absorbs or evolves energy, it experiences an enthalpy change, H, defined by:H = H final H initialH final is the enthalpy of the system in its final state and H initial is the enthalpy of the system in its initial state. H is a state function. Its value depends solely on the difference between the initial and final states and not on the mechanism by which the system undergoes this change. For a chemical reaction, the initial state refers to the reactants and the final state to the products, so for a chemical reaction the equation for H can be rewritten as follows: H = H products H reactantsIf a change is exothermic, the s ystem loses heat and its final enthalpy must be less than its initial enthalpy.Thus: H finalH initialTo calculate H from H final and H initial, larger number would have to be subtracted from one that is smaller, so the value of H for all exothermic changes is negative.Requirements: To make sure measurements, observations and recordings are reliable the experiment will be repeated to ensure measurements were precise and as accurate as possible, and therefore due to this each experiment did not provide any anomalous results. To guarantee accuracy, the glassware was washed out with water after each time of use and then dried, to prevent any foreign ions entering the solution, as it may have altered the results. However a significant limiting factor to the experiment is apparatus percentage error, which consequently affects the reliability of results, as volumes were not prepared precisely:Percentage Error of Burette = ? 0.1 x 10050.0Therefore Overall Apparatus Percentage Error = 0.2 x 2 (as the burette was used twice)= 0.4%By adding the apparatus percentage error to the result gained from each acid, it may provide an enhanced understanding of supplementary inaccuracies and faults within the experiments.Due to these results, it is evident that further discrepancies occurred within the experiments in addition to the apparatus percentage error. A possible example was that solutions were made up inaccurately, or not made to the precise concentration of 1M. In addition, as the experiment was done in a class room there were constant alterations in the light intensity, temperature, pressure and chemicals (such as oxygen) in the atmosphere resulting in an increase or decrease in chemical reactions, therefore it was difficult to make this experiment completely accurate. Thus, in order to improve this factor the experiment could be performed in a vacuum, or under calculated standard conditions a pressure of 100kPa, a temperature of 298K (25oC), and by using solutions of c oncentration 1 mol dm-3.

Metamorphosis by Franz Kafka

Metamorphosis by Franz Kafka Franz Kafka’s â€Å"Metamorphosis† is a well knit literary piece in the fiction genre that puts together the shifting events of Gregor; a good man who turned into an insect and his world completely changed. The author takes the reader through Gregor’s black comical escapades that are more satirical than their surface depiction. Advertising We will write a custom book review sample on â€Å"Metamorphosis† by Franz Kafka specifically for you for only $16.05 $11/page Learn More This context embarks on an analysis of the key aspects of this book in a bid to unravel the author’s message, while at the same time noting the literary worth of Kafka’s masterpiece. A thorough scrutiny into Gregor experiences casts real scenes in Franz Kafka’s past life which was miserable and pathetic just like the symbolic cockroach Grogor metamorphosized into. Told from the third person perspective, Kafka uses an intelligent approach b y narrating the story from the protagonist’s viewpoint, and all the readers use Gregor’s eyes as the lens to view the events in the story. Significant emphasis is attached to his feelings and thoughts in an effort to bring out his current understanding of the world prior to his mutation and after his metamorphosis. It is important to note that, irony is used to disapprove Gregor’s thoughts which were exactly the opposite in reality. The target audience in this story is the people who spend their entire life working to please others and forget about their own needs. Kafka’s choice of diction is sufficient and well calculated. The opening of the story clearly introduces the main story to the reader with the creation of a pathetic image in the mind of the readers. The words that Kafka uses to describe the insect Gregor changed into. †¦Ã¢â‚¬ ¦Ã¢â‚¬Å"domelike brown belly divided into stiff arched segments on top† creates an image of a cockroach in the readers mind though Kafka does not directly mention the actual name of the insect. In addition, Kafka’s use of simple words and sentence structures that are easy to understand, makes reading this book an interesting experience. However, the author’s tone from the surface may be termed comic but a deeper analysis portrays a lot of satire and sarcasm. In the midst of comedy, the protagonist fights for his salvation from his guilt and alienation; all resulting from his working conditions. Among the major themes portrayed is alienation, which is facilitated by the irrational nature of the universe. Gregor was a good person who sacrificed his own life to work and take care of his family yet when the worst happened to him, they left him all alone. Disconnection of the mind from the body poses as another major theme. Though Gregor’s body has changed into an insect, his humanity remains. Advertising Looking for book review on literature languages? Let's se e if we can help you! Get your first paper with 15% OFF Learn More This further shows the unending conflict in the story as Gregor tries to make sense of his insect life on one side, and his family takes him for the pathetic cockroach he has become on the other side. Sympathy and its limits emerges as a theme when all his family members find jobs and finally give up on him and leave him all alone. A look into the stylistic devices adopted, metaphor is widely used throughout the story. Gregor’s transformation into an insect is metaphorical as it incapacitates him; he cannot talk, when he talks he cannot be heard, his family cannot see his need to live a free life even in his transformed shape and he is a disgrace. The insect clearly explains Gregor’s state and he has to bear it all alone because no one understands him. The setting is also used as style: It is suffocating and mentally disturbing as well psychologically distressing. This can be evidenced by the four walls of Gregor’s room and their dining room. Through the setting, Kafka uses character development to take the reader through the stages of transformation of Gregor till his death. This text is important as it shows the predicament of the modern man. The world relationships have become more parasitic and people value others based on what they can give. With reference to â€Å"Metamorphosis† by Kafka, the bad always get away with their actions and the good suffers in the hands of the bad. Though this story can trace back into the 20th century, it perfectly fit in the real arena of the 21st century survival.

L2 Journal Article Critique Essay Example | Topics and Well Written Essays - 1000 words

L2 Journal Article Critique - Essay Example There are discussions of few theories in the Second Language Acquisition (SLA) such as Stephen Krashen’s theory though it had some drawbacks and failed to answer few questions. The 1990’s saw some good theories in relation to SLA such as Michael Long’s interaction hypothesis, Merrill Swain’s output hypothesis and Richard Schimdt’s noticing hypothesis. After this brief discussion, the author then goes on to highlight the differences between mother tongue and second language acquisition. He says that learning of a mother tongue is a natural process and the child has the interest of learning it right from the moment he or she is born. On the other hand, learning a foreign is an artificial process and the child has little motivation towards learning it. After this, comes the problem in learning the second language where factors like age, attitude, background/ atmosphere is taken into consideration. It also discusses the interferences from the mother lan guage such as sound, structure, word order and issues like vocabulary, capitalisation, apostrophes and pronunciation. The author then continues the article by discussing the benefits as to how a mother tongue helps during the learning of a second language. Finally the author concludes the article by saying that the first language or the mother tongues definitely causes interference in the learning of the second language. (Bialystok & Hakuta, 1994) The author has done a very good in depth review of the subject at hand. He has started with a brief discussion about first and second to make the readers understand what it actually means. Later on he also glanced into the history of the evolution of second language. In the later part the author has done a thorough discussion about the differences in the mother tongue and second language and how it can pose a problem in the learning. Since the topic of discussion is â€Å"Role of mother tongue in learning English as the second language†, this part is important

Persuasive speech Essay Example | Topics and Well Written Essays - 750 words

Persuasive speech - Essay Example More and more car accidents are declared to be cell phone related, worldwide. According to Vogel (2007), horrific dangers associated with text driving equal those associated with drink driving, in terms of inhibiting a person’s driving abilities. This is more commonly observed in teen drivers, among whom text driving is on a mind-blowing rise despite the continuous efforts of increasing awareness about this issue. This is a deplorable fact that only a minimal percentage of young adults consider text driving potentially capable of distraction leading to awful traffic problems. It is this defiant attitude that is an obstruction in the way of ensuring responsible driving. According to the National Traffic Safety Administration report (cited in Vogel, 2007), distracted drivers account for almost 80% of all crashes and 65% of near-crashes in the United States, only. The question is, when the public, especially youth, will finally open their eyes to the drastic effects of texting wh ile driving? Is the use of cell phone while driving in heavy traffic so important that one can feasibly ignore one’s own safety in addition to ruining the safety chances of other people’s lives? I cannot imagine anyone saying yes to the unjustified use of cell phones while in the midst of traffic, if the consequences of this action are seriously scrutinized. Car crashes due to calling and texting amidst traffic cannot be accurately evaluated or numbered, but this is a general consensus that cell phone use definitely leads to distraction which is the leading cause of car accidents. According to 2008 statistical data regarding the use of cell phones while driving, at any given moment, over 800,000 Americans were texting, making calls, or using a handheld cell phone while driving during the daytime. (cited in Edgar Synder and & Associates, 2010). Research studies of Strayer (cited in Cruz et al., 2009) show that most drivers tend to stare

Recycling paper Lab Report Example | Topics and Well Written Essays - 1500 words

Recycling paper - Lab Report Example Recycling paper It is estimated that recycling one ton of paper saves up to seventeen trees, seven thousand 26500 liters of water, 1400 liters of oil, 3.3 cubic yards of landfill and 4, 000 kilowatts of energy, and reduce green gas emissions by one ton of carbon equivalent. Paper as is known today was first made 2200 years ago in China by an official of the Chinese dynasty; he was known as Ts’ai Lun at Lei Yang. The paper looks at the three most significant usage and benefits of recycling paper. These include: †¢ Recycling leads to the conservation of natural resources as less tress need to be cut to make new paper, which in effect reduces the amount of greenhouse gases emitted to the environment †¢ Recycling also saves energy and water that could have been used during the manufacturing process of paper from virgin trees, below is a research study conducted in the UK, cementing this point †¢ Recycling frees these landfill areas to allow space for other types of trash that cannot be easily recycled. It is also important that such landfills are freed as the cost of land is today at a premium The report therefore seeks to review key developments in paper recycling over the last few decades which saw initiatives aimed at bettering recycling processes, innovations and education play a vital role in increasing recycling rates, the efficacy of certain processes and a surge in more defined corporate social responsibility. The paper looks at the three most significant usage and benefits of recycling paper. These include: Recycling leads to the conservation of natural resources as less tress need to be cut to make new paper, which in effect reduces the amount of greenhouse gases emitted to the environment Recycling also saves energy and water that could have been used during the manufacturing process of paper from virgin trees, below is a research study conducted in the UK, cementing this point Recycling frees these landfill areas to allow space for other types of trash that cannot be easily recycled. It is also important that such landfills are freed as the cost of land is toda y at a premium Introduction It is estimated that recycling one ton of paper saves up to seventeen trees, seven thousand 26500 liters of water, 1400 liters of oil, 3.3 cubic yards of landfill and 4, 000 kilowatts of energy, and reduce green gas emissions by one ton of carbon equivalent. Paper as is known today was first made 2200 years ago in China by an official of the Chinese dynasty; he was known as Ts’ai Lun at Lei Yang (Roth and George, 2000).   However, before Egyptians, Greeks and the Romans used Papyrus weed as a writing materials. This first piece of paper that was made by the Chinese official was rudimentary, rough, and very heavy, despite this shortcomings, this piece of craftsmanship was the stepping stone for production of paper that were much light, and very white. The use of paper cannot be taken lightly; it has immense significant contribution to human civilization and the growth of knowledge. In modern times paper finds use in a variety of uses, paper is use d as packaging materials in most industries, used in making tissue for usage in washrooms, used in production of newspapers for dissemination of information to the public. Moreover, papers are also used in the production of billions of textbooks and exercise books for billions of school going children and higher education purposes. The multiple uses of paper in different sectors human live and particularly the need to increase knowledge continually coupled with the benefit of environmental conservation necessitated recycling of papers. A German immigrant who had gained sufficient knowledge in papermaking first did this human desire in the United States in 1690; he made paper from left cotton wool and wood fiber. The processes The process of recycling paper passes through two important steps, the first is the collection stage, and the second most important stage after collection of paper waste is the processing stage. These two stages have various other sub processes, and they will b e discussed in these subsequent paragraphs. Collection This is the first step in the process of paper recycling, this is the most important and needs contribution from the users of paper, in this process bins containing waste paper should be strategically located in such that a way that users easily identify the bin and deposit waste papers in that bin. Figure 1 Bins that

Iberian Landscape In Jamon Jamon Film Studies Essay

Iberian Landscape In Jamon Jamon Film Studies Essay Explain how Bigas Lunas use of the Iberian landscape in Jamà ³n, jamà ³n contributes to our perception of the films themes. Arguably one of the main concerns of the early 1990s cinematic work of Spanish-Catalan director Bigas Luna is that of place or space (Smith, 2000, 89), and it is within this context that the following discussion of Jamà ³n, jamà ³n (1992), the first film belonging to his Iberian Trilogy, will be placed. If location is key in setting up expectation with regard to theme in Spanish cinema (Jordan Allinson, 2005, 36), the way in which Bigas Luna utilizes the rural locale of Los Monegros is therefore central to the audiences ability to engage with the thematic discourse. In relation to Jamà ³n, jamà ³n, Deleyto (1999, 270) emphasizes the complex use of filmic and real space as the main device with which the principal themes of gender roles and national identity are communicated, themes which form part of what Fouz-Hernà ¡ndez (2005, 189) argues is an overall strategy to scrutinize Spanish stereotypes, or Spanishness (ibid., 189), from the viewpoint of both an outsider and insider. Consequently, by focusing specifically on the two aforementioned themes, the analysis in-hand will examine the Iberian landscape in terms of its allegorical function, whereby it continually negotiates the binary oppositions of femininity and masculinity, nature and manufacture, as well as geography and culture. Ultimately, as the concept of theme corresponds to the focus which unifies the central concerns of a film (Boggs, 1996, 10), I aim to show that it is this dynamic and ubiquitous integration of setting which, by aiding audience perception of the themes of gender and national identity, facilitates a more comprehensive understanding of the filmic work as a whole. Hochbergs (2007, 57) analysis of perception indicates that as film constitutes a communicative process, initiating an early connection with the audience is key to cinematic understanding; a type of engagement which is immediately evident in Jamà ³n, jamà ³n. In the opening sequence, the camera pans down from behind the silhouette of a bull hoarding to reveal a sparse panorama of Los Monegros, however as its bareness gives limited indication as to the location other than that of rural Spain, the setting is instantly set up as a symbolic mar de tierra, donde la aridez hace que todos los elementos destaquen (Alegre, 1991, 10. Consequently, the geographical landscape functions as an allegorical space against which stereotypes can be constructed, in turn alluding to the thematic treatment of characters, rather than as individuals, as symbols of certain kinds of Spanishness (Deleyto, 1999, 270). In highlighting its starkness as the means by which the audience is steered towards acknowledging the representative function of the characters, the geographical setting is performing an active role in the thematic narrative and can be viewed as a protagonist itself. A traditional reading of the earth as a signifier of fertility and motherhood, whilst rendering this seventh character inherently feminine (Deleyto, 1999, 273), is juxtaposed with the historical as well as visually apparent reality of Los Monegros as a terreno [à ¢Ã¢â€š ¬Ã‚ ¦] de secano (Madoz, 1850, 193). As a result, the landscape evokes an opposition between nurture and destruction which is subsequently mirrored in Carmen and Conchita; the former, an embodiment of mother-earth who uses her sexuality to provide for her daughters whilst the latter is a signifier of the arid land, given her excessive displays of voracious motherhood (Deleyto, 1999, 285). As Hochberg (2007, 26) states that symbolisation makes possible pe rception at a distance, the allegorical use of the natural surroundings can be understood as a way of drawing audience attention to the problematic representations of motherhood and femininity that thread throughout the film. The imagery connected with Silvia further demonstrates how the landscape is used to communicate a thematic narrative on gender roles. In her first joint appearance with Josà © Luis, the visual association between the hills and Silvias curvaceous breasts (Fouz-Hernà ¡ndez, 2005, 193) reinforces the link between the land and femininity, with the backdrop of the naked feminine surroundings figuratively mirroring Silvias nude upper body and thus affirming female spatial dominance in the scene. Equally, Silvia occupies a more central and superior physical position in the frame, as Josà © Luis is seen crouching down in order to taste her breasts. As Monaco (2009, 160) argues that the power of film lies in its capacity to state rather than suggest, the use of the Iberian locale to emphasise femininity can be understood as a direct attempt by Bigas Luna to thematically undermine dominant machismo in Spain, and in doing so is calling for the audience to rethink the overall relevance of Spa nish stereotypes. By describing his Iberia as a space in which [à ¢Ã¢â€š ¬Ã‚ ¦] locality is lived with uniquely sensual vividness (Smith, 2000, 107), Bigas Luna acknowledges a sexualised interpretation of the filmic setting. Hence, with sex central to the macho ibà ©rico stereotype (Holder, 1998, 35), the landscapes relation to male virility must be examined, specifically the films thematic portrayal of a stereotypical, almost grotesque version of Spanish masculinity (Jordan Allinson, 2005, 168). Given that our analysis considers the question of spectator perception, it can be proposed that it is precisely by Bigas Luna using the landscape to play with audience expectation that our focus is drawn to the thematic relevance of exaggerated displays of male sexuality. The shots of the Osborne bull hoarding, in both the opening sequence and the scene where Josà © Luis forces himself on Silvia, present a unique perspective from which to view Aragons paisaje desolado (Santabria, 2007, 16); expressly, via the rear outline of the bulls genitals. Whereas from the roadside the observer could straightforwardly identify the image and, in the case of a Spanish audience, its meaning as a famous brandy advert (Vilarà ³s, 1998, 235), viewing the bull hoarding from behind renders its significance difficult to decipher. Furthermore, the cameras focus on the bulls paquete, whilst rendering the perspective oversexed, also shows it to be fractured and so, as it sways unsteadily before the inherently feminine landscape, the shot captures a symbolic destabilization of stereotypical Spanish machismo. Consequently the manipulation of point of view in relation to the landscape (Deleyto, 1999, 273) is a way of asking the audience to take similarly critical view of Jamà ³n, jamà ³ns representation of excessive masculinity. Paradoxically, the relationship between men and the rural landscape contributes to the thematic commentary on gender roles and stereotypes, in turn highlighting the binary complexities associated with Bigas Lunas use of setting. In Raà ºls opening sequence, the use of a travelling shot across the dry land followed by an extreme long shot stresses the framing of him in these arid surroundings, with the distance blurring the boundaries between land and men (Fouz-Hernà ¡ndez Martà ­nez-Expà ³sito, 2007, 21). Given that Monacos (2009, 197) treatment of the diachronic shot indicates that unlike close-ups which deprive us of setting, long shots serve to emphasise context over drama and dialectic over personality, Jamà ³n, jamà ³ns thematic concern for stereotypes over individuals is thus resonated in Bigas Lunas negotiation of the geographic space. Furthermore, as the role of cinematography, and in particular camera movement, is key to how we perceive film by revealing the ideas and images that characters represent (Jordan Allinson, 2005, 46), Raà ºls engagement in a mock bullfight, a stereotypically Spanish and male activity (Jordan Morgan, 1994, 59), illustrates how the use of cinematographic conventions that incorporate the dynamics of setting serve, in effect, to define Raà ºl as the quintessential macho incarnate. Nevertheless, it can be argued that any masculine association of the landscape is merely established in order for it to be interrupted by femininity, as the opening sequence then cuts to Conchitas underwear factory where a female employee, Silvia, runs a sewing machine across a pair of mens briefs, then to another eating a ham sandwich. Given that psychologically the cut is the truer approximation of our natural perception (Monaco, 2009, 172), Bigas Lunas use of it here thus encourages the audience to make an instinctive association between both the preceding and subsequent image; the dramatic interruption by these feminine images figuratively implying male castration and the undermining of the machismo image which precedes it and thus reverting back to a reading of the landscape as inextricably feminine. The encounter in the cinematic space of femininity and masculinity reveals a further allegorical use of the rural landscape as a vehicle for thematic communication. The way in which both the huge bull hoardings and the Sansà ³n advertisement image of Raà ºls crotch penetrate the feminine soil as well as Raà ºls use of this poster to demonstrate his worthiness to Silvia, suggest a bold masculine invasion of the feminine panoramic. Yet, no matter how imposing these symbols of masculinity initially seem against the female landscape, they will never match the vast physical scale of Los Monegros given the immenses à ©tendues de terrain quon y trouve (Berthier, 2001, 30). Subsequently, the central position which appears to be given to the male is shown to be no more than an illusion (DLugo, 1995, 71), as it can be suggested that it is the female terrain which in fact enables these emblems of masculinity to be erect in the first place and therefore holds the power to castrate. Rob Stone (2002, 195) proposes that by flailing so dramatically at machismo Jamà ³n, jamà ³n destroys audience identification with the characters, nevertheless it is this exaggeration, maintained via Bigas Lunas allegorical use of the landscape, which contributes to the films thematic treatment of national identity. In the night-time bullfighting scene Rauls genitals are obscured by the darkness of the physical environment, with the sole light emanating from the moonlight of Mother Nature. Yet, instead of her glow framing the naked male body it delicately highlights the bulls horns and so this gentle treatment of the bull, a phallic emblem and symbolic representation of masculinity in Spain (Jordan Morgan, 1994, 59), combined with a refusal to reveal Raà ºls paquete, weakens the Spanish stereotype of potent machismo. Given the existence of a stereotypical notion of national identity in which male virility in particular is central (Morgan-Tamosunas Jordan, 1994, 60), the landscap es role here in challenging the validity of masculine phallic dominance can be understood as a way of highlighting the issue of problematic national identity in post-transition Spain. The juxtaposition of the rural landscape with the manufactured setting, a space of non-Spanish, globalizing [à ¢Ã¢â€š ¬Ã‚ ¦] capitalism (Fouz-Hernà ¡ndez Martà ­nez-Expà ³sito, 2007, 21), further evokes the ambivalence of national identity; an opposition which is reflected in the male protagonists association with setting. Whilst Raà ºls establishing shot sustains his visual association with the natural surroundings, Josà © Luis is situated within the artificial setting of his family home, a space highly reliant on external symbols of purchasing power (Fouz-Hernà ¡ndez, 2005, 192). Consequently, the initial relationship the males hold with their environment renders them personifications of the tensions between the old (Raul) and the new (Josà © Luis) in postmodern Spain (Fouz-Hernà ¡ndez Martà ­nez-Expà ³sito, 2007, 20). Subsequently, the clash between the manufactured and natural setting in the filmic space reinforces the discord of national identity, including frequent shots of lorries as symbols of consumerism crossing Aragà ³ns barren terrain and the underwear factory drawing Raà ºl away from his traditional ham warehouse, a space which is a showcase of hyper-Spanish and hyper-masculine associations (Jordan Allinson, 2005, 167). In addition, the use of Raà ºl body as a vehicle for commercial consumption via the underwear advertisements which litter the rural panoramic, helps undercut his strength as the physical embodiment of the prototypical macho ibà ©rico (Morgan-Tamosunas Jordan, 1998, 78) and therefore the waning relevance of this image in 1992 Spain. The binary opposition between manufacture and nature can be interpreted as a way of highlighting the national [Spanish] struggle between traditional and contemporary definitions of economic culture and identity (DLugo, 1995, 69). The infiltration of modernity is not simply presented as oppressive, as both Raà ºl and Silvia actively want to occupy the commercial space, with Raà ºl aspiring to own a Mercedes and Silvia desiring a shoe cupboard, both in parallel with Conchita as a representation of consumerism. As such, rural Aragon as an allegory of traditional Spain, is shown to be a place where the only possible escape is via materialistic transactions, reflecting late twentieth century capitalism (Holder, 1998, 33). The characters participation in both the manufactured and natural space thus alludes to a definition of national identity which is no longer based on static traditions, but one that is changing through globalisation, as the postmodernist deconstruction of identity [à ¢Ã¢â€š ¬Ã‚ ¦] means recognition of the fact that Spanishness is a shifting concept, encompassing plurality and contradiction (Labanyi, 1995, 397). The final perspective from which the Iberian landscape will be examined is revealed by Freixas (1992, 36) interpretation of its resonance not only in geographical but also cultural terms. Consequently, the barren space of Aragon can be seen as a canvas on which cultural references are painted in order to reinforce the themes of gender roles and national identity. The binary conflict of the physical landscape, as both manufactured and natural, nurturing yet destructive, is characteristic of Dalis painting Naturaleza Muerta, Viva. Likewise, the positioning of the factory, cars and coke can as symbolic dashes of globalisation against the natural space brings to mind the paintings primary interpretation of an erasure of boundaries (DLugo, 1995, 72), thus echoing the theme of problematic Spanish national identity in relation to globalised post-modern context. Bigas Lunas omnipresent allegorical use of the bull and the pig, two animals closely related to Spanish gastronomy and culture (Fouz-Hernà ¡ndez, 2005, 193), equally reinforces a cultural reading of the landscape. The Osborne bull itself, by historically transcending its original commercial connotations, became an integral part of Spains cultural landscape (Fouz-Hernà ¡ndez Martà ­nez-Expà ³sito, 2007, 22). Likewise, the geographical setting and the cultural significance of the pig are fused in the final sequence in a reworking of Goyas Duelo a garrotazos; la rà ©fà ©rence au peintre aragonais [Goya] dont le tournage sest prà ©cisà ©ment effectuà © dans la rà ©gion natale de ce dernier [à ¢Ã¢â€š ¬Ã‚ ¦] signalant une filiation artistique (Berthier, 2001, 60). Consequently, Bigas Lunas parodic choice of a fight with hams instead of cudgels renders el famoso jamà ³n [à ¢Ã¢â€š ¬Ã‚ ¦] a ser arma no del macho excelente y excesivo, sino de su opuesto (Vilarà ³s, 1998, 235). F urthermore, the aftermath of the duel sees the women return as a central focus to simultaneously bring together the thematic discourse in a parting pieta; the shot panning out to reveal the vastness of Los Monegros, its aridness evoking the power of mother earth which has drained the life from the men which stand before it and thus undercutting the myth of Spanish machismo in a culturally prestigious environment (Deleyto, 1999, 281). Monaco (2009, 172) affirms that we are seldom interested in the intervening filmic space, yet the cinematographic pan draws our attention to just that, therefore its use in the final sequence can be seen as a way of emphasising the resonance of both the geographic setting and its cultural implications. In conclusion, as film corresponds to a one-way system of communication which is composed with the intention of relaying a desired message (Monaco, 2009, 162), the discursive use of setting to reflect the dualities of gender and national identity constitutes a conscious attempt by Bigas Luna to thematically engage with the audience. By rendering femininity dominant and so subverting Spanish machismo, the Iberian landscape acts as the platform on which a critique of Spanish stereotypes is constructed. Furthermore, the juxtaposition of the natural versus the manufactured setting acts as a means of connecting with a Spanish audience through self-referential reflections on the process through which their identity has been reshaped by multinational capitalism (DLugo, 1995, 69). Hochberg (2007, 26) argues that our perception of a films themes comes not only from what we see but from what we do not see, therefore it is both the recurrent visual presence of the geographic landscape alongside its symbolic and cultural associations which renders it an effective device in aiding our understanding of the thematic discourse of a film which contempla irà ³nicamente los ritos de una cultura que [à ¢Ã¢â€š ¬Ã‚ ¦] està ¡ intentando desojarse de lo negativo del pasado pero tratando de no sustituir lo bueno tradicional por lo malo moderno (Evans, 2004, 41).

Information Systems in Global Business Today Essay

How IT drives the UPS operation worldwide. Using smart people and smart technology, UPS delivers over 14 million packages daily to 200 countries and territories, requiring the talents of 70,000 drivers who are wirelessly connected to UPS main databases located in seventeen major data centers throughout through out the world. Case United Parcel Service’s global operations are driven by its information systems technology. What UPS can do is largely a function of its information technology investments. Beginning as a local delivery service in 1907, UPS expanded on the West coast initially, reached New York in the 1930s, and went international in the 1970s. Today, UPS delivers over 14 million packages daily to 200 countries and territories, requiring the talents of 70,000 drivers who are wireless connected to UPS main databases located in seventeen major data centers throughout through out the world. A multi-year, multibillion dollar investment in technology drove the growth of UPS over the last twenty five years beginning in 1990. This investment enabled the development of the DIAD, the Delivery Information Acquisition Device. DIAD is a key element in UPSs business technology platform. Company spokesmen say that â€Å"UPS revolutionized the package delivery business in 1991 when it developed and deployed the first Delivery Information Acquisition Device, known as the DIAD. More than twenty years later, UPS continues its pioneering development efforts with the fourth generation of the DIAD – the DIAD IV. To ensure maximum flexibility in field transmission capabilities, DIAD IV includes multiple wireless connectivity options. Each DIAD IV features a built-in GPRS and CDMA radio, an acoustical modem to facilitate dial-up access if necessary, and 802. 11b wireless local area network connectivity to enable transmission in a UPS center. The DIAD IV also features a Bluetooth wireless personal area network and an infrared (IrDA) port to communicate with peripheral devices and customer PCs/printers. DIAD IV introduces a revolutionary new feature – Global Positioning Satellite (GPS) – to the handheld terminal market. UPS plans to use this technology to provide drivers with more detailed directions to pick-up and delivery points in order to improve customer service. The monochrome screen on previous DIADS will be replaced with a color screen that accommodates more information which can be displayed in an easier-to-read, more attractive manner. The color screen also enables UPS to color-code messages transmitted to a driver’s DIAD. Urgent customer pickup messages, for example, can be color-coded to alert the driver. In addition, the DIAD IV contains 128 megabytes of memory – 20 times the capacity of the DIAD III. UPS will use this expanded capacity to provide new and improved customer services. Like its predecessors, the DIAD IV’s battery lasts an entire work day. The DIAD IV sends delivery information to the UPS data repository as soon as the delivery information is entered. Drivers simply scan the package bar code, collect the receiver’s signature electronically, type in the Copyright Notice This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from this site should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials. last name of the receiver and push a single key to complete the transaction and send the data. There is no need to activate a cell phone or return to the vehicle. Part of what makes the DIAD such a powerful tool is the system – ODS (On-Demand Services) – that enables communication with the driver. Every UPS driver automatically logs into the ODS system first thing in the morning. This allows dispatchers and center management to access the driver via his/her DIAD throughout the day by sending generalized text messages. Virtually all drivers start their day with a list of predefined customer pickup locations for that day. Thanks to ODS, the addition of a one-time pickup can be added to a driver’s work list on-the-fly, enabling UPS to take best advantage of the geographic location of its entire fleet for servicing pickup requests. By using the DIAD, UPS eliminates the use of 59 million sheets of paper per year. The DIAD IV is the most comprehensive tracking device in the delivery industry, combining data collection and transmission technologies, digital signature capture, extensive expandable memory and rugged construction to withstand extreme temperatures and hard falls. † Other Features The UPS technology infrastructure enables UPS to offer its customers many services, such as package tracking, freight planning, and freight truck packing optimization, in addition to the basic shipment of packages.