Determining The Ratio Of Circumference To Diameter Of A Circle :: essays research papers

Determining the Ratio of Circumference to Diameter of a Circle   Ã‚  Ã‚  Ã‚  Ã‚  In determining the ratio of the circumference to the diameter I began by measuring the diameter of one of the si objects which contained circles, then using a string, I wrapped the string around the circle and compared the length of the string, which measured the circumference, to a meter stick. With this method I measured all of the six circles. After I had this data, I went back and rechecked the circumference with a tape measure, which allowed me to make a more accurate measure of the objects circumferences by taking away some of the error that mymethod of using a string created.   Ã‚  Ã‚  Ã‚  Ã‚  After I had the measurements I layed them out in a table. The objects that I measured were a small flask, a large flask, a tray from a scale, a roll of tape, a roll of paper towels, and a spraycan.   Ã‚  Ã‚  Ã‚  Ã‚  By dividing the circumference of the circle by the diameter I was able to calculate the experimental ratio, and I knew that the accepted ratio was pi. Then I put both ratios in the chart.   Ã‚  Ã‚  Ã‚  Ã‚  By subtracting the accepted ratio from the experimental you find the error. Error is the deviation of the experimental ratio from the accepted ratio. After I had the error I could go on to find the percentage error. The equation I used was, error divided by the accepted ratio times 100. For example, if I took the error of the experimental ratio for the paper towels, which was 0.12. I took that and divided it by the accepted ratio giving me .03821651. Then I multiplied that by 100 giving me about 3.14. Using these steps I found the percentage error for all of the objects measured.   Ã‚  Ã‚  Ã‚  Ã‚  The next step was to graph the results. I was able to do this very easily with spreadsheet. I typed in all of my data and the computer gave me a nice scatter block graph. I also made a graph by hand. I set up the scale by taking the number of blocks up the side of my graph and dividing them by the number of blocks across. I placed my points on my hand drawn graph. Once I did this I drew a line of best representation because some of the points were off a little bit due to error.   Ã‚  Ã‚  Ã‚  Ã‚  By looking at my graph I can tell that these numbers are directly proportional to each other. In this lab it was a good way to learn about error

Character Situations in One Day in the Life of Ivan Denisovich :: One Day in the Life of Ivan Denisovich Essays

Character Situations in One Day in the Life of Ivan Denisovich In One Day in the Life of Ivan Denisovich, Aleksandr Solzhenitsyn creates many characters that are memorable to the reader because of both their personal situations and their responses to those situations. Through characters such as Ivan Shukhov Denisovich, Fetyukov, Aloyska the Baptist, and the two Estonians, Solzhenitsyn explores the varied reactions of the characters and the effect of these reactions on other characters' perceptions of them. Ivan Shukhov Denisovich is the protagonist of this novel. He is the character about whom the reader is told the most. The reader is told that Denisovich has had several serious health problems, has been imprisoned for nearly ten years, and is a skilled laborer. Through conversations and actions it is learned that Shukhov, though not the highest ranking member of the prisoner group, is respected and well liked. His fellow prisoners care enough about him to watch his food for him when he is not present promptly at mealtimes and to give him the occasional drag off a cigarette. Much of this respect has to do with his attitude. Shukhov is willing to do many things for his fellow prisoners and does more than his share of the work. "He faces his situation positively," and tries to make use of any opportunity to assist the group as a whole (Depoli 1). The two Estonians are similar to Shukhov in many ways. They try to look at their situation in a positive light. They are brotherly and share everything to help make life a little bit better for each other. They cling together "as though neither would have air enough to breathe without the other," and they are respected for this devotion to each other (Solzhenitsyn 44). At one point Shukhov states that he has met many Estonians, including these two, "and never run across a bad one" (44). Because the two men try to work together, they are more highly thought of among the work gang than is someone like Fetyukov. Fetyukov is the scavenger. Seeking only to better his own situation, he is shunned by the other members of the group. He is referred to as a scoundrel and stoops to using odds and ends tossed away by other prisoners because "he got no help from anywhere" (45). Fetyukov is looked down upon by almost everyone in the group because of his selfishness and unwillingness to work. Character Situations in One Day in the Life of Ivan Denisovich :: One Day in the Life of Ivan Denisovich Essays Character Situations in One Day in the Life of Ivan Denisovich In One Day in the Life of Ivan Denisovich, Aleksandr Solzhenitsyn creates many characters that are memorable to the reader because of both their personal situations and their responses to those situations. Through characters such as Ivan Shukhov Denisovich, Fetyukov, Aloyska the Baptist, and the two Estonians, Solzhenitsyn explores the varied reactions of the characters and the effect of these reactions on other characters' perceptions of them. Ivan Shukhov Denisovich is the protagonist of this novel. He is the character about whom the reader is told the most. The reader is told that Denisovich has had several serious health problems, has been imprisoned for nearly ten years, and is a skilled laborer. Through conversations and actions it is learned that Shukhov, though not the highest ranking member of the prisoner group, is respected and well liked. His fellow prisoners care enough about him to watch his food for him when he is not present promptly at mealtimes and to give him the occasional drag off a cigarette. Much of this respect has to do with his attitude. Shukhov is willing to do many things for his fellow prisoners and does more than his share of the work. "He faces his situation positively," and tries to make use of any opportunity to assist the group as a whole (Depoli 1). The two Estonians are similar to Shukhov in many ways. They try to look at their situation in a positive light. They are brotherly and share everything to help make life a little bit better for each other. They cling together "as though neither would have air enough to breathe without the other," and they are respected for this devotion to each other (Solzhenitsyn 44). At one point Shukhov states that he has met many Estonians, including these two, "and never run across a bad one" (44). Because the two men try to work together, they are more highly thought of among the work gang than is someone like Fetyukov. Fetyukov is the scavenger. Seeking only to better his own situation, he is shunned by the other members of the group. He is referred to as a scoundrel and stoops to using odds and ends tossed away by other prisoners because "he got no help from anywhere" (45). Fetyukov is looked down upon by almost everyone in the group because of his selfishness and unwillingness to work.

Competition Act :: Essays Papers

Competition Act The Competition Act at large focuses on forbidding, respective, agreements between undertakings or concerted practices which may restrict the competition within the market. It forbids all practices, which amount to the abuse of a dominant position in the Market by an undertaking where the practice could potentially, affect trade between its members. The rules of the Act set out the basic framework, providing for the maintenance of effective competition in the market. The Competition Act based on Articles 85 and 86 of the Treaty of Rome provides control to business practices within our market. "The following shall be prohibited as incompatible with the common market: all agreements between undertakings , decisions by associations of undertakings, and concentrated practices which may effect trade between member states and which have as their object or effect the prevention, restriction or distortion of competition within the common market " Therefor any agreement, decision, and practice caught by Section 5(1) must have the following conditions 1. There must be some form of collusion between the undertakings 2. Trade must be affected 3. There must be must some adverse effect on competition. This Section covers such agreements, decisions, practices which: a. Directly or indirectly fix the purchase or selling price or other trading conditions b. Limit or control production , markets, technical development or investment c. Share markets or sources of supply d. Impose the application of dissimilar conditions to equivalent transactions which other parties outside such agreement, thereby placing them at a competitive disadvantage e. Make the conclusion of contrast subject to the acceptance by the other parties of supplementary obligations, which by their nature or according to commercial usage, have no connections, which the subject of such contracts. The competition act analyzes various aspects so as to promote a healthy business environment. It gives a clear picture in respect to positioning in the market. Clearly, the narrower the definition of the relevant market, the greater the importance of an undertakings share of that market. Once one has defined the relevant market, one must determine whether the questioned undertaking has a dominant position in that market. In general, an undertaking has a dominant position if it can act on the market independently from its competitors. Thus, if a seller can ask any price for a product, even though its competitors are selling a similar product for much less, it is likely that the seller in question has a dominant position.

Vietnam Economy

nom Economic Vietnam has during the last two decades developed into a dynamic and fast growing market – also in automobile industry. Economic reforms, membership of WTO since 2007 and an impressive number of foreign investments, the notable increase in GDP, in people’s demand for high quality product and the almost-zero of the domestic automobile industry have led Vietnam to become the potential market for Volkswagen. The global crisis led to a temporary slowdown of Vietnam’s fast economic growth, but growth is back on track with 6. % growth in 2010 and more than 7% per year expected in 2011-2015. Table 1: Vietnam’ GDP real growth rate (%) [pic] Source: Source: General Statistics Office of Vietnam The rate of economic growth has during the last decade amounted to 7-9% per year, amongst the highest recorded growth rates in the world. The GDP per capita is USD 1160 (2010), and an increasing number of Vietnam’s 87 million inhabitants demand consumer pr oducts of higher quality. Table 2: Vietnam’s GDP per capital (US$) [pic] Source: General Statistics Office of Vietnam However, the average income in Vietnam is still fairly low in comparison with the company price (about†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. cai nay lay so lieu ben product nhe, to k tim duoc). According to â€Å"Background note of Vietnam† recorded by U. S Department of State in http://www. state. gov, Vietnam’s per capita income in 2010 was just $1,168 one person per year. Whereas, imported cars in Vietnam have to suffer upto 3 kinds of duty, including: Import Duty, Extra Duty, and Value Added Tax. Regardless of how strict Vietnam taxation policy is, the accession agreement which was compulsory for Vietnam to become WTO’s member in 2007 obliged Vietnam to lower its import tariffs and to welcome foreign investments in most commercial sectors of the economy. Certain sectors are partly protected against foreign competition in an interim period, but from 2012 respectively 2014 all sectors of the economy must welcome foreign goods and services as well as investors on an equal footing with local companies and investors. Therefore, we totally hope that in the upcoming period, such a 200% tariff for exported cars will not exist. Vietnam automobile market is not that big but it sees a potential signal. According to General Statistics Office of Vietnam [ http://www. gso. gov. vn/default. aspx? tabid=393&idmid=3&ItemID=11605 to k biet trich nguon ntn cho dung voi Harvard form ca T_T], the demand for imported cars, especially types of fewer than 9 seats which makes of approximately 70% in total, keeps increasing remarkably, from 21279 units in 2005 to 51059 in 2008 and reach the number of about 80410 in the last year. Whereas the domestic automobile industry seems to not improve at all. Until now, the domestic company still can not produce even one car. Vietnam  now has 10 automobile JVs including one 100 % foreign-owned enterprise (GM Daewoo), one domestic manufacturer (Truong Hai). The manufacturers make vehicles of 17 world brands: Fiat, Sangyong, PMC, Mazda, Kia, Chevrolet, Daewoo, Mitsubishi, Mercedes Benz, Suzuki,  Toyota, Isuzu, Ford, Hino, Hyundai (trucks, bus), Chery and Honda. In this moment, Volkswagen is one of more then 10 brands having distribution channel in. These brands include BMW (Euro Auto), Audi, Porsche (PSC), Hyundai (Thanh Cong), Lifan (Bao Toan), Chrysler (IC Auto), Subaru (MIV), Dong Feng,  Ã‚  MAN (VMC) and Fiat – Alfa Romeo (Mekong Auto), who are all considerable competitors. It is a great opportunity for the company to dominate Vietnam market but also a challenge when our products are almost kind of high quality with high price.

Analysis of the Poem “Remember”

Analysis of the poem â€Å"Remember† by Christina Rossetti This poem is composed by fourteen lines that are divided in two quatrains with four lines, and one sestet follow the structure of the Italian sonnets. The structure of the poem is iambic pentameter because it has five feets, the rhyme is abba, abba, cdde, ce. In the first stanza, Rossetti conveys an infinite need to stay alive in the memory of her love even when natural events in the lives of people, such as death and separation may come to end their emotional connection.Describes these moments in a melancholy tone, sad, reflecting the pain of the soul when someone is forgotten by the life`s love. In the second stanza, she appeals to the feelings of her beloved recreating a future situation where her absence is a reality, when everything built, dreamed, planned is nothing more than a vain remembrance of a life together. The lament of her beloved and probably things that were left unsaid cannot be heard by she maintains a tone full of despair and in her words keeps constant beg with the only purpose of staying alive in someone's life.Her constant fear of feel forgotten, to eternity alone is very distressing and this is her tool to have in deep way the heart of her beloved. She keeps hope alive even in the latter part of the poem radically changes her position. In the sestet, the prayers are transformed a compassionate feeling as if her beloved after suffering so much at the prospect of forget came to understand that although the distance imposed they will always be together. Put aside her personal needs and she thinks about what is best decision for her loved.Her changes of mind are very surprising, therefore, that it is she who takes not worth keeping her memories tied to someone who will be alive and should have the joy of being happy in a world where she does not may be. In the sestet the tone has a big change, the description of the life and death no longer plaintive screams and understanding, hope and joy of going alone are the most representative feelings that result in extreme closeness with the sublime moment of death.About the figures, when can found some words that refer us something. For instance, â€Å"gone away† remind us to think about eternity, on a journey without return, in death itself spirituality dressed in the idea of a heavenly life. The term â€Å"silent land† can certainly relate to a cold place, where we cannot find life, is the term used by the writer to configure in other way the melancholy and loneliness of cemeteries.The touch of the hands is a figure representing situations propriety of the life, recalls that they have de fortune of built the kind of life that lovers want in the future. â€Å"Darkness and corruption† are expressions that refer us to think that behind those prayers of the writer, existed a kind of manipulation or dishonesty by the writer who do not want her desire object goes away from her heart.Rossetti's id eas about love are deep revealing the feminine nature in which from immemorial time as consorts of society, we made us the happiness of others before ours ratifying the maternality of which we have been endowed identifies us and makes us so different to the malegender. In my opinion, the use of reason at the end of the poem is a great example of strength and respect for who give to the writer the best things in her life. All understood as an act of love s

Analysis of the opening sequence of ‘To kill a mocking bird’

The film portrays the innocence and world of play of a tomboyish six year-old girl and her ten year-old brother, and their perception of their widowed attorney father. They also fantasise about an outsider who inhabits a mysterious house in their neighbourhood. Abruptly brought out of their carefree world by their father's unpopular but courageous defence of a black man falsely accused of raping a Southern white woman. Although racism dooms the accused man, a prejudiced adult vengefully attacks the children on a dark night – they are unexpectedly delivered from real harm in the film's climax by the reclusive neighbour, â€Å"Boo† Radley. The opening shot of the film contains the universal international globe spinning, along with a simplistic piano solo. The piano solo loses us in a child's world, as the music has an element of innocence and simplicity. The camera then pans to an overhead shot of a worn box. The simplistic, childlike music is then accompanied by the child's effort to make music of which is very basic. The audience is unaware of the gender of the child. However the child's tone gives the audience the impression that it is a little girl, therefore it may be scout. A young pair of hands appears to open the box revealing a collection of valued treasures, including crayons (new and used), a mechanical pencil, two carved soap doll figurines – one male and one female, an old broken pocket watch, a skeleton key, a broken pocket knife, a medal, a few marbles, jacks, chalk and other minor objects. Each of these items are emphasised, some of these items are related to the storyline, for that reason the producer could have done this to allow the audience a swift summary of the film, however their significance is not appreciated until the end. As she opens the box she sings, hums and giggles to herself, these gestures flow with the music. It's almost as if the child is expressing her emotions though the music allowing the audience to relate more to her character. She then colours over lined paper with a round crayon, revealing the title of the film in white letters, her tone sounding almost satisfied with the outcome. The camera circles slowly from left to right along various collections of carefully-arranged objects in magnified close-up. After viewing the opening sequence numerous times. A black and a white striped marble are emphasised by the camera, leaving the viewer questioning their relevance. The white ball is then set in motion by the child. The white marbles then collides with the black marble. By this action the producer could be implying the racial tension between blacks and whites. After drawing a simple, stick-figured ‘mockingbird', the girl shades in the winged creature and then rips the paper through the bird. With this gesture, the girl giggles and sighs pleasingly. This action could also relate to the division in her society. Symbolism plays a large role in the opening sequence; the objects that appear behind the opening credits include a pocket watch, pearl necklace, whistle, marbles and a child's drawing of a bird – they are all items that gain meaning as the story unfolds. The music is very important in the opening sequence; it begins with a simplistic, childlike piano solo, and then develops by almost expressing the girl's emotions and actions. The music varies with her every action, when she colours in the music becomes the base tune as the scribbling and the girl's self satisfaction or dissatisfaction is expressed in her tone of humming and singing. The music almost acts as a teleport taking the audience in to the film; this could assist them, in their understanding of the child and her actions. The way the producer has: angled the cameras, so that the symbols appear all different dimensions it makes the items either fragile and delicate or sturdy and imposing, and the way they have used significant symbols to set the scene make the viewer feel intent on finding out the significance of them in the storyline. Overall the use of music, symbolism, and camera angles set the scene perfectly as there are hidden meanings and hints of what may unravel. The music acts as the child's emotional state, and allows the audience to relate and experience her little world. While the use of symbolism helps the audience visualise the world of a child and relate to her ability. Finally the way the producer has angled the camera, emphasising the objects that have significance in the storyline helps the audience understand the vulnerability a child has. The use of all of these techniques helps the audience relate to the child and the objects relevance in relation to the film.

Jane Eyre Marriage Quotes Essay

â€Å"He is not to them what he is to me,† I thought: â€Å"he is not of their kind. I believe he is of mine; – I am sure he is, – I feel akin to him, – I understand the language of his countenance and movements: though rank and wealth sever us widely, I have something in my brain and heart, in my blood and nerves, that assimilates me mentally to him. [†¦] I must, then, repeat continually that we are for ever sundered: – and yet, while I breathe and think I must love him.† (2.2.85) Seeing Rochester among his high-class houseguests, Jane realizes that he has more in common with her than he does with them. Despite Jane’s and Rochester’s different class backgrounds, their master-servant relationship, and the strict gender roles of Victorian society, Jane can tell that they share something intangible – but she doubts that they can overcome all the social obstacles keeping them apart. This isn’t the first time Jane has felt affection for someone – but it may be the first time she’s felt like somebody else. â€Å"Whenever I marry,† she continued, after a pause which none interrupted, â€Å"I am resolved my husband shall not be a rival, but a foil to me. I will suffer no competitor near the throne; I shall exact an undivided homage: his devotions shall not be shared between me and the shape he sees in his mirror.† (2.2.128) Blanche Ingram’s idea of a good marriage is one in which the partners are distinctly different and one partner is far superior to the other. As a stunning beauty, she doesn’t want a handsome husband, but a hideous one – that way she’ll always get all the attention. Notice how different this is from Jane’s (and Rochester’s) ideas about love and marriage–they’re drawn together because they are alike. Blanche thinks that opposites attract, but Jane knows that kindred spirits attract more strongly. Ere long, a bell tinkled, and the curtain drew up. Within the arch, the bulky figure of Sir George Lynn, whom Mr. Rochester had likewise chosen, was seen enveloped in a white sheet: before him, on a table, lay open a large book; and at his side stood Amy Eshton, draped in Mr. Rochester’s cloak, and holding a book in her hand. Somebody, unseen, rang the bell merrily; then Adà ¨le (who had insisted on being one of her guardian’s party) bounded forward, scattering round her the contents of a basket of flowers she carried on her arm. Then appeared the magnificent figure of Miss Ingram, clad in white, a long veil on her head, and a wreath of roses round her brow: by her side walked Mr. Rochester, and together they drew near the table. They knelt; while Mrs. Dent and Louisa Eshton, dressed also in white, took up their stations behind them. A ceremony followed, in dumb show, in which it was easy to recognize the pantomime of a marriage. (2.3.8) Blanche Ingram and Mr. Rochester pair up for an elaborate game of charades, and the first thing they do is play-act their own wedding, silently, in front of the other houseguests and Jane. This is the first of several not-quite-real weddings we’ll see in Jane Eyre, each of which suggests something about the actual marriages and pairings in the novel. In this particular case, the pretend wedding is meant to be a charade for the word â€Å"bride† – but that’s only the first half of the word being acted out in the game, which is â€Å"Bridewell,† a famous prison. Hmm, something that begins with a marriage ends with being in prison. Do you think that’s supposed to be some kind of OMEN or something? I saw he was going to marry her, for family, perhaps political reasons; because her rank and connexions suited him; I felt he had not given her his love, and that her qualifications were ill adapted to win from him that treasure. This was the point – this was where the nerve was touched and teazed – this was where the fever was sustained and fed: she could not charm him. (2.3.27, italics original) Jane is really hot and bothered by the idea that Rochester is going to marry Blanche, not just because she’s jealous, but also because she can tell that they are so unsuited and that Rochester himself knows exactly how flawed and unpleasant Blanche is. Jane herself knows exactly how to â€Å"charm† Rochester, how to argue with him and keep him amused and even how make him love her. Basically, the way Jane feels here is the way we feel when we see someone doing something badly that we know how to do well. She wants to take Rochester away and show Blanche how this relationship should be done – but she can’t. She has to watch and suffer in silence, as usual. I have not yet said anything condemnatory of Mr. Rochester’s project of marrying for interest and connexions. [†¦] All their class held these principles: I supposed, then, they had reasons for holding them such as I could not fathom. It seemed to me that, were I a gentleman like him, I would take to my bosom only such a wife as I could love; but the very obviousness of the advantages to the husband’s own happiness, offered by this plan, convinced me that there must be arguments against its general adoption of which I was quite ignorant: otherwise I felt sure all the world would act as I wished to act. (2.3.31) Jane doesn’t get why anyone would not marry for love, especially if they’re rich enough to do pretty much whatever they want, but she figures there must be some reason that so many people who are already wealthy and important insist on marrying to get more money and status instead of to make themselves happy. Notice that Jane doesn’t talk about her own ideas about marriage – only the ideas that she would have if she were in Rochester’s place. Somehow Jane can’t conceive of herself needing to make a choice about marrying for love or status – only of a man like Rochester doing so.