Second Battle of Ypres free essay sample

The Second Battle of Ypres was a First World War battle fought for control of the strategic Flemish town of Ypres in western Belgium in the spring of 1915, following the First Battle of Ypres the previous autumn. It marked the first time that Germany used poison gas on a large scale on the Western Front. Additionally, the battle was the first time that a former colonial force (the 1st Canadian Division) defeated a major European power (the German Empire) on European soil, in the Battle of St. Julien-Kitcheners Wood. The first commission completed for the Canadian Was Memorials Fund (CWMF), The Second Battle of Ypres is also one of the biggest. It commemorates the first major action of Canadian troops at the front Current History (New York Times) map showing reported positions during the Second Battle of Ypres, as at about 30 April 1915. On 1 May the British withdrew to shorten their lines, with the final front line running through Hooge, FrenzenbergThe map is largely correct. We will write a custom essay sample on Second Battle of Ypres or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page By the end of the battle German forces had in fact captured St Julien and Zonnebeke. NYT caption : The German rush across the Yser-Ypres Canal was checked at Lizerne and opposite Boesinghe. The shaded area on the map marks the scene of the battle. Within this area are Steenstraate, Het Sast, Pilkem, St. Julien, and Langemarck, all of which the Germans claimed to have captured. Ypres, the British soldiers Wipers, was the scene of much of the bloodiest fighting of the war. Three great battles were fought for its possession.

5 Erroneously Constructed Not Only . . . But Also Sentences

5 Erroneously Constructed Not Only . . . But Also Sentences 5 Erroneously Constructed â€Å"Not Only . . . But Also† Sentences 5 Erroneously Constructed â€Å"Not Only . . . But Also† Sentences By Mark Nichol Writers often have difficulty determining the word order in sentences in which the phrase â€Å"not only† appears followed by an example and then, subsequent to â€Å"but also,† another example. Here are fixes to five such sentences. 1. â€Å"Digital cameras are not only changing photography, but our lives.† The key to correct syntax in â€Å"not only . . . but also† constructions is, when sharing a verb between the two examples, placing â€Å"not only† after the verb: â€Å"Digital cameras are changing not only photography but also our lives.† 2. â€Å"He wasn’t only listening to tone, but also to the rhythms and patterns he would need to understand and communicate.† This sentences partially conceals the problem because not is part of a contraction. To solve it, spell out the contracted phrase, and follow the rule stated in the explanation of the example above: â€Å"He was listening not only to tone but also to the rhythms and patterns he would need to understand and communicate.† 3. â€Å"Many people prefer the squatter neighborhoods not only because they provide affordable housing but freedom from government control and a sense of community spirit.† This sentence is improved by the basic strategy of placing the verb before â€Å"not only,† but a further fix is recommended. Because the element following â€Å"but also† is a two-part phrase, freedom may be (at least initially) misconstrued as applying to both â€Å"government control† and â€Å"a sense of community spirit,† so distance the second phrase from the first: â€Å"Many people prefer the squatter neighborhoods because they provide not only affordable housing but also freedom from government control, as well as a sense of community spirit.† 4. â€Å"We house them in the nicest neighborhoods we can afford, the ones that are not only comfortable in themselves, but that mask direct evidence of the world’s unfairness.† In this example, each corresponding phrase has its own verb. When this is the case, simply place â€Å"not only† and â€Å"but also† immediately preceding the respective verbs: â€Å"We house them in the nicest neighborhoods we can afford, the ones that not only are comfortable in themselves but also mask direct evidence of the world’s unfairness.† 5. â€Å"Eventually, I began to notice that dreams are not only inspirations for creative life and interesting puzzles to be solved, but that they provided access to a world of meaning that was even greater than the tactics of nonviolent social change.† More complex sentences pose a challenge, but as in the other examples, simply break the sentence elements down. The two points of this sentence are â€Å"dreams are inspirations . . .† and â€Å"they provide access . . . .† To achieve parallel structure, precede the first phrase with â€Å"not only that† and the second one with â€Å"but also that†: â€Å"Eventually, I began to notice not only that dreams are inspirations for creative life and interesting puzzles to be solved but also that they provide access to a world of meaning that was even greater than the tactics of nonviolent social change.† Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Grammar category, check our popular posts, or choose a related post below:Writing a Reference Letter (With Examples)Cannot or Can Not?When to Spell Out Numbers

Hail Definition, Causes, and Formation

Hail Definition, Causes, and Formation Hail is a form of precipitation that falls from the sky as pellets of ice. The pellets can range in size from small pea-sized pellets to hailstones as large as grapefruits (more on hail size below). The formation of hail means a severe thunderstorm is likely in your vicinity. You should monitor your weather situation closely for thunder, lightning, torrential rain, and possibly even tornadoes. Not a Winter Weather Event Because its made of ice, hail is often mistaken as a cold weather event, but in reality, it is associated with severe thunderstorms  - not winter weather.    While hailstorms technically can occur year-round, some of the most destructive hail events have occurred at  the height of summer. (This makes sense seeing as how  hail is associated with thunderstorms, and thunderstorms, in turn, are most common in the summertime when theres an abundance of heat in the atmosphere to help fuel their development.)   Hail Forms High Up, in Cold Clouds If hail is a summer rather than winter weather event, how do temperatures get cold enough to form ice? Hailstones  form inside of cumulonimbus clouds that can tower at heights of up to 50,000 feet. While the lower regions of these  storms contain warm air, the upper regions are below freezing. strong updrafts  Ã‚   Updrafts within the storm system can whisk raindrops up into this sub-zero region, causing them to freeze into ice crystals. These ice particles are then carried back down into the clouds lower levels by the downdraft where it thaws  and collects additional water droplets  and back up via the updraft where it re-freezes. This  cycle may continue  multiple times. With each trip above and below the freezing level, a new layer of ice is added to the frozen droplet until it  grows too heavy for the updraft to carry it. (If you cut a hailstone in half, you would see alternating concentric layers inside it, resembling tree rings.) It  then falls out of the cloud to the ground. The stronger the updraft, the heavier a hailstone it can carry, and the longer that hailstone cycles through the freezing process (that is, the larger it grows). Short-Lived Storms Hail usually forms over an area and leaves within a few minutes. However,  there have been instances when it stayed in the same area for several minutes, leaving several inches of ice covering the ground. Hailstone Size and Speed Hailstones are measured according to their diameter. But unless you have a knack for eyeballing measurements  or are  able to slice a  hailstone in half, its easier to estimate its size by comparing it  to everyday  items. Description Size (Diameter) Typical Fall Speed Pea 1/4 inch Marble 1/2 inch Dime/Penny 3/4 inch 43 mph Nickel 7/8 inch Quarter 1 inch 50 mph Golf Ball 1 3/4 inch 66 mph Baseball 2 3/4 inch 85 mph Grapefruit 4 inch 106 mph Softball 4 1/2 inch To date, the largest hailstone recorded in the U.S.  fell in Vivian, South Dakota  on July 23, 2010.  It measured 8 inches in diameter, 18.2 inches around, and weighed 1 pound 15 ounces. The velocity of hail varies by shape and size. The largest and heaviest can fall at speeds upwards of 100 mph! Hail Damage With their hard exteriors and relatively fast fall speeds, hailstones often cause extensive damage. On average, over $1  billion dollars in damage to crops and property is sustained each year in the U.S. The most susceptible objects to hail damage include  vehicles  and roofs.   One of the most costly hail events in  recent weather history occurred in  June 2012 when severe storms crossed over  the Rockies and Southwestern U.S. causing  over $1.0 billion dollars in damage  in the state of Colorado. The Top 10 Hail-Prone Cities in  the U.S. Amarillo, TexasWichita, KansasTulsa, OklahomaOklahoma City, OklahomaMidwest City OklahomaAurora, ColoradoColorado Springs, ColoradoKansas City, KansasFort Worth, TexasDenver, Colorado

History of Planning Essay Example | Topics and Well Written Essays - 500 words

History of Planning - Essay Example (National Planning Policy Framework), housing strategy and Localism Act were introduced leading to more compliance with environmental justice, availability of government incentives for home planners and builders (Bryson & Bryson, 2004). Civil War and the subsequent industrial revolution resulted to changes in U.S settlement and other social aspects. New technologies emerged and led to growth of industries, huge cities, and escalation in industrial workers. Disparagingly, cities grew with petite planning. Choices regarding construction and land use were in the hands of builders, developers, individual landowners who were out to make huge profits and consequently left little open space for expansion. Environmental degradation upsurged while developers simply focused on economic development at the expense of the existence of a sustainable environment. By the closing of the frontier a unique American society had been created. Americans became resourceful, established strength and craggy individualism that nurtured democracy. Instead of succumbing to urban problems in the collusive cities, the poor considered moving to the west which they perceived to be safe. People started living close to nature and sanitize it of civ ilization’s corruption (Bryson & Bryson, 2004). The primeval wilderness ominously improved. Due to increased land demand, Americans planned to explore cyberspace and outer space and John F. Kennedy was committed to resolve the planning issues facing Americans while leaders such as Chief Joseph, Crazy Horse, Sitting Bull and Geronimo strived to resist such changes. Cases over the best planning and utilization of land have always existed. For instance, in the case of Village of Euclid v. Ambler Realty Co, Euclid formulated a zoning ordinance that divided the land into sections that were to be used for particular purposes (Bryson & Bryson, 2004). While Euclid had the right to control and use the property, it violated Ambler’s 14th Amendment provision

Chinese Film Essay Example | Topics and Well Written Essays - 750 words

Chinese Film - Essay Example The reasons why film is particularly suited for semi-unimpeded movement across national borders, cultural boundaries and linguistic barriers will be illustrated in this essay through reference to Crouching Tiger, Hidden Dragon. Through a critical analysis of this production, the essay will expose the extent to which this supposedly Chinese film is, as with cinema in general, a transnational work. Globalisation has, undoubtedly, maximised cinema's capacity to function as a transnational medium of communication. As Lu (1997) asserts, contrary to immediate assumptions, this is not because globalisation has facilitated the movement of goods and services across borders or because it is characterised by an intricate network of transnational interpersonal communication system (internet), but because film has become transnational. Ethnic and national cinema is decreasingly purely ethnic and increasingly international in scope (Lu, 1997). The veracity of the aforementioned is perfectly evidenced in Ang Lee's 'Chinese' film, Crouching Tiger, Hidden Dragon. ... Produced and released in 2000, the film won, within the context of non-English speaking cinema, unprecedented international acclaim and box office success, even scooping up four Oscars (Rose, 2001). The film's budget of fifteen million dollars was the highest ever for a Chinese language film and became the most commercially successful foreign film ever to be distributed worldwide, grossing more than two hundred million dollars in global box office receipts (Rose, 2001). Its international success cannot be divorced from the inherently transnational character of the production. As Cheshire (2001) writes, Crouching Tiger, Hidden Dragon's director, Ang Lee, was born in Taiwan, studied theatre acting and directing at the Taiwan Academy of Arts in Taipei, received a bachelor's degree in theatre at the University of Illinois, Urbana Champaign, and continued his studies in film at New York University in the nation's cultural melting pot. By the time he made Crouching Tiger, Hidden Dragon, Le e had already completed three Chinese language films and three Hollywood projects (Cheshire, 2001). In 1995, the British screenwriter and actress, Emma Thompson, invited Lee to adapt Austen's British classic Sense and Sensibility to the cinema. Then Lee took on the American suburbs of the 1970s in Ice Storm (1997) and the war-torn American South in Ride with the Devil (1999) (Cheshire, 2001). Apart from the thoroughly transnational character of its director, Crouching Tiger Hidden Dragon (2000) includes such transnational artistic talents as Chow Yun-Fat (Hong Kong), Michelle Yeoh (born in Malaysia, but began her film career in Hong Kong), Zhang Ziyi (China), Chang Chen (Taiwan), and Cheng Pei-pei (Hong Kong). The cinematographer Peter Pau and fight

How to Write Radio Drama Essay Example for Free

How to Write Radio Drama Essay Here are some horrible truths: Most radio drama is very badly written. Radio drama is an endangered species. It has never taken a hold of mainstream programming on commercial radio in the UK. It used to be the mainstream in the States and Australia but lost out to TV in the middle to late fifties. It is under threat within public radio services including the BBC because of the pressure of monetarist ideology and the fact that authors and radio drama directors have been too complacent. IRDP is a significant oasis and continues to support the principle of the original play. Ground rules The Beginning The beginning is everything. If this part of it does not work you are up shit creek without a paddle. Your listeners will desert you. You have failed. You do not exist as a dramatist. Booo! The Moment of Arrival This is how you drop your listeners into the story. Dont give them a warm bed with comfortable pillows and a hot water bottle. The background and sub-text of previous histories is better explored through revelation in dramatic action. So parachute your listener into a top dramatic moment. Not the climax. That would be premature. Find the MOMENT to join the story. Avoid the slow snails explicatory route. Kick em into a high energy trip and whoosh them through the rapids. Structure Set upstruggleresolution. You can reverse this if the set-up is more dramatic and explosive than the resolution. Regard your play as a series of phases The Plot This is the story with lots of twists and turns. The more the merrier. Most listeners like good exciting plots. Without a good plot youre eating a souffle that has gone flat. You need plot, more plot and more plot. Run at least two story lines. Two sub plots would be interesting. Keep the plots linked logically within the same play. The best system is a major and a  minor storyline linked to one another. Get them to come together at the end. Surprise People are hungry for entertainment. If they wanted boredom they would be filling out their tax returns instead of listening to your radio play. Make people afraid, but also excited. Character Your main character must have the sympathy of the audience. Your audience has to identify with your main character. If this does not happen you have created a failure. Booo! Conflict Drama = conflict = audience. There has to be an emotional, financial, human, moral, physical struggle so your listeners can laugh or cry. Yes, you want your listeners to laugh or cry or laugh and cry. If you dont, give up. Polarities or Extremes The art of story telling is exploring the extreme limits of our psychological or physical existence. To pitch one polarity against another. The Climax I apologize for the sexual metaphor. But there is something in this. The better sex has foreplay, development, sustained excitement, surprise and affection, nay love followed by an explosion of ecstasy. Good radio drama is not all that different. If you dont use it, you lose it. Dialogue This is how we engage dramatically with the world. Characters inform, argue, amuse, outrage, argue through the ebb and flow of dialogue. When we do we talk and that is how great radio plays are made..by talking in dramatic dialogue. Atmosphere / Ambience This sets the emotional spirit of the play. It determines whether your  listeners believe in the world that you have created. Worlds are not created by dramatic dialogue alone. There is attitude and atmosphere. This is determined by detail and relevant detail. It could be in a sound effect. It could be in the writing. It could be in the music. It could be in everything. But the result is that the fifth dimension of radio writing the imagination of the listener is stimulated to become a picture palace of the mind. Emotion Got to be there. You have to generate an emotional response from the audience.preferably to the main character.also not so strongly in relation to the other characters. Emotion = love, hate, admiration. Never mind about the type of emotion..concentrate on whether it is there or not. Emotional connection between the writing and the listener = good radio drama. Balance Character and Plot You have to have both. You cannot trade. One can predominate over the other. Where they are balanced equally.it can only work if characterisation relates to plot development. If your main plot is character intensive, make sure that your minor plot is plot intensive. Purpose Crooks golden rule is that every word, every line, every scene must serve a dramatic purpose in terms of characterisation and plot development. Drop anything that does not have a dramatic purpose. Tension and Humour To stop the listener dropping off or switching off, maintain the tension always and throw in the humour. Tension, humour, tension, humour, tension humourlike the foxtrot..Make the emotional rhythm of the play dance on the listeners heart and mind. Charm and alarm, charm and alarm. But theyve got to be linked. Your character uses humour to react to the tension in the scene or play. Keep one character who uses humour to deal with difficult situations. Make sure the humour is verbal. Slapstick belongs to a different  type of play or entertainment. Make sure you do not have characters taking it in turns to be funny. This is not stand up comedy or sitcom. Make sure that the character who uses humour has a consistent sense of humour. Get your listener inside the world of your play. How? a. Sympathy or empathy with the main character. b. A bloody good set up. c. A big, nasty antagonist or villain. d. Great PlotGreat Story.twists and turns. e. Crisis at the beginning is dramatic and a great start. f. Emotional intensity. Hit some high points. g. Escalating conflict so the structure climbs with tension and humour. h. Strike the colours with detail so theres an atmosphere, moodambience. I. Modulate charm with alarmhumour with tensiontension with humourfunny policeman nasty policeman. j. Surprise, surprisethats what you do to the listener, through the plot. The principle of developing scenes 1.Introduction. 2.Character onegoal and objective. 3.Character twogoal and objective. 4.Purpose of scene in overall plot. 5.One of the characters achieves a goal. 6.Link to the next scene by introducing or pointing to location of next scene or presence of character in next scene. Question marks in the mind of the listener. Always keep one, better two or three The Principle of Character 1.Believable and recognisable. 2.Purpose within the plot. 3.Characters have to have function. Character has to be consistent with function. 4.Characters have to be intentional. 5.Start with a stereotype to ensure rapid recognition, then twist the stereotype. Challenge the homily that there is nothing new under the sun by making it new under the moon. 6.Give each character a dominant physical or behavioural characteristic. Make the dominant characteristic purposeful. Make it extreme. 7.Your main character must be active. 8.Active character / urgent plot. The characters energy has to fight the urgency of the plot and the urgency of the plot makes the character more energetic. The principle of Hero / Heroine 1.Listeners look up to main characters, want to admire them because we all want heroes and heroines in our lives. Lifes eternal fantasy that transcendent people and transcendent moments conquer adversity. 2.If you are very clever you can transfer the hero from the obvious to the humble and make great the inferior or character who has greater potential for human dignity. 3.Charisma. Characters need intensity and conviction. They may not be perfect but they are attractive. You cannot identify with people who are unlike ourselvestoo perfect, no beliefstake themselves too seriouslylack a sense of humour.. 4.Give your characters private moments when they drop their guards and allow us into their minds and hearts. Make the listener privileged. Use this moment for revelation. 5.The main character has to change and has to be changed by the plot. 6.You must have a main character and secondary characters. Your main character changes. Your secondary characters are probably more singular in their characteristics. Your secondary characters are already committed. Your main character is still weighing up the options. 7.You must have characters who are extreme in relation to each othercharacters that are different make drama. Where are we now? Well, we should be here. a. The main character is in the middle of the story. b. Youve used dominant characteristics. c. The listener likes the main character. d. The listener cares what happens to the main character. e. The listener hates the antagonist. f. The main character is developing. Principles of Dialogue a. Dialogue must be a response to a situation, plot or action. b. Dialogue must be a response to each character in the scene. c. Dialogue must be comic relief. d. Dialogue must connect to the next scene. e. Avoid reflective, passive and neutral. Go for active, and direct and emotional. f. Dialogue must be believable by being specificby being specific to the characters background and emotional state. g. If dialogue is reacting to action or situation then it must be dramatic and poised on polarities. The goals of the characters in each scene should be different. h. Dialogue should be continuous. Tipcharacters often take a tag by repeating the last word spoken by the first character. i. Dialogue must relate to function. j. You can mix direct with indirect between two characters because they have different goals. k. Humorous dialogue is not a character telling a joke but a line or lines responding to the dramatic situation. l. Heightened dialogue vs naturalistic dialogue. Heightened language is the language of the theatrehigh octane communicationpoetic, philosophicalcharged..the expression of the playwrightIt serves not only the development of the plot and character, but it also presents the view of the writer. Works well in radio. But there is now a tendency for more naturalism. Radio producers like to go out on location and explore realism. In these situations you must stick to natural dialogue. Principles peculiar to Radio 1.The inner existence. 2.The tension and conflict between the interior and exterior. 3.More psychological. 4.Easier to explore the real and the surreal and to delineate the line between the two. 5.Have to work in the fifth dimensionthe energy of the listeners imaginative participation. 6.The interior existence offers exploration of personal thoughts, fantasies, emotions and conflicts. 7.All  levels of external conflict can be explored. 8.The precipitating event through plot has to threaten the inner life of the main character. This is the kick-off in radio drama. 9.The end or resolution in radio drama is more deeply rooted in the emotional equilibrium and insight of the main character. Changes are internal as well as external. 10.Time transposition and translocation are faster and more rapid and more complicated. Flashbacksflashforwards different ages. 11.Radio requires less rather than more characters. Characterisation needs to be strong and fascinating. 12.Maintain the focus of the main character and plot. 13.Economy of words underlines subtextual surprise and engagement with the listeners imagination. 14.Wit is vital because language is so importantcleverness with wordsenergy with words..humour with wordsWit is advanced by surprising the listenerbeing aggressive with the listener..being fast, short and clever with the listener. 15.Irony is pathos and bathos. Its conflict between the inner life and outer action. Other radio drama producers in the world Norway: NRK kulturkanalen, P2 RODD- 0340, Oslo, Norway. Swedish Radio, SR S-105 10 Stockholm, Sweden. YLE Finnish Broadcasting Company Radio, PO Box 79 FIN-00024 Yleisrdio, Finland. HR, Hessischer Rundfunk Bertramstrasse 8, 60320 Frankfurt am Main, Germany. DR Danmarks Radio, Radio Drama Department, Ewaldsgade 3-9, DK 2200, Copenhagen N Denmark. ABC Australia, ABC Ultimo Centre, Level 5, 700 Harris Street, Ultimo NSW 2007. CBC-SRC, Radio Drama Department, Box 500, Station A, Toronto, Ontario, Canada MSW 1E6 SDR Suddeutscher Rundfunk, Neckarstrasse 230, 70190, Stuttgart, Germany. Radio Television Hong Kong, Broadcasting House, m 30 Broadcast Drive, Kowloon, Hong Kong, China. Other radio drama producers, SABC, South Africa, Los Angeles Theatre Works, LA, California, Public Radio, New Zealand.

Pro Legalization of Marijuana Essay examples -- essays research papers

Cannabis has been illegal since the Marijuana Tax act of 1934. Yet out of a population of 284 million American citizens, 70 million Americans claim to have smoked cannabis at some point in their lives. Prohibition of cannabis is therefore apparently ineffective at changing the habits of a population, just as prohibition of alcohol was ineffective in 1919-1933. Making otherwise law-abiding citizens fugitives does nothing more than fill the prisons and alienate the populace from their government. In fact the total cost to taxpayers of solely marijuana-related incarceration (in local, state, and federal prisons and jails) of 15,400 people exceeds $1.2 million per year. There have been many studies performed to try to prove that the effects of marijuana are worse than other medications. Unfortunately, 9 out of 10 of the studies found that marijuana is in fact safer than many of our everyday prescription and over the counter drugs. Never in United States history has their been even one case of someone dieing or being injured from the use of marijuana an illegal drug. But every year many people die from use of Americas popular legal drugs. A combined 50,000 plus people die a year from use of over the counter drugs. 90 percent of these deaths are caused by aspirin and caffeine pills. 150,000 plus people die a year from over use of alcohol. Not including the fact that alcohol is the main reason for 50 percent of all motor vehicle accidents and the cause of 60 percent of all murders in the United States. Tobacco, another of Americas highly used legal drugs kills close to 500,000 people per year. If the government did legalize marijuana the National debt would be greatl... ...have found evidence that THC, the active ingredient in marijuana, and other cannabinoids have a direct effect on pain signals in the central nervous system, by tracing the biochemical pathway that pain signals follow from the site of an injury, through the spinal cord, to the brain. How can you ignore a drug that aids in the relief of these terminal diseases? Marijuana is more effective than conventional drugs in many instances. Denying cannabis treatment to the sick and dying is cruel and unnecessary. Marijuana has and will drastically help the people of our country in many ways. The terminally ill patients and anyone that uses marijuana does not pose a threat to the public in any way shape or form and there for, with all these facts stated the United States clearly needs to rethink there marijuana laws and legalize this drug of wonders for public use.