Industrial, French, and American Revolutions: Common Social Revolutions

Throughout history there have been many important revolutions that have help to shape society as it is today. There are different causes, from political to religious, economic to social. Any revolution affects those in society, and creates changes for the people in the society. There are three important revolutions that took place in the late 18th century that changed the world for the better. The French Revolution, the American Revolution, and the Industrial Revolution all took place in the late 1700s. Although each had a different purpose, they all lead to a better way of life for many. The French and American Revolutions are examples of some which are brought about and enforced solely by the people. Although they had different reasons behind them, both had the same idea behind them- social change. The Industrial Revolution was different, it was a technological revolution which had positive social outcomes. While one can easily compare the French and American Revolutions because o f their social causes and outcomes, the Industrial Revolution can only be compared to the other two when examining their outcomes.   Ã‚  Ã‚  Ã‚  Ã‚  The French Revolution was one of the larger social revolutions. It can be considered a revolution on the political, social, religious, and economic front, although the biggest causes were social. The French Revolution began on July 14, 1789, with the fall of Bastille and continued until the rise of power of Napoleon Bonaparte. The main re...

Mise En Scene in Sofia Coppola’s the Virgin Suicides Essay

Director Sofia Carmina Copolla has been known for her ultra-feminine, visually stylish, quite ostentatious treatment of her films.. Her love for arts and fashion contributes to the very sensual and appealing form of her work. One of her earlier films, The Virgin Suicides, is a testament to this; with its soft color palettes, dreamy soundtrack, and the liminal and transitional theme of the story that captures the pressures of going through adolescent rites of passage: first dance, first kiss, losing ones virginity. The mysterious Lisbon girls’ suicides is told to us by an anonymous boy that represents the group of boys that have loved, revered and wondered at the Lisbon girls and were the last to see them alive. In the scene wherein they get a hold of Cecilia’s diary, the director establishes just how much of a mystery these girls are to the boys. We are never given a clear picture as to the girls’ white-picket-fence suburban lives and the things that might have lead to Cecilia’s suicide; only rumors and gossip offered by neighbors, narrated by the boys; that’s why the diary serves as both a vehicle for the advancement of the plot and an important medium to communicate to us the Lisbon girls’ thoughts and feelings in a distant yet very personal way. The boys wanted to know what could have triggered the death of one them, and in knowing more about them, they come to fall in love with the elusive Lisbon girls. Even the diary prop, innocent in the way that it was made–with the stickers of rainbows, drawings of flowers, written in beautiful cursive–contained incredibly sad anecdotes about Cecilia and the girls. It was almost a foreshadowing of the things to come; how the innocent, angelic girls could commit suicide for no readily apparent reason. The diary scene starts with the boys flipping through the pages together. It is important that we go together with the boys through their journey in processing their information and feelings towards the girls. In this scene we are given our own space in the circle, as one of the investigators of Cecilia’s suicide, in the way the shots were framed. Medium to close up shots of the diary prop and the boys makes us feel like fellow speculators, looking over the shoulders of others in an attempt to figure out what’s going on. It is important to note also, the contrast in color, from the circle of boys hanging out in a room, to the dreamy, imagined diary entries. The very masculine solid blues, striped greens, dark reds of their costumes, the gray checkered walls and bed sheets; transitions to the softly lit, and cross-fading yellows, oranges, sky blues and meadow greens of the girls. The diary entry montages is how the boys would like to imagine the Lisbon girls, as the voice over says, â€Å"we knew that the girls were actually women in disguise, and that they understood love, and even death† It starts with them reading through entry after entry, looking for anything that might explain Cecilia’s suicide. They skim through a few, not very interested in anything. Boring, thinks the guys. One of the boys say â€Å"how many pages can you write about dying trees? † It is only until they encounter entries that tell of the Lisbon sisters that their attention is shifted from looking for something to finding out about the girls. It is interspersed with half-a-second clips of Lux that looked almost like it was taken from a home-made video; it is punctuated with only the starting beats of Air’s Ce Matin La. The discontinuity of the music and the clips of Lux connotes that this is not what they were looking for, as it only ever induces slivers of imagined flashbacks with the girls, but they were close. The boys settle on an entry that tells of Lux’s relationship with Kevin Heines the garbage man and the music continues and this time, does not stop, as Cecilia voices over entry after entry with a montage of the playful girls. This is how the boys see the girls through the diary; skimming through the pages, they see fragments and glimpses of their memories, thoughts, and feelings; and so it is only befitting that this is how they imagine them as well. In only second-long clips of languid camera movements, extreme close ups of desirable mouths, desirable hair brushing desirable eyes, cross-fading to unicorns and fireworks, tree swings, green meadows and pure white clouds. â€Å"And so we started to learn about their lives† the voiceover says. They saw through the diary how incredibly still and stifling a sheltered Lisbon girl’s life could be, â€Å"the way it made your mind active and dreamy and you ended up knowing what colors go together† The surreal video montage, and the Lux imagined flashbacks, all contribute to the feeling of mystery and alienation that the girls bring. A diary can only ever reveal so much about a girl, let alone a group of girls. The boys realize that they can never know the girls in their entirety. To further drive this point home, the scene ends with the screen fading to black, with only the voiceover saying â€Å"we knew that they knew everything about us, and we couldn’t fathom them at all† this then adds to the later frustration of the girls’ suicides, such that, by the end of the film, the group of boys that have fallen in love with the girls, say that they will spend the rest of their lives trying to put together the unsolvable mystery of the Lisbon sisters.

Math Ia Type 2 Stellar Numbers.

Math SL Investigation Type 2 Stellar Numbers This is an investigation about stellar numbers, it involves geometric shapes which form special number patterns. The simplest of these is that of the square numbers (1, 4, 9, 16, 25 etc†¦) The diagram below shows the stellar triangular numbers until the 6th triangle. The next three numbers after T5 would be: 21, 28, and 36. A general statement for nth triangular numbers in terms of n is: The 6-stellar star, where there are 6 vertices, has its first four shapes shown below:The number of dots until stage S6: 1, 13, 37, 73, 121, 181 Number of dots at stage 7: 253 Expression for number of dots at stage 7: Since the general trend is adding the next multiple of 12 (12, 24, 36, 48 etc†¦) for each of the stars, so for S2 it would be 1+12=13, and for S3 it would be 13+24=37 General statement for 6-stellar star number at stage Sn in terms of n: For P=9: Since S1 must equal 1 then we can prove this formula by showing that:So the first six t erms are: 1, 19, 55, 109, 181, 271 Therefore the equation for the 9-Stellar star at For P=5: Since S1 must equal 1 then we can prove this formula by showing that: So the first six terms are: 1, 11, 31, 61, 101, 151 So the expression for 5-Stellar at General Statement for P-Stellar numbers at stage Sn in terms of P and = For P-Stellar number equals 10: For P-Stellar number equals 20: The General Statement works for all number fro 1 to positive infinity.The equation was arrived at since the sum of arithmetic series can be found using , since the difference is always 2P then we can replace 2P with d, and since u1 is always equal to 1, we can replace it with 1 every time. The at the end of the equation serves the purpose of making the difference between the numbers in the series constant. This form of the equation will allow for only one variable to change, which will be . One of the things the student realized while solving this investigation was that the second term is always equal to , but the derived equation which is also works.