Evidence Law - Victoria (Australia) Legal Case Commentary Essay

Evidence Law - Victoria (Australia) Legal Case Commentary - Essay Example The rationale appears to be that a confession obtained involuntarily can not be relied upon for the truth of its contents. The court’s dilemma was succinctly stated by Gibbs J in Driscoll v The Queen, who said that, ‘it is very common for an accused person to deny that he made an oral confession which police witnesses swear that he made. The accused has an obvious motive to claim that police testimony of this kind is false. On the other hand it would be unreal to imagine that every police officer in every case is too scrupulous to succumb to the temptation to attempt to secure the conviction of a person whom he believes to be guilty by saying that he has confessed to the crime with which he is charged when in fact he has not done so.’ This aspect of the voluntary nature of confession statement becomes tricky in instances where police use unconventional means in the course of obtaining a confession statement. The court attempted to draw the line in balancing these conflicting motives for the admissibility of confession statements by restating the applicable test an applying it to a scenario where police used what amounted to entrapment in R v Tofilau

Total Quality Management and Its Aspects Assignment

Total Quality Management and Its Aspects - Assignment Example The paper tells that TQM is the name of a planned approach that is intended to implant necessity of quality in all organizational processes from the core management systems that are focused on achieving various goals and objectives in addition to ensuring customers’ satisfaction to the supplier relationships and motivation needed to maintain rapport between the members of an organization. The bedrock of TQM is based on reducing different errors happening during the production process that is capable of tarnishing consumer’s satisfaction. Basically, it illuminates the way to make the idea of customer-defined quality possible, so that the other competitors in the market cannot take advantage of the poor quality. Introducing the concept of quality is not the effort of just one person but, its concept began to form when the competition in the business world became quite fierce and each organization made quality its top priority, and that also gave quality a strategic meanin g, with the result that presently TQM is the concept that is broadly used to define quality. The process of TQM can work practically with effective results, only if everybody involved in maintaining the highest quality knows how TQM actually operates. The basic structural plan of TQM is organized by senior management generally and implemented by those who have to cope with the strategies involved in the production area like supervisors and employees. So, almost everybody in an organization at every level is involved in this process. Ensuring that everything is operating well is the core strategy involved in operating TQM intelligently. According to Chryanthou, TQM works well when everything is made to focus on customers’ needs and the type of quality preferred by them is tried to be achieved. Quality errors should be reduced so that the businesses make customers the center of attention. Agreeing on different plans, all of which focus on customers, is the main way TQM operates successfully. That is because the concept of quality, itself, is centered on truly meeting the expectations of customers. Considering this, it can be said that TQM is broadly a customer-focused concept that should be manipulated to handle the competition in the market.

An Analysis of Mary Shelleys Frankenstein Essay Example for Free

An Analysis of Mary Shelleys Frankenstein Essay Mary Wollstonecraft Shelley was born in London in 1797 to radical philosopher, William Godwin, and Mary Wollstonecraft, author of A Vindication of the Rights of Woman. Wollstonecraft died 11 days after giving birth, and young Mary was educated in the intellectual circles of her fathers contemporaries. In 1814, at the age of seventeen, Mary met and fell in love with poet, Percy Bysshe Shelley. She ran away with him to France and they were married in 1816 after Shelleys wife committed suicide. Percy Shelley was a prominent poet of the Romantic Movement along with Samuel Taylor Coleridge, William Wordsworth, and Shelleys friend, Lord Byron. As his wife and companion, Mary Shelley was exposed to the same influences as her husband, and this Romanticism influenced her work. Mary Shelley wrote Frankenstein after Byron introduced a challenge to discern whom among the three writers Percy Shelley, Mary Shelley, and Byron himself could write the best ghost story. The tumultuous French Revolution, which began before her birth, but had far-reaching echoes in society and literature, as well as the Industrial Revolution of England in the 18th Century, were influences on Mary Shelleys life and work. The mass production and dehumanization of the Industrial Revolution posed a threat to the Romantic ideals of the importance of the individual, the beauty of nature, and the emotional and free spirit. Frankenstein, or The Modern Prometheus, can be seen as a protest against this scientific revolution. Scientific progress was a large part of this century of discovery. Darwin, a leading scientific figure with his theories of evolution, was a personal friend of Shelleys husband, so science was not an ignored topic in her life. Advances in medicine and the need for cadavers also figured into the time in which Mary Shelley lived. At this time in London grave robbing was a common occurrence because men dubbed the resurrection men would sell the stolen bodies to teaching hospitals so that medical students could dissect and study them. This knowledge makes the idea of Victor Frankenstein  scavenging graveyards for parts seem less shocking. Frankenstein addresses common Romantic themes of isolation and the beauty of nature, but it also deals with loss, which Mary Shelley knew a great deal about. Growing up motherless, Mary also lost her sister to suicide, as well as losing three of her own children to miscarriage and early childhood deaths. In 1822 her husband drowned in the Gulf of Spezzia, and she was left, twenty-five years old, with only one remaining son. She remained unmarried and died in London in 1851. Although she wrote several other books, including Valperga (1823), The Last Man (1826), Lodore (1835), and Falkner (1837), Frankenstein is her most well known work. The critics greeted Mary Shelleys novel with a combination of praise and disdain (Moss and Wilson). The unorthodox studies of Frankenstein were shocking to critics, but despite the critical attacks, Frankenstein caused a literary sensation in London. The novel fit smoothly into the popular gothic genre (Moss and Wilson). But more than just a popular culture novel, Frankenstein has lasted over time. The novel became one of the triumphs of the Romantic movement due to its themes of alienation and isolation and its warning about the destructive power that can result when human creativity is unfettered by moral and social concerns (Moss and Wilson) Mary Wolstonecraft Shelley PLOT Frankenstein, set in Europe in the 1790s, begins with the letters of Captain Robert Walton to his sister. These letters form the framework for the story in which Walton tells his sister the story of Victor Frankenstein and his monster as Frankenstein told it to him. Walton set out to explore the North Pole. The ship got trapped in frozen water and the crew, watching around them, saw a giant man in the distance on a dogsled. Hours later they found Frankenstein and his dogsled near the  ship, so they brought the sick man aboard. As he recovered, Frankenstein told Walton his story so that Walton would learn the price of pursuing glory at any cost. Frankenstein grew up in a perfectly loving and gentle Swiss family with an especially close tie to his adopted cousin, Elizabeth, and his dear friend Henry Clerval. As a young boy, Frankenstein became obsessed with studying outdated theories about what gives humans their life spark. In college at Ingolstadt, he created his own perfect human from scavenged body parts, but once it lived, the creature was hideous. Frankenstein was disgusted by its ugliness, so he ran away from it. Henry Clerval came to Ingolstadt to study with Frankenstein, but ended up nursing him after his exhausting and secret efforts to create a perfect human life. While Frankenstein recovered from his illness over many months and then studied languages with Clerval at the college, the monster wandered around looking for friendship. After several harsh encounters with humans, the monster became afraid of them and spent a long time living near a cottage and observing the family who lived there. Through these observations he became educated and realized that he was very different from the humans he watched. Out of loneliness, the monster sought the friendship of this family, but they were afraid of him, and this rejection made him seek vengeance against his creator. He went to Geneva and met a little boy in the woods. The monster hoped to kidnap him and keep him as a companion, but the boy was Frankensteins younger brother, so the monster killed him to get back at his creator. Then the monster planted the necklace he removed from the childs body on a beautiful girl who was later executed for the crime. When Frankenstein learned of his brothers death, he went back to Geneva to be with his family. In the woods where his young brother was murdered, Frankenstein saw the monster and knew that he was Williams murderer. Frankenstein was ravaged by his grief and guilt for creating the monster who wreaked so much destruction, and he went into the mountains alone to find peace. Instead of peace, Frankenstein was approached by the monster who then demanded that he create a female monster to be the monsters companion.  Frankenstein, fearing for his family, agreed to and went to England to do his work. Clerval accompanied Frankenstein, but they separated in Scotland and Frankenstein began his work. When he was almost finished, he changed his mind because he didnt want to be responsible for the carnage another monster could create, so he destroyed the project. The monster vowed revenge on Frankensteins upcoming wedding night. Before Frankenstein could return home, the monster murdered Clerval. Once home, Frankenstein married his cousin Elizabeth right away and prepared for his death, but the monster killed Elizabeth instead and the grief of her death killed Frankensteins father. After that, Frankenstein vowed to pursue the monster and destroy him. Thats how Frankenstein ended up near the North Pole where Waltons ship was trapped. A few days after Frankenstein finished his story, Walton and his crew decided to turn back and go home. Before they left, Frankenstein died and the monster appeared in his room. Walton heard the monsters explanation for his vengeance as well as his remorse before he left the ship and traveled toward the Pole to destroy himself so that none would ever know of his existence. CHARACTERS Major Characters Robert Walton: Indirect narrator of the story, he tells Victor Frankensteins story through letters to his sister, Margaret Saville. Walton is a self-educated man who set out to reach and explore the North Pole and find an Arctic passage to connect the Atlantic and Pacific Oceans. While his ship is locked in ice, his crew sees Frankensteins monster pass by on a dog sled and Frankenstein himself, exhausted and weakened, not far behind. They take Frankenstein aboard and Walton nurses him and talks with him because he has been longing for a friend. In seeing Waltons raw ambition to explore the North Pole at all costs, Frankenstein is prompted to tell the story of his destruction that a similar ambition brought upon him. After Frankensteins death and just before the ship heads back to England, Walton is also the last to see the monster before he goes north to kill himself. Victor Frankenstein: Frankenstein is the eldest son of a wealthy, Genevese man, Alphonse, and his young wife, Caroline. Victor grows up in the perfect family with a happy childhood and a constant and devoted companion in his adopted cousin, Elizabeth. He is sensitive, intelligent, and passionate about his interests and becomes absorbed in the quest to find out what creates life. While away at college in Ingolstadt, Victor creates a being from scavenged corpse parts and gives it life, but is repulsed by its hideousness once it lives. The monster, in retaliation for Victors negligence, destroys his life by killing off those Victor loves. Victor chases him to the far reaches of the Arctic planning to destroy him and then die to escape his misery and remorse at his creation, but he dies aboard Waltons ship before he can catch the monster. The Monster: Created by Victor Frankenstein in Ingolstadt, the monster is a conglomeration of human parts with inhuman strength. He is so hideous that Victor, his own creator, cannot stand to look upon him. He is loving and gentle at the beginning of his life, childlike in his curiosity and experiences, but after several harsh encounters with humans, he becomes bitter. He seeks revenge on his creator for making him so hideous and rendering him permanently lonely because of his ugliness. He offers Frankenstein peace in exchange for a companion of like origin, but when Frankenstein does not comply, he vows to destroy him and begins killing off Frankensteins friends and family those figures he most envies because he does not have them. After finding Frankenstein dead aboard Waltons ship, the monster goes further north with plans to destroy himself and end the suffering that Frankenstein began when he created him. Elizabeth Lavenza: Adopted cousin of Victor Frankenstein. Elizabeth was a beautiful orphan being raised by an Italian peasant family when Caroline Beaufort Frankenstein adopted her. She became Victors constant companion and he watched over her as if she were his own possession from their meeting when he was 5 years old. Her beauty and kindness made her adored almost reverently by all who knew her, and it was taken for granted that she and Victor would marry. She is the gentling influence and the comforter for the  males of the Frankenstein family when Caroline dies, and her beauty and goodness are constant throughout her life. She and Victor are married, but on their wedding night, the monster strangles Elizabeth to punish Victor for not creating for him a companion creature. Henry Clerval: Life-long friend of Victor Frankenstein, Henry was poetic, sensitive and caring, and their friendship was a strong one. When Victor was in Ingolstadt so long without sending word to his family, Henry relocated there to study and to look after Victor. Henry nursed him through a long period of illness before Victor returned to Geneva. Later they traveled together to England and Scotland, but while they were there, the monster strangled Henry to punish Victor. Victor was accused of the murder, but was acquitted. Justine Moritz: Servant in the Frankenstein household, Justine was another beautiful, gentle, and kind addition to the Frankenstein family whom Caroline took in to care for and educate. When Caroline got scarlet fever, Justine nursed her, and after Caroline died, Justine returned to her own mother. Her mother too became ill and died, so Justine returned to the Frankenstein home to help raise the two sons Caroline had left when she died. Justine was a grateful and faithful part of their household, but she was accused of 5-year-old William Frankensteins murder when a locket he had been wearing was found in her dress. Although she had been framed by the monster and was innocent, she was executed and Victor considered her death his fault because he created the monster who framed her. Alphonse Frankenstein: Victor Frankensteins father, Alphonse was a wealthy and benevolent man who loved his wife and his children very dearly. He rescued Caroline Beaufort, daughter of his close friend, from poverty after her fathers death. He was a doting husband and father bent by the grief of loss after loss until he dies from accumulated sorrow and shock. Caroline Beaufort Frankenstein: Wife of Alphonse and mother of Victor, Ernest, and William, Caroline Beaufort Frankenstein was the daughter of a once-wealthy friend of Alphonse. Planning to aid his friend, Alphonse found  his home and went there only to find Caroline weeping over his coffin. Alphonse took her into his home and married her two years later. They had a loving relationship and cared for their children very much. She was a good, beautiful, and gentle woman adored by all her family until she died from the scarlet fever she contracted nursing Elizabeth back to health. Minor Characters Mrs. Margaret Saville: Sister of Robert Walton, ship captain, Mrs. Saville is significant only because she is the recipient of the letters describing Frankensteins story. Walton writes to her of the progress of his journey and his acquaintance with Frankenstein. Beaufort: Friend of Alphonse Frankenstein and Carolines father, Beaufort lost his wealth and relocated to escape the humiliation of his poverty. Caroline nursed him as his health declined and was weeping over his coffin when Alphonse found her and took her back to Geneva. M. Waldman: Chemistry professor at Ingolstadt. His lectures revive Victors interest in discovering the spark of life and creation. Ernest Frankenstein: Victors brother. Ernest is 7 years younger than Victor and is only mentioned a few times, the longest reference in a letter to Victor from Elizabeth. She mentions that Ernest wants to join the Swiss military. William Frankenstein: Victors youngest brother, William is sweet, happy, greatly adored by his family. William is strangled in the woods while the family was out for a walk. His is the first of the monsters victims, and Justine is framed for the murder. De Lacey Family: Felix, Agatha, and their blind father. This is the family of cottagers near where the monster lives. They are French exiles living in Germany because Felix helped an unjustly imprisoned Turk escape. He watches them and over time learns to speak and read from observing them. The monster  becomes attached to them and chops wood for them as well as other small services without revealing himself to them. He craves their acceptance and affection and educates himself further to win them over. When he seeks their affection, however, they are afraid of him and their scorn sends him away. This rejection sends him on a quest to find Victor, his creator, and seek vengeance. Muhammadan: Turk Felix aided and for whom the De Lacey family was exiled to Germany. Muhammadan was unjustly condemned for reasons of religion and wealth, and Felix helped him escape, falling in love with Muhammadans daughter, Safie, along the way. Muhammadan promises to allow them to marry, but plans secretly to take Safie back to Turkey with him. Safie: Daughter of Muhammadan and Arabian Christian woman. Safie falls in love with Felix and doesnt want to return to the oppressive country of her birth. When her father leaves for Turkey with the expectation that she will follow soon after with all of his possessions, she seeks out Felix and lives with him and his family in Germany. M. Kirwin: Irish magistrate who cares for Victor when he falls ill after being accused of Henrys murder. Kirwin is sympathetic and believes Victor is innocent, so he has a doctor care for Victor while he is imprisoned and also sends for Alphonse. SETTINGS Geneva: Geneva, Switzerland. Home of the Frankenstein family where Victor grew up and to which he returned after college and the creation of the monster. The murders of William and Justine were located in the area around Geneva. Ingolstadt: Ingolstadt, Germany. Victor went to college in Ingolstadt and created the monster in his laboratory there. This was the city of the monsters awakening. Mont Blanc: A mountain near Geneva. This mountain is referred to again and again in descriptions of scenery throughout the novel. It carries weight as a mark of Romanticism because it is the subject of a famous poem by William Wordsworth, one of Mary Shelleys contemporaries. Orkney Islands: Orkney Islands, Scotland. Victor stays in a hut on one of the sparsely populated Orkney Islands to create a second creature to be a companion to the monster. North Pole: Destination of Robert Walton and his ship as well as the monster and Victor. Walton is bound for the North Pole to explore in the hopes of uncovering secrets of the earth and gaining glory for his discovery. Victor is following the monster to the North Pole to destroy him or die trying, and they meet while Waltons ship is trapped in ice. Walton and Victor never make it to the North Pole because Waltons men want to turn back for England and Victor dies. The monster, however, is last seen on his way to the furthest point north to destroy himself so that none will know of his hideous existence. Chamounix: Frankenstein traveled to Chamounix to escape his guilt and depression, but while he was in Chamounix, the monster approached him about creating a female monster companion for him. The monster lived in an ice cave not far from Chamounix. INTRODUCTION Mary Shelley was born in 1779 in London, England. At the age of sixteen, she met the famous British poet Percy Bysshe Shelley, whom she later married. The idea of a man who creates life-in the form of a horrible and grotesque monster-came to Mary in a vivid, waking dream. With her husbands encouragement, she used this idea as the basis for FRANKENSTEIN. It was written when she was only nineteen years old. After Percys death, May Shelley continued to write but produced nothing to equal the success of this classic tale of horror. THE HISTORY OF FRANKENSTEIN 1816: Mary Wollstonecraft Shelly, daughter of one of the worlds first prominent feminists, writes the novel Frankenstein based n a waking dream. 1823: Richard Brinsley Peakes Presumption, or the Fate of Frankenstein, the first stage adaptation of the novel, is performed in London. 1887: The Vampires Victim, a musical comedy featuring Fred Leslie as the creature, is presented as a Christmas show and includes dancing bears, two vampires and a female Dr. Frankenstein. 1910: The first movie version of Frankenstein, a 16-minute dramatization, is produced by Thomas Edisons film company. It stars Charles Ogle as the monster. 1928: Hamilton Deane produces an adaptation of Frankenstein, which tours British provinces. Dean himself plays the creature. 1930: Frankenstein makes its West End premiere in London. 1931: 1957: A script written for a Broadway production is sued as the basis for the screenplay of the Universal Pictures film featuring Boris Karloff. Karloffs performance steals the film.Hammer films produces The Curse of Frankenstein, the first Frankenstein film in color. Unlike earlier versions, it portrayed Victor Frankenstein as the outright villain of the story. 1972: An illustrated version of the story published by Marvel Comics is the first to be told from the monsters point of view. The creature is portrayed as victim, not victimizer. 1973: A two-part television movie is produced and released as Frankenstein, the True Story in America and Dr. Frankenstein in the United Kingdom. In this story, Victor Frankenstein attempts to save a dying friend by replacing his brain in the reanimated body of a recently dead man. 1974: Young Frankenstein, written by and starring Gene Wilder, spoofs the Universal films of the 1930s with song and dance numbers. Its the only Frankenstein film with a happy ending. 1978: Berni Wrightson publishes a lavishly illustrated adaptation of Frankenstein that visually portrays the creature as originally described by Shelly. 1981: Elaborate effects cannot compensate for a bad script when an ill-conceived stage version of Frankenstein is mounted on Broadway. It starred John Carradine and closed after only one performance. 1994: The feminist undertones of the original novel are developed in Mary Shellys Frankenstein, a film starring Tom Hulce and Helena Bonham Carter.

Structure and Aerodynamics of SAAB 340 Series Aircraft

Structure and Aerodynamics of SAAB 340 Series Aircraft The following report will contain information on the SAAB 340 series aircraft in regards to its structure, aerodynamics, propulsion, operation and safety throughout its history (1970s-2017) Introduction The SAAB 340 is a regional aircraft series designed by the Swedish aerospace manufactures with the desire to explore commercial airliners with 30-40 passengers in the 1970s, originally named the SAAB 340A. The plane was selected to run with GE turboprop engines due to their inherent fuel economy compared to a turbofan or turbojet engines. The SAAB 340B was the first development of the SAAB 340A, the newer aircraft had more powerful engines, a larger tail plane and the crafts range and take-off weight where increased. The SAAB 340s ceased production in 1998 with lack of interest from airliners and hence profits reduced. The SAAB 340 has many renditions the most common being the 340A, 340B, 340B plus including carbo, corporate and commercial interior designs. Of note is that originally SAAB AB and Fairchild (an American company) co designed the 340, having the original name of the SF340, Fairchild designed wings, wing mount nacelles and empennage. The SAAB 340 can be defined as a monoplane with a tractor engine setup. It has a tricycle wheel layout and a conventional tail. The wings are dihedral, low mount, tapered and cantilevered from the fuselage with a single spar. Some of these are further investigated below. It would also be of note to mention the SAAB 340B (most common variant of SAAB 340s) has seating typically for 34 passengers where their weight with baggage is 214lbs, a fact sheet with the aircraft data and statistics will be attached in the appendix. Structure and Construction The SAAB 340 uses common and unusual structural components during its 40+ year service, some of the features which has characterised the aircraft is its single spar wing design, cable strengthen tail plane and a metal bonded skin. These structural components used by SAAB AB to maintain the range of their aircraft whilst also increasing range and payload. The SAAB 340 uses a single spar wing which inserted behind the leading edge which allows for the complexity of the wing to be reduced compared to a multi spar wing. This is beneficial in the construction of a regional aircraft due to the reduced in cost in regards to the difficulty in which it is to design and then build a multi spar wing. The single spar also allows for more free space in the wing interrupted only by the ribs which are designed to have holes in them to reduce weight and allow for usable space (fuel and control surface actuators) in the aircraft, see figure 3 in the appendix. The single spar in the tapered wing also allows for a slender trailing edge of the aerofoil which can be further explored in the aerodynamical section of this report. The SAAB 340 uses a unique feature for a commercial airliner to use, a cable was installed from the top of the empennage to another, the unique design will be further explored below however the cable installed on the 340A is a unique structural component using the cables tension to give the wing added structural rigidity. The newer 340B and B plus dont have the cable installed, which may be due to lighter and stronger longerons or ribs or better engineered surfaces like metal bonding which is used to cover over 40% of the aircrafts external surfaces. The use of metal bonding in its surface skin reduces weight and increases the structural integrity of the aircraft. This increased rigidity in the surface allows for the aircraft to be designed with less internal bracing and material weight. By incorporating the structural benefits of an aluminium bonded skin into the aeroplane, SAAB AB and the Engineers can best maximise the range, interior space and payload. The SAAB 340 is made up of common modern aircraft parts and features, the fuselage and wings are made from aluminium ribs, spars, longerons and stringers which although not unique take advantage of the lightness of aluminium and its structural strength compared to a point 3% carbon steel or an expensive composite equivalent. The SAAB AB engineers therefore had to make the most of cheaper but most effective materials to keep costs lows for consumers of the regional aircraft but still have a light and fuel efficient aeroplane to make regional distance with 30-40 passengers as per the original design specifications. The structural aspects of the aircraft are important in making the SAAB 340 maximise its space and payload, the engineers therefore had to combine techniques like tension in cables and intelligently designed wings which will minimise weight but still comply with complex fluid flow around the fuselage and aerofoils as well as can be keep passengers safe and comfortable. Aerodynamics The SAAB 340, like all modern aircraft, is designed to minimise drag whilst maximising lift. The SAAB AB aircraft uses intelligent and mandatory aerodynamics and aerodynamical systems on their aircraft; a unique tail plane, parabolic nose and fuselage shape and the wings shaping plus engine integration. The SAAB 340 has a conventional empennage, where the vertical stabilizer has two parts, highlighted in figure 4 of the appendix. SAAB AB has incorporated this design in the 340 and their 2000 series aircraft. The two stages in the vertical stabiliser helps to create a more stable and streamlined laminar flow structure around the stabiliser and hence allows for the rudder to be more effective in controlling the airflow around it. The SAAB 340 has a typical airliner style parabolic nose cone which leads into a straight circular fuselage (minus the V shape wing mount nacelles on the bottom of the aircraft, shown on figure 6). The parabolic nose cone is highly efficient in having the air flow move around the aircraft without inducing large quantities if air resistance and drag. Further SAAB AB have slimmed the rear of the plane into a point, typical of modern airliners in an effort to have the air flow coming off the aircraft in a low drag streamlined structure. The SAAB 340 uses a tapered, cantilevered, dihedral wing (as mentioned above) and has an equally cantilevered dihedral horizontal stabiliser both of which have aerodynamic features of no winglets, small cross sectional height as well as the wings having been integrated with the engine. The lack there of winglets on the SAAB 340 highlights how the engineers have been able to reduce the mixing of air from the top and bottom of the aerofoil. The usual effect of winglets will create a barrier, not allowing for the high and low speed air flow to create drag and vortexes. SAAB AB have been able to sculpt their aerofoils so that the need for a winglet has been reduced, a technique used by Boeing, on the 747 for example. The SAAB 340 has also integrated their GE turboprop engines into the wing design. This is seen in figure 6 of the document particularly in the front view, where the engine has been slotted into the wing and has allowed for the turboprop to be elegantly and aerodynamically efficiently positioned to reduce the drag which can occur from having an engine hang off the wing. This fitted setup also gives the operational functionality of the aircraft as the retractable undercarriage is also integrated into the engine area. This innovative solution for SAAB AB engineers has allowed for the aircraft to have a retractable undercarriage but keep stability on a runway, giving the SAAB 340 aerodynamically efficient flight and hence fuel efficient flight too. The SAAB 340B+ differs from the 340B due to its extended wingtips which allows for it to be more aerodynamically efficient in more humid environments and to be able to take off on shorter runways, this variation in wing design of the different models gives the aircraft additional enhancements is rural and regional areas where the flying environment isnt ideal. Propulsion The SAAB 340 uses GE turboprop engines with a 4-propeller prop from Dowty Rotol or Hamilton Sundstrand, differences in noise given in figure 5 of the appendix. The SAAB 340B uses the GE CT7-9B, pictured in figure 6 of the appendix, which has an 1870 shp rating [5]. Figure 8 a cutaway of the CT7-9B turboprop [6] The turboprop engine used by the 340 is highly efficient engine with high range for its size. The engine can fly a maximum 470nm with a maximum total weight in excess of 29000lb (take off) on under 6000lb of fuel. The two engines can thrust the SAAB 340B and B Plus at 283 knots at an altitude of 25000 feet. Further information on range and payload is in figure 9 of the appendix. The SAAB 340 has used different engines over the years, originally running CT7-5A2 turboprops the change to a CT7-9B led to an increase in the SHP of the engines, more power, and an increase in fuel efficiency. More so, it is of current note that the SAAB 340B has had recent engine and propeller failures with REX region airlines in Australia. The failure of a Turboprop engine on the 23rd of march 2017 and a propeller falling off mid-flight on the 17th of march 2017. However due to intelligent engineering on behalf of SAAB AB the two planes could fly on one of the turboprops and make a safe emergency landing. Thus, highlighting both the aerodynamic design quality of the aircraft and how the GE CT7-9B engine can still power the aircraft with only half available thrust. Operation Requirements The SAAB 340 requires a runway, crew and a form of refuelling at destination/departure. Due to the SAAB 340s design the aircraft has been deliberately constructed with regional and rural travel in mind where infrastructure is low and basic hence the 340 has built in facilities such as stairs and extra additions for the craft to cope and work in weather of the extremes and on runways made of gravel and dirt. The SAAB 340B has extras such as the gravel pack and longer wingtips which allow for it to operate in humidity and heat without larger runways or advanced asphalt airports [8]. The SAAB 340B requires, at SL with optimal flaps and at ISA, a runway of 4220ft (1.3km) however at less optimum environments the runway needed can be 6690ft (2.02km). The SAAB 340 does require 2 pilots and one flight attendant can be also apart of the crew. Die to the small seating numbers the SAAB 340 doesnt have room for more than one attendant. The floor plan is shown below highlighting where the crew is stationed on a typical 340 layout. Figure 10 SAAB 340 layout as intended by SAAB AB [4] Safety Record The SAAB 340 has a rather good incident record with only four flights ending in fatalities, however this is considered four times to many. The below table makes note of the four fatal incidents of the SAAB 340 [9] Fatal Incidents Year Airline and Flight Fatalities Reason 1994 KLM city hopper 433 3 The Engine Stalled and the Aircraft struck the ground, the Aircraft broke upon impact 1998 Formosa Airlines 13 The Aircraft has electrical faults and the Crew was disorientated, the plane crashed in the ocean 2000 Crossair 498 10 The Aircraft banked to steep causing a spiral dive and resulted in the aircraft crashing 2011 SOL LÃ ­neas AÃ ©reas 5428 22 The Aircraft whilst flying at FL179 began to pick up ice accretion and by the time the plane descended to FL140 the ice was to server causing the crash The SAAB 340 has had successfully operated for many years with only few fatal accidents which is a testament to the engineering behind the aeroplane however aircraft isnt without incident. Most recently Australian regional aircraft carriers Rex regional airlines has had two engine issues. Firstly, on the 17th of march 2017 the propeller fell off the turboprop engine, followed by the 23rd where the engine on the starboard side came up with warnings causing it to land. These two recent examples showcase how even in extreme circumstances where 50% of the planes engines have been rendered useless the pilots can fly the regional airliner safely to an airport to land. Some other notable instances of the SAAB 340B having mid-air issues include a recent Western Air plane crash at Grand Bahama International Airport where following take off the plane experienced issues with its undercarriage and was forced into an emergency landing where the undercarriage then gave way, the intelligent design of fuselage floor and turboprop-wing integration allowed for the plane to stop without causing any major injuries to the passengers [11]. Conclusion The SAAB 340 series was designed in the 1970s as a cost effective and effect aircraft for SAAB AB to explore commercial aviation, this venture led to one of the most successful regional airliners with more units being sold than any other during its 40-year service history. The structural, aerodynamic and propulsion features although common place in aviation demonstrate the design of the 340 as a simple and effective flyer. The 340 series has basic crew and infer structure requirements however this has allowed for it to fly from city to city and onto the county without changing the undercarriage. Coupled with it relative susses in terms of safety the SAAB 340 is a proven reliable aircraft. Appendix Figure 3 of SAAB 340B, note the ribs and spar in the wing [3] Certified Noise Levels Dowty Rotol Hamilton Sundstrand Fly-Over 78.4 78.2 Side-line 85.9 86.2 Approach 91.8 90.1 Figure 5 giving the noise differences between the two propeller companies [4] Weights lbs Flight Max Take Off 29000 Max Cruise Speed 283 kt Max Landing 28500 Max Operating Altitude 25000 ft Max Zero Fuel 26500 Operational Empty 19000 Max Payload 7500 Max Fuel 5690 Airfield Performance Sea Level ISA ISA+10ÂÂ °C ISA+20ÂÂ °C Take Off Weight (lb) 29000 29000 29000 Take Off Distance (ft) 4220 4460 4680 5000 ft above MSL ISA ISA+10ÂÂ °C ISA+20ÂÂ °C Take Off Weight (lb) 29000 29000 28180 Take Off Distance (ft) 5245 6215 6690 Sector Performance Sea Level 100nm 200nm 300nm 400nm 500nm Take of Weight (lb) 27995 38400 28750 29000 29000 Block Fuel (lb) 610 1000 1330 1630 1920 Block Time (min) 34 56 79 103 129 Passengers with Baggage 34 34 34 34 33 5000 ft above MSL 100nm 200nm 300nm 400nm 500nm Take of Weight (lb) 27920 28180 28180 28180 28180 Block Fuel (lb) 595 975 1295 1580 1865 Block Time (min) 33 55 77 101 126 Passengers with Baggage 34 34 32 31 30 Specifications Payload Range Long Range Cruise Long Range Cruise Length 64 ft 9 in 34 Passengers 445nm 470nm Height 22 ft 11 in Maximum Payload 370nm 400nm Wing Span 70 ft 4 in Propeller ground clearence 1 ft 8 in Engine Cargo Door (HxW) 51 in x 53 in SHP at Sea Level 1870 Sill Height, Passenger Door 5ft 4 in Sill Height, Cargo Door 5 ft 6 in Below is the SAAB 340B Fact sheet, Figure 11 [4] References [1] https://www.linkedin.com/pulse/20140925164339-286946302-saab-340b-aircraft-for-sale, first accessed on 25/03/2017 [2] http://www.flightglobalimages.com/saab-340-cutaway-drawing/print/1569691.html, first accessed on 25/03/2017 [3] http://www.avrosys.nu/aircraft/Transport/282tp100/282Tp100-2.htm, first accessed on 25/03/2017 [4] SAAB 340B/340B Plus document from SAAB AB [5] https://www.geaviation.com/commercial/engines/ct7-engine, first accessed on 25/03/2017 [6] https://au.pinterest.com/pin/387802217889058690/, first accessed on 25/03/2017 [7] https://www.google.com.au/url?sa=irct=jq=esrc=ssource=imagescd=ved=0ahUKEwihxNHz1fDSAhUIS7wKHTEUBywQjxwIAwurl=https%3A%2F%2Fwww.aircraftcovers.com%2Fgeneral-aviation-models%2Fsaab%2F340bvm=bv.150729734,d.dGopsig=AFQjCNHhr5FhS2aG-2oP9r3t8c9LGrvSmQust=1490497467273858, first accessed on 25/03/2017 [8] https://corporate-air.com.au/aircraft-charter/aircraft-types/saab-340/, first accessed on 25/03/2017 [9] https://aviation-safety.net/database/dblist.php?sorteer=casualties,datekeykind=%cat=%page=1field=typecodevar=410%, first accessed on 26/03/2017 [10] https://twitter.com/ABCemergency, first accessed on 26/03/2017 [11] http://www.tribune242.com/news/2017/feb/07/western-air-plane-crash-lands-grand-bahama-interna/, first accessed on 26/03/2017 Other sources of information used but not specifically referenced [12] Aerodynamic and Flight Dynamic Simulations of Aileron Characteristics, by Erkki Soinne Department of Aeronautics Royal Institute of Technology SE-100 44 Stockholm, Sweden [13] http://www.airliners.net/aircraft-data/saab-340/347, first accessed on 25/03/2017 [14] http://saab.com/civil-aerospace/Regional-aircraft/regional-aircraft/Saab-340B/, first accessed on 25/03/2017 [15] http://saab.com/civil-aerospace/aircraft-support-solutions/solutions-and-services-for-other-aircraft-types/technical-information-services/, first accessed on 25/03/2017 [16] https://www.planespotters.net/airframe/Saab/340/185/F-GPKG-Crossair-Europe, first accessed on 25/03/2017 [17] http://solutions.3m.com/wps/portal/3M/en_EU/AerospaceSolutions/Home/Applications/StructuralBondingAircraftComponents/, first accessed on 25/03/2017 [18] https://community.infinite-flight.com/t/saab-340a/70306/11, first accessed on 25/03/2017 [19] http://www.airliners.net/forum/viewtopic.php?t=212045, first accessed on 25/03/2017 [20] SAAB Regional Aircraft, Supporting Your Future brochure from SAAB AB website PART TWO: aircraft data and graphs Manufacturer Aircraft MTOW max range no. pass ref no. Airbus A300-600 375900 4050 266 1 A310 361600 4350 220 2 A318 149900 3100 107 3 A319NEO 166400 4200 124 4 A320 172000 3300 150 5 A321 206100 3200 185 6 A330-200 529100 7250 247 7 A330-300 529100 6350 277 8 A330-800NEO 533500 7500 257 9 A330-900NEO 533510 6550 287 10 A340-200 606300 6700 261 11 A340-300 609600 7300 277 12 A340-500 837800 9000 293 13 A340-600 837800 7800 326 14 A350-800 546700 8200 280 15 A350-900 617300 8100 325 16 A350-1000 681000 7950 366 17 A380 1272000 8200 544 18 Boeing 707-120 248000 2607 181 19 717-200 110000 1440 106 20 727-100 170000 2703 131 21 737-700 154500 4400 149 22 737-800 172500 4000 189 23 737-900 187679 3200 215 24 747-8 987000 8000 410 25 757-200 255000 3910 228 26

To Kill a Mockingbird by Harper Lee :: essays research papers

To Kill a Mockingbird was written by Harper Lee. To Kill a Mockingbird takes place in Maycomb Alabama, in the late 1930's early 1940's. In this story a lot of characters were introduced to the reader. Jem Finch played a big role in this book.any worms he found to one side. He were many other vital characters in this book, they were; Calpurnia was the Finch's maid, she was a great help raising Jem and Scout. Aunt Alexandra was Atticus' sister, she came to help raise Jem and Scout, but the Jem and Scout didn't really like her because she was very strict. Miss Maudie was Scout's favourite person to talk to, she always made cakes for Jem and Scout. Arthur (Boo) Radley was a man who lived in a big old house down the street from the Finch's, Jem, Scout and Dill always wondered who Boo Radley was because he never came out of his house. Dill was a close friend of Jem's and Scout's, he always spent the summer with his Aunt across the street. Tom Robinson was a black man convicted of raping Mayella Ewell. Mayella Ewell lived out in the country, didn't go to school, and just worked for her family. Miss Stephanie Crawford lived across the street and always gave advice to Jem and Scout. Reverend Sykes was the priest at the black church outside of town. Judge Taylor was the judge during the trial of Tom Robinson. Bob Ewell was Mayella's father, he was an enemy of the Finch's. Mrs. Dubose was a mean old lady who always put down Jem, Scout, and Atticus. Miss Rachel lived across the street and always told Jem and Scout anything they needed to know. Mr. Heck Tate was the sheriff in town. In the story To Kill a Mockingbird there was lots of struggles and hardships that the Finch's and the town of Maycomb had to go through. Atticus was a lawyer and he was defending Tom Robinson, who was convicted of raping Mayella Ewell. There was a big court battle after many witnesses and questions Tom Robinson was found guilty on very little evidence. Tom Robinson was then shot later trying to escape from jail. Jem, Scout and Dill always wanted to know what Boo Radley looks like. They always tried to lure him out of his own house. They tried to send messages to him by a fishing pole, but they could never figure out why he doesn't come out. Mrs. Dubose lived down the street from the Finch's and when ever

Music and Musicians in the Renaissance Essay examples -- Exploratory E

Music and Musicians in the Renaissance If music be the food of love, play on! ~ Orsino, Twelfth Night In the Elizabethan Era (1558-1603) and the Jacobean Era (1603-1625), there was a fondness for spectacle and pageantry. At court, trumpets and drums resounded to announce mealtimes; in town, these instruments were used by theatre troupes to herald upcoming performances (Renaissance & Baroque Society of Pittsburgh, 2003, and Folkerth, 2002). Music, then, is applied boldly and lavishly in everyday life and in drama, an imitation of life. Musical Instruments The major classes of musical instruments used in the High and Late Renaissance include plucked strings, bowed strings, brass, double reeds, other winds, keyboards, and percussions (McGee, 1985). Lutes, drums, and trumpets were often used, but the instruments that were especially popular during the Renaissance include the bass viol, treble viol, viola, violin, tenor sackbut, cornetto, bass sackbut, curtal, tenor shawm, bass recorder, and harpsichord (McGee, 1985). Instrumental Music From the Early Renaissance to the High Renaissance, there was a movement from vocal music to a combination of vocal and instrumental music (Brown, 1976). There are seven categories of instrumental music: 1) vocal music played by instruments, 2) settings of pre-existing melodies, 3) variation sets, 4) ricercars, fantasias, and canzonas, 5) preludes, preambles, and toccatas for solo instruments, 6) dance music, and 7) songs composed specifically for lute and solo voice (Brown, 1976). Italy dominated the stage for instrumental music at this time, and it was not until the last decades of the sixteenth century that English instrumental music became popular (Brow... ...cobean periods. Works Cited Brown, Howard M. Music in the Renaissance. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1976. Folkerth, Wes. The Sound of Shakespeare. London: Routledge, 2002. McGee, Timothy J. Medieval and Renaissance Music: A Performer’s Guide. Toronto: University of Toronto Press, 1985. Novak, Elaine Adams. Staging Shakespearean Theatre. Cincinnati, Ohio: Betterway Books, 2000. Renaissance & Baroque Society of Pittsburgh. â€Å"Shakespeare’s Top 40†. Available: http://www.rbsp.org/current_season/shakespeare.php, March 2003. Shirley, Frances Ann. Shakespeare’s Use of Off-Stage Sounds. Lincoln: University of Nebraska Press, 1963. University of Victoria. â€Å"Elizabethan Court Musicians†. Available: http://web.uvic.ca/shakespeare/Library/SLTnoframes/literature/courtmusicians.html, date unavailable. Accessed : March 4, 2003.

The Beat Generation

He produced many works, most notably Howl , which will be my main coco in showing a glimpse of the way these writers spoke to the world and w ere vying to be heard. Ginsberg wrote in 1955 and finished in 1956, it was his first major work to be published and to be performed in public. The poem gained a lot of popularity in San Francisco in the Beatnik scene. The title itself tells you that the poem will be loud, it's mea NT to be heard. It will not be an ode or a sonnet, but a ferocious howl of all the artistic energy, pent up frustration and solidification that his generation was struggling with.The central theme is o en of the struggle of to being conformed to the American culture and society of the ass's and ass's, the suffocating need to find their true identity and not be smothered into obedience. Starting off the e poem he says, â€Å"l saw the best minds of my generation destroyed by madness, starving hysteric al naked [sic]† Allay 2 (Ginsberg 1), and how he believed his generation was brilliant, artistic, yet were e driven to madness by society and left vulnerable. They were desperate in â€Å"poverty and tatters† (G insider 1) and were full â€Å"with dreams, with drugs, with waking nightmares, alcohol and coco and e endless balls† (1).These people, this whole generation, who refused to conform, who rebelled w tit their writing and art and drugs and soulful jazz, but â€Å"the noise of wheels and children brought t hem down shuddering untracked and battered bleak of brain all drained of brilliance e [sic]† (1). The noise of such a domestic scenario is not only a symbol of the â€Å"normal† life the y are trying hard to escape, but also the death of their brilliance and artistic notions. To this generation sex was also highly intertwined with their work and their w ay of life â€Å"waving genitals and manuscripts† (3).It was important to this generation to b e liberal, to express everything they felt without damp ening the way it was felt, raw and powerful and loud. They wanted to be heard and â€Å"subsequently presented themselves on the granite s tepees of the madhouse with shaven heads and harlequin speech of suicide, demanding instantaneous s lobotomy† (5). I think one of the most astounding lines in Howl is when Ginsberg says, â€Å"who cut their wrists three times successively unsuccessfully, gave up and were forced to pop en antique stores where they thought they were growing Old and cried† (4).