Flowers Essay Example for Free

Flowers Essay Flower is abeautiful things for me.I like it so much.Ilike to give all person that.I love them flowers to exepres my love and recpect for them.We can see the flower in many places such us:garden house and farms.It have amany beautiful colours like:red,light pink and dark pink,yellow and white.for me I like the red flower becous it meems the love.Know I wont to give my teacher this flower to exepres my love and recpect for her. Information about flowers Municipal offline Avatar municipal flower of great beauty with red and purple and other colors and the rose nicknamed Queen of flowers because the Avatar has a beautiful shape and the smell of a smart stay long and seeing the flowers before sunset to extend the life of Rose and reap a portion is a short section by scissors so as not to dissection tree offline and then placed Rose immersing the leg in the water in the deep water for about an hour. Lotus flower Is the flower was taken by the old army informed him, and lotus leaf ground and agricultural leg upright has many branches and flowers bright yellow color, topped with some red spots, and the lotus plant rises from 15 cm to 30 cm and a lotus flower in a coloring substance analgesic anti-spasm and has an uncanny ability to cure infections , and lotus flowers flowers thin can not afford transport from one place to another and is also picked to cause her death quickly and lotus in Egyptian mythology reflect the childhood of innocent flying from the heart of the flower white, flower lotus grows with sunlight and grows in the ponds of static water in the marshes wide in the Fayoum and the the surface of quiet water in the foot hills of the desert has been called the Pharaohs on the lotus flower beautiful or Nangr because it is the most perfect flowers and the lotus flower with a blue lady perfume and brightest of the white lotus. Violet Trees of violet are Kaloashab small but bushes Accessories leaves in the form of tablets have a long neck and flowers in the axes of shrubs, each flower grows in the branch and its reach is long and the color of flowers white or purple, violet leaves heart-shaped and the flowers her legs long and is yellow or blue and Tguettaf flowers violet in the early hours of the morning because the smell stronger in the early morning and violet flowers, but do not live long after the cut out of the water as quickly appended to their necks He shall be placed in water immediately or transfer to another place, wrapped in paper to protect it during transport. Narcissus Its leaves are similar to drive five or six in number, and a page of paper upright and culminates plant Zahrtan large color sulfur, and flowers of narcissus Municipal harvested early in the morning and the smell pungent and stronger than those harvested in the middle of the day for they shall be then, a few essential oils that evaporate with rising temperature of the atmosphere. Camellia Girls dendritic sprouting flowers in winter and spring and flowers Alcamili pink or red or white, a plant beautiful lives in the shadow does not need a small amount of sunlight, but needs to light a lot, and can be grown Camellia seeds or planting can also cut his mind by the buds of the leg A plants and planting from September to February each year. Willow Large tree grows on the shores of canals and drains, rising to about about 25 meters and its subsidiaries medium extroversion and upright form of green oil topped with fluffy white, leaves paint the parties, the length of paper 12 cm and view 3 cm, we get the tree serrated edge, with some yellow flowers and most of the flowers of the white a tree for decoration and magnificent beauty. Six-Hassan Plant a beautiful name of scientific Belladonna It grows in the countrys warm and temperate, a grass not a tree land with a height of 600 to 4150 cm, roots thick and leg strong upright and leaves oval are really to Zjh but greasy, and the flowers six-Hassan Ali bell-shaped red beautiful shape and its fruits village green and then turns to a red flower and then turn to black after maturity is not eaten because they are toxic to produce mature seeds. Henna flowers Henna shrub agricultural roots and red legs and branches fluffy white bark and leaves are opposite and the neck of a small hump in the form of a bright green leaves and flowers are used for dyeing the hair and strengthen it to deal with it. Chickpea flower Herbal plant farm on his leg Qraaa cruel and libra above of from 30 to 50 cm papers vehicle Oriqath oval serrated flowers central focal color tends to red and white but the fruits of chickpeas is centuries in the form of an egg tip hooked and this fruit is a nice taste and health benefits. Sunflowers Flower plant sunflower plant long-average leg, but hollow, this flower such as the disk of the sun bloom with the first light of the sun and pay attention to the bright and still move with the movement of the sun until it reaches the west and the sunflower plant agricultural measures about two meters leg rigid upright and Haah weak and leaves a large heart-shaped and the plant Sunflower prepared by the Indian sacred and loved the Egyptian street. Cactus flower Is the blossom of the yellow color and large size is the plant flesh Akats material Alklorvil green rises from 2 to 5 meters and racks Yearbook oval shape and a length of from 30 to 40 cm and width of from 20 to 50 cm promises green with forks long characterized by flowers that the materials for the salivary and sugar and acid, citric acid and apple and fruit is very nutritious. Flowers lilies Iris white plant rises from 60 to 100 cm flowers large Vuahh the blue and central color of the yellow-and-leaf iris articulated shape and leg strong and there are some flowers for color and white topped illustrate red Rakech scarlet side is yellow from 5 to 8 cm. Papyrus flowers Papyrus plant long family Alkhimih and grows in swamps in the Delta and its roots are deepening in the mud and his legs stretch up on the section of a three-form flowers, papyrus is in the form of a tent and with a dense thicket of dense they resemble the sun and used in the manufacture of paper papyrus for writing was called the paper Royal, a evergreen and flowers bouquets were made of papyrus in the temples of God and drawing closer to the plant is still located in the southern Bahr el Ghazal River Nile. Flowers of the pomegranate Pomegranate trees with a height of 3 to 5 meters in his leg smooth and branches upright and the leaves are opposite and in the form of shaft blossom pomegranate five petals and the color purple and out of the fruits of spherical large the teeth cup him peel the heart and start a green color and then begin to flush with maturity within the fruit seeds of a small claims Frend Frend surrounding this core fluid and the birthplace of the pomegranate tree in Persia and the Pharaohs.

Dual Trapezoidal Fuzzy Number and Its Applications

Dual Trapezoidal Fuzzy Number and Its Applications Jon Arockiaraj. J, Pathinathan.T, Revathy.S Abstract: In this paper, we introduce Convergence of ÃŽ ±-Cut. We define at which point the ÃŽ ±-Cut converges to the fuzzy numbers it will be illustrated by example using dual trapezoidal fuzzy number and Some elementary applications on mensuration are numerically illustrated with approximated values. KeyWords: Fuzzy number, ÃŽ ±-Cut, Dual trapezoidal fuzzy number, Defuzzification. Introduction: Fuzzy sets have been introduced by Lotfi. A. Zadeh (1965). Fuzzy numbers were first introduce by Zadeh in 1975.There after theory of fuzzy number was further studied and developed by Dubois and Prade, R.Yager Mizomoto, J.Buckly and Many others. Since then many workers studied the theory of fuzzy numbers and achieved fruitful results. The fuzziness can be represented by different ways one of the most useful representation is membership function. Also depending the nature and shape of the membership function the fuzzy number can be classified in different forms, such as triangular fuzzy number, trapezoidal fuzzy number etc. A fuzzy number is a quantity whose values are imprecise, rather than exact as is the case with single valued number. Fuzzy numbers are used in statistics computer programming, engineering and experimental science. So far fuzzy numbers like triangular fuzzy number, trapezoidal fuzzy numbers, pentagonal, hexagonal, octagonal pyramid and diamond fuzzy numbers have been introduced with its membership functions. These numbers have got many applications like non-linear equations, risk analysis and reliability. In this paper, we introduce Dual trapezoidal fuzzy numbers with its membership functions and its applications. Section one presents the introduction, section two presents the basic definition of fuzzy numbers section three presents Dual trapezoidal fuzzy numbers and its applications and in the final section we give conclusion. 2. Basic Definitions Definition 2.1: (Fuzzy set) A fuzzy set A in a universe of discourse X is defined as the following set of pairs A= {(x,  µA(x)): xX} Here  µA(x) : x is a mapping called the degree of membership function of the fuzzy set A and  µA(x) is called the membership value of xX in the fuzzy set These membership grades are often represented by real numbers ranging from [0, 1]. Definition 2.2: (Fuzzy Number) A fuzzy set A defined on the universal set of real number R is said to be a fuzzy number if its membership function has satisfy the following characteristics. ( i) ÃŽ ¼A (x) is a piecewise continuous (ii) A is convex, i.e.,  µA (ÃŽ ±x1 + (1-ÃŽ ±) x2) ≠¥ min ( µA(x1),  µA(x2)) É  x1 ,x2R É  ÃŽ ±[0,1] (iii) A is normal, i.e., there exist xo R such that  µA (xo)=1 Definition 2.3: (Trapezoidal Fuzzy Number) A trapezoidal fuzzy number represented with four points as A = (a b c d), Where all a, b, c, d are real numbers and its membership function is given below where a≠¤ b≠¤ c≠¤ d  µA(x)= 3. DUAL TRAPEZOIDAL FUZZY NUMBER Definition 3.1: (Dual Trapezoidal Fuzzy Number) A Dual Trapezoidal fuzzy number of a fuzzy set A is defined as ADT= {a, b, c, d (ÃŽ ±)} Where all a, b, c, d are real numbers and its membership function is given below where a≠¤b≠¤c≠¤d  µDT(x) = where ÃŽ ± is the base of the trapezoidal and also for the inverted reflection of the above trapezoidal namely a b c d Figure: Graphical Representation of Dual Trapezoidal fuzzy Number 3.2 DEFUZZIFICATION: Let ADT= (a, b, c, d, à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡) be a dual trapezoidal fuzzy number .The defuzzification value of ADT is an approximate real number. There are many method for defuzzification such as Centroid Method, Mean of Interval Method , Removal Area Method etc. In this Paper We have used Centroid area method for defuzzification . CENTROID OF AREA METHOED: Centroid of area method or centry of gravity method. It obtains the centre of area (X*) occupied by the fuzzy sets.It can be expressed as X* = Defuzzification Value for dual trapezoidal fuzzy number: Let ADT= {a, b, c, d (ÃŽ ±)} be a DTrFN with its membership function  µDT(x) = Using centroid area method +dx+++dx = + + + + + = = = ++ dx+++dx = = = c + d – a b Defuzzification = = = 3.3 APPLICATION In this section. We have discussed the convergence of à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-cut using the example of dual trapezoidal fuzzy number. CONVERGENCE OF ÃŽ ±-CUT : Let ADT = {a, b, c, d, (à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡) } be a dual trapezoidal fuzzy number whose membership function function is given as  µDT(x) = To find à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-cut of ADT .We first set à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ [0,1] to both left and right reference functions of ADT. Expressing X in terms of à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ which gives à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-cut of ADT. à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡= à ¢Ã¢â‚¬ ¡Ã‚ ¨ x l= a+ (b-a) à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡= à ¢Ã¢â‚¬ ¡Ã‚ ¨ x r =d-(d-c) à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ à ¢Ã¢â‚¬ ¡Ã‚ ¨ Aà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡DT= [a+ (b-a) à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡, d-(d-c) à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡] In ordinary to find à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-cut, we give à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ values as 0 or 0.5 or 1 in the interval [0, 1] .Instead of giving these values for à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡. we divide the interval [0,1] as many continuous subinterval. If we give very small values for à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡, the à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-cut converges to a fuzzy number [a, d] in the domain of X it will be illustrated by example as given below. Example: ADT = (-6,-4, 3, 6) and its membership function will be  µDT(x) = ÃŽ ±- cut of dual Trapezoidal fuzzy Number à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ = (x l + 6)/2 Xl = 2à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-6 à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ = (6 xr)/3 Xr = 6-3à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ 2à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-6, 6-3à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/10 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ = [-5. 8 , 5.7] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/102 then ADT =[-5.98 , 5.97] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/103 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ = [-5.998 , 5.997] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/104 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[-5.9998 , 5.9997] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/105 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[-5.99998 , 5.99997 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/106 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -5.999998 , 5.999997 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/107 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -5.9999998 , 5.9999997, ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/108 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -5.99999998 , 5.99999997 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/109 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -5.999999998 , 5.999999997] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/1010 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[-6 , 6] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/1011 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[-6 , 6] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/1012 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ =[-6 , 6] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/1013 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ =[-6 , 6 ] †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..etc When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=1/10n as n →∞ then the à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-cut converges to ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[-6, 6 ] Figure: Graphical Representation of convergence of à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-cut When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/10 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡= [ -5.6,5.4 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/102 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡= [ -5.96,5.94 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/103 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -5.996,5.994 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/104 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ , -5.9996,5.9994 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/105 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ , -5.99996,5.99994 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/106 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ , -5.999996,5.999994 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/107 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[-5.9999996, 5.9999994 , ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/108 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ , -5.99999996,5.99999994 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/109 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ , -5.999999996,5.999999994 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/1010 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ , -6,6 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/1011 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -6,6 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/1012 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -6,6 ] When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/1013 then ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -6,6] †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦etc When à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=2/10n as n →∞ then the à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡-cut converges to ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=[ -6,6 ] Simillarly, à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡=3/10n,4/10n,5/10n,6/10n,7/10n,8/10n,9/10n,10/10n upto these value n varies from 1to ∞ after 11/10n,12/10n†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦..100/10n as n varies from 2 to ∞ and101/10n,102/10n†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. as n varies from 3 to ∞ and the process is goes on like this if we give the value for à °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ it will converges to the dual trapezoidal fuzzy number[-6,6] From the above example we conclude that , In general we have { K/10n} if we give different values for K as n- varies upto to ∞ if we give as n tends to ∞ then the values of ADTà °Ã‚ Ã¢â‚¬ ºÃ¢â‚¬Å¡ converges to the fuzzy number[a,d] in the domain X. 3.4 APPLICATIONS In this section we have numerically solved some elementary problems of mensuration based on arithmetic operation using defuzzified centroid area method 1.Perimeter of Rectangle: Let the length and breadth of a rectangle are two positive dual trapezoidal fuzzy numbers ADT = (10cm, 11cm, 12cm,13cm) and BDT = (4cm, 5cm,6cm,7cm) then perimeter CDT of rectangle is 2[ADT+BDT] Therefore the perimeter of the rectangle is a dual trapezoidal fuzzy number CDT = (28cm, 32cm,36cm,40cm) and its membership functions  µDT(x) = The Perimeter of the rectangle is not less than 28 and not greater than 40 .The perimeter value takes between 32 to 36. Centroid area method: X* = = = = = 34 The approximate value of the perimeter of the rectangle is 34 cm. 2.Length of Rod: Let length of a rod is a positive DTrFN ADT = (10cm,11cm,12cm, 13cm). If the length BDT = (5cm, 6cm , 7cm, 8cm), a DTrFN is cut off from this rod then the remaining length of the rod CDT is [ADT(-)BDT] The remaining length of the rod is a DTrFN CDT = (2cm, 4cm, 6cm, 8cm) and its membership function  µDT(x) = The remaining length of the rod is not less than 2cm and not greater than 8cm.The length of the rod takes the value between 4cm and 6cm. Centroid area method: X* = = = = = 5 The approximate value of the remaining length of the rod is 5cm. 3.Length of a Rectangle: Let the area and breadth of a rectangle are two positive dual trapezoidal fuzzy numbers ADT=(36cm,40cm,44cm,48cm) and BDT=(3cm,4cm,5cm,6cm) then the length CDT of the rectangle is is ADT(:)BDT. Therefore the length of the rectangle is a dual trapezoidal fuzzy number CDT=(6cm,8cm,11cm,16cm) and its membership functions  µDT(x) = The length of the rectangle is not less than 6cm and not greater than 16cm .The length of the rectangle takes the value between 8cm and 11cm. Centroid area method: X * = = = = 10.38 The approximate value of the length of the rectangle is 10.38cm. 4. Area of the Rectangle: Let the length and breadth of a rectangle are two positive dual trapezoidal fuzzy numbers ADT=(3cm,4cm,5cm,6cm) and BDT=(8cm,9cm,10cm,11cm) then the area of rectangle is ADT(.) BDT Therefore the area of the rectangle is a dual trapezoidal fuzzy number CDT= (24cm, 36cm, 50cm, 66cm) and its membership functions  µDT(x) = The area of the rectangle not less than 24 and not greater than 66.The area of the reactangle takes the value between 36 and 50. Centroid area method: X * = = = = 44.167sq.cm 4.CONCLUSION: In this paper, we have worked on DTrFN .We have define the Convergence of ÃŽ ±-Cut to the fuzzy number. We have solved numerically some problems of mensuration based on operations using DTrFN and we have calculated the approximate values. Further DTrFN can be used in various problem of engineering and mathematical science. 5. References [1] Sanhita Banerjee, Tapan Kumar Roy Arithmetic Operations on Generalized Trapezoidal Fuzzy Number and its Applications TJFS: Turkish Journal of Fuzzy Systems (eISSN: 1309–1190) An Official Journal of Turkish Fuzzy Systems Association Vol.3, No.1, pp. 16-44, 2012. [2] Bansal. A., (2010), some non- linear arithmetic operations on triangular fuzzy number (m, ÃŽ ±, ÃŽ ²), Advances in Fuzzy Mathematics, 5,147-156. [3] G. J. Klir, Bo Yuan, Fuzzy Sets and Fuzzy logic, Prentice Hall of India Private Limited, (2005). [4] C. Parvathi, C. Malathi, Arithmetic operations on Symmetric Trapezoidal Intuitionistic Fuzzy Numbers, International Journal of Soft Computing and Engineering, 2 (2012) ISSN: 2231-2307. [5] T. Pathinathan, K. Ponnivalavan, Pentagonal fuzzy numbers, International journal of computing algorithm, 3 (2014) ISSN: 2278-2397. [6] Bansal Abhinav, Trapezoidal Fuzzy Numbers (a, b, c, d); Arithmetic Behavior, International Journal of Physical Mathematical Sciences, ISSN: 2010-1791. [7] T. Pathinathan, K. Ponnivalavan, Diamond fuzzy numbers, International scientific Publications and consulting services journal of fuzzy set valued analysis http://www.ispacs.com/journals/jfsva/2014/jfsva-00220 [8] D. Dubois, H. Prade, Operations on Fuzzy Numbers, International Journal of Systems Science, 9 (6) (1978) 613-626. http://dx.doi.org/10.1080/00207727808941724.

Racism in in Toni Morrisons The Bluest Eye Essay -- Bluest Eye Essays

Both Toni Morrison's novel about an African American family in Ohio during the 1930s and 1940s, The Bluest Eye and Louise Erdrich;s novel about the Anishinabe tribe in the 1920s in North Dakota, Tracks are, in part, about seeing. Both novels examine the effects of a kind of seeing that is refracted through the lens of racism by subjects of racism themselves. Erdrich's Pauline Puyat and Morrison's Pecola Breedlove are crazy from their dealings with racism and themselves suffer from an internalized racism that is upheld and maintained by social and cultural structures within which they live. Pauline and Pecola become the embodiment of world sickness, of social pathologies as they become increasingly alienated from their bodies. Pecola, driven to want blue eyes by her observations that is is those with blue who receive and thus "deserve" love, eventually loses her mind after she experiences repeated violence at home, at school, and on the street. These violences are all rooted in racism. Pecola begins to believe the lie of racism: that to be black... Racism in in Toni Morrison's The Bluest Eye Essay -- Bluest Eye Essays Both Toni Morrison's novel about an African American family in Ohio during the 1930s and 1940s, The Bluest Eye and Louise Erdrich;s novel about the Anishinabe tribe in the 1920s in North Dakota, Tracks are, in part, about seeing. Both novels examine the effects of a kind of seeing that is refracted through the lens of racism by subjects of racism themselves. Erdrich's Pauline Puyat and Morrison's Pecola Breedlove are crazy from their dealings with racism and themselves suffer from an internalized racism that is upheld and maintained by social and cultural structures within which they live. Pauline and Pecola become the embodiment of world sickness, of social pathologies as they become increasingly alienated from their bodies. Pecola, driven to want blue eyes by her observations that is is those with blue who receive and thus "deserve" love, eventually loses her mind after she experiences repeated violence at home, at school, and on the street. These violences are all rooted in racism. Pecola begins to believe the lie of racism: that to be black...

All about me :: essays research papers

Web Tools: The Future Is Now The Internet is already the No. 1 applications target for developers, according to an Evans Data survey. Web development is about to enter the top five in terms of IT spending. And (no surprise here) experts say the Web will only play a bigger role in companies’ business applications plans. In other words, the future of Web development is now. But the tools underpinning this trend have a back-to-the-future feel. Consider Mozilla: The browser experts at Netscape have been honing their code for years, with the support of developers intent on slowing Microsoft's Internet Explorer juggernaut. Now America Online (Netscape's parent) might replace its AOL browser with Mozilla—a move that could give Netscape a market share of millions, literally overnight. Then there's X3D (Extensible 3D), the successor to the old VRML spec. Experts say X3D's compatibility with XML could usher in "bold new navigation and rendering possibilities" for developers and pave the way for virtual-reality apps over the Internet. With other real-time Web-collaboration products poised to become as critical to the enterprise as e-mail, now's the time to learn where Web development is going. Better to be ready for the future than stuck in the past. — Larry Lange Much Ado About Netscape Mozilla - InternetWeek Netscape has been gone so long it's hard to say what its return might mean. Then again, AOL is considering it as a replacement for its own browser. Netscape's Return: The Readers Talk Back - InternetWeek More than 5,000 readers respond to questions about Netscape. And a surprisingly high number of them say they'll standardize on Mozilla. VRML Successor Aims For 3-D Web - InternetWeek The Web3D Consortium has debuted a new spec it says could make 3-D graphics a mainstream part of the Web. A New Development Sweet Spot? - InternetWeek Web-development shops are readying new tools that, when used with Macromedia, ColdFusion, XML, Java, and SOAP, could bring new flexibility to application development.

A Bronx Tale: Sociological Perspective

A Bronx Tale is set in the 1960 in Bronx, New York (DeNiro, 1993). This movie centers on the child of a hard working man, Lorenzo Anello. Lorenzo Anello has avoided the life of crime by working had and holding firm to his beliefs of good and bad. However, his son Calogero Anello (C) becomes involved with the neighbor hood gangster Sonny. Against the wishes of his father C’s relationship with Sonny continues until the death of Sonny.There are three sociological theories of crime that can explain C’s continued friendship and growth in this life of crime; differential association, labeling, and strain.C’s career as a criminal begins with simple errands for Sony. As a child who did not know any better, C felt that making money would help his low class family. Here, the story begins by introducing the theory of strain. When an individual is under strain, in this case financial, that individual may be tempted to commit a crime (Blackburn, 1998). This theory applies to this situation because the crime continued to occur after C’s father told him what he was doing was illegal.   As C continues to work for Sonny it becomes clear that C’s feelings of strain lessen. This is depicted in two scenes.The first C is being punished by his father for continuing to work of Sonny. In this scene C seems to simply be putting up with the punishment that no longer has any effect. The other scene C shows up at his house to show off his new cloths to his mother. He is wearing an expensive suit with dress shoes. At this point other theories of criminality begin to emerge as explanations of the continued behavior.Differential association is the theory that criminal behavior is learned by the interactions of a particular subculture of group (Blackburn, 1998).   C is introduced to all the players of this neighborhood gang and at the same time given attention and praise for essentially being a â€Å"good† criminal. At this point C has stopped att ending school and he spends his days with the other men.   One scene shows the other gangsters and C in a basement playing cards and dice.The men loudly praise C. Later in the scene C is given the opportunity to play dice and as he wins, the men who bet on him win and the praise continues. This is a much different response then what he gets at home.   Additionally, he has recruited some of his friend to help him with his work. C and his friends mimic the men by committing crime and â€Å"hanging out† on the street during the day.The final theory of criminality depicted in this film is labeling. While Blackburn (1998) suggests that labeling is meant to deter the criminal behavior, this film portrays the opposite. This is seen when C come out of court. After being caught selling cigarettes, C must face a judge and is later dismissed of all charges.Upon leaving the courtroom C is greeted by a number of gangsters. Since he did not give the judge any names, he is applauded and given money. He, although he may have the label of being a gangster, he has achieved a higher status with these men. This acts to fuel the criminal behavior.It is clear that there are a number of theories throughout this film. The main theory, however, is differential association. There is a running theme of commitment and closeness. There seems to be nothing these men would not do for each other. Their belief system is one that they are above the law, and in turn they make up their own rules. By normal conventions of society this leads to criminal behavior. For C, like any child, he needed to be accepted and loved.This was something that he did not outwardly receive from his father. Prevention or intervention efforts could have been in the form of family counseling. It is possible if shown more love and acceptance from his father, C may not have turned the Sonny and his gang.  As a society in general emphasizing nurturing parenting skills will go a long way to preventing negativ e behaviors in children. Looking at the relationship between Sonny and C one can clearly see that Sonny gave C this and in turn C was committed to Sonny. This same phenomenon can occur for the good. If C’s father would have given C what Sonny had, C may have followed in his father’s footstep and became a hardworking, tax paying citizen.ReferencesBlackburn, R. (1998). The psychology of criminal conduct: Theory, research, and practice. New York: John Wiley & Sons, Ltd.DeNiro, R. (producer). 1993. â€Å"A Bronx Tale†.

Practical Play Analysis Essay

Theme/Vision Guan Hanqing’s Snow in Midsummer centers on the idea of social injustice and human suffering particularly the unfair treatment of poor people during the Chinese Golden Era.   The play must transcend a great sense of oppression as intended by its playwrights to reflect the dark side of the society they were in, as the main character (Dou E) leaves a horrifying curse as her unjust death served as a living proof of how under-class people like her are taken for granted and are short-lived despite living a virtuous life while the evil ones prevailed. This issue still continues in the modern world so it is important that the story lives up to its purpose of making the audience reflect on the existence of tyranny in the society and what should be done in order to put an end to it.   Every main character’s role should be well emphasized in order to make the message of the story more understandable.   The characters must be very much convincing to the extent that they are almost taking the audience back to Yuan Dynasty. An article made by Huo Jianyi, Yuan Dynasty Zaju, tells about how Guan Hanqing himself gave up his profession of being a doctor and chose to serve the public by writing plays that exposed the dark side of the society, particularly the indulgence in wine and women as a way of life especially for the Yuan rulers.   He and his fellow playwrights used their talents and knowledge in exposing tyranny and through their theatrical creations, spoke on behalf of the suffering masses despite the Yuan rulers forbidding it.   The success of this play will be achieved if the same fiery passion is justified by the characters. Stage Type and Settings The play is artistic therefore it would be ideal to use a proscenium or picture frame stage.   It is not necessary to use a traditional proscenium stage with its common features like a large archway near the stage front or a curtain in order to close it during act or scene breaks.   It is enough that the stage is raised several feet enough for the audience to see the view of the play while directly facing it (â€Å"Stage:† Wikipedia). As the Snow in Midsummer is a classic play based on a Han Dynasty folk tale (although popularized in the Yuan Dynasty), the prevailing theme should be based on the said period.   The backdrop must contain both unique and artistic images depicting a usual old Chinese scenario like that of a painting.   Images of courtyard houses should be used.   These residences would represent the different social status that coexisted in that period. Based on Spiro Kostof’s A History of Architecture, traditional Chinese courtyard houses (such as the siheyuan) is composed of several individual houses around a square, where each house is owned by a different member of the family.   Aside from this, more houses can also be constructed for additional family members that need to be accommodated. There must be a strong sense of tranquility and privacy which should prevail and be maintained despite strong and loud scenes in the play. Garden and water is also a usual feature with these residences.   The outermost part of these residences is where strangers are entertained while the innermost one is set apart for intimate friends and family members of the owner. Since the title of the play contains the word snow, then winter is another requirement for the play, in fact for almost the entirety of the play.   This should allow an atmosphere of gloominess to dominate the stage, making the literal coldness of winter almost felt and intensified by the cold hearts of the villains in the play.   The snow plays a critical part in this and it should fall dramatically on stage with the proper sad music background going with it.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Last but not the least, there must be flowers included.   They should either be illustrated in the backdrop as part of the stage props.   Flowers have been a great part of Chinese art just like the dragon and bird illustrations they use in their antique porcelains.   As a whole, the entire stage must become a big canvass of living Chinese art. Stage Directions   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The director is responsible for bringing out the good quality of the characters’ acting and the stage production.   Therefore he must be focused and fully aware of the background of the play so as to properly angle it. Directions are made up of details being heard and seen by the audience.   These should be explained well in the script so as not to confuse the director, the actors or even the designers.   The three kinds of stage directions must be considered, namely:   (1) scene directions, (2) staging directions, and (3) character stage directions. In the script, scene directions are indented at a measurement of 3.5 inches from the left side of the margin and 1 inch from the right.   This indicates the fundamental place and time of the scene with details of the events on stage as the lights come up or become dim (â€Å"How to Format a Stage Play†).   Let us take scene one, act one of the play Snow in Midsummer as indicated in the script:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   SCENE ONE (The period was between 1279-1368 A.D.   In a typical Chinese village lives MISTRESS CAI, a widow, who appears on stage with a sign of great anticipation on her face.   She paces at the center of the stage in her long, loose gown with wide sleeves and narrow cuffs.   Then she faces the audience with the same facial expression.) Second is the staging directions.   This contains the description of a certain scene such as the entrance, exit, and struggles of characters on stage, as well as the changes in lighting effects or musical background. MRS. CAI: Where? (The Doctor strangles the widow with the rope. Enter Old Zhang and his son Donkey. As they rush forward the Doctor takes to his heels. Old Zhang revives Mistress Cai.) DONKEY: It’s an old woman, dad, nearly strangled to death. Last would be the character stage directions.   These are short descriptive lines in parenthetical form sometimes placed under the name of the character.   This shows the appropriate body language while delivering a certain line (â€Å"How to Format a Stage Play†).   This particular direction puts more identity on acting.   Here is another example. MRS. CAI (crying): Ah, poor child! How am I going to break this to you? Make up The characters’ makeup for the Snow in Midsummer need not look like that from a Chinese opera although it may be elaborated to reflect its rich culture.   It must enhance their acting and facial expression.   A kabuki effect is suggested if the production team would like to add a little animation to it and lessening its tragic base. Dou E and Mistress Cai’s makeup may use thick foundation with a rosy base to show femininity.   However the application must be heavier on Mistress Cai to distinguish her age along with some fake wrinkles.   The eyebrows must be enhanced with a thick black color while the lips are pouty and deep red. As for the elder male actors (Doctor Lu, Dou Tianzhang, and Old Chang), a yellow base makeup can be used contrasted with a thick pink blush on.   The eyebrows may also be enhanced however for the male antagonist (Donkey Chang), eye brows should be enhanced with an upward effect at both ends.   Once again the appearance of wrinkles should distinguish ages. Basic Pointers for applying stage makeup According to Kate Hillard on her article Application of Stage Makeup, makeup is often applied on thick layers. Unlike the movies where the camera can focus on the actor’s face, audiences cannot afford to this kind of facility on stage plays.   The makeup used for the Snow in Midsummer should be elaborate and bright especially with characters representing the high-class society.   There may also be gradual moderation of the makeup for the middle and lower class members but the artist must make sure that it is enough in maximizing the actor’s emotions on stage.   Sometimes even the dark layers of makeup disappear on the glaring lights. A thick, heavy cream foundation should be applied first which be a little bit darker than the skin tone.   The placing of foundation should be started on the forehead and blended well up to the hairline after which the remaining of the face is covered together with the ears, eyelids, and neck as if this is the actors’ true complexion.   The neck application should also be blended well so as not to create a mask-like appearance.   When it comes to male actors, foundation is applied on the entire neck and back sometimes but this can appear messy.   Following the general foundation, a lighter color is placed over the shadows under the nose and on the chin. When the foundation is done, the blush would follow.   A rosy color is used for the female actresses but this should be applied on a lesser degree with male actors.   It is spread over the cheekbone and about halfway down the cheek mixing it with a down and up motion.   A naturally rosy tone is needed for male actors while it should be darker for the females enough to maintain its visibility on stage especially under the hot lights.   Blush must also be placed over the nose and forehead where it is very slightly blended. The most difficult part would be the eye makeup.   A very white â€Å"highlighter† is first placed along the brow bone (right underneath the eyebrow) and under the eye.   The makeup artist should make sure to give the surrounding eye areas a lightened appearance without leaving white smears.   Following this, an eye makeup should be placed just above the eyelid, below the brow bone, and also beneath the eye which should be a little darker than skin tone.   This should be topped with an even darker color along the eyelid top through a downward blending which can also be used as an eyeliner especially with male actors. For women, an even darker and rosier tone that gives the appearance of a natural eye shadow should be placed over.   It should however be more recognizable on stage and should be placed a little above the eyebrow.   A less rosy color is recommended for male actors though not required.   Furthermore, a dark brown or similar-colored eye lining is placed.   Black color is to be used for dramatic roles that need wild makeup. Lastly, mascara is placed on top of the lashes.   In order to avoid or lessen the errors of putting mascaras, it is suggested to make the actor blink after putting the wand on his/her lashes. Following the eye makeup is the simpler part of putting on the lipstick.   A color that is a little darker than the usual lip color is used for male actors and should be matched with a lip liner.   Either can go first depending on the actor’s or makeup artist’s preference.   The liner should be placed on the outside of the lips and not on the natural line otherwise this will obviously look fake.   It can also be applied all over the lips to make it last better and longer.   A dark lipstick should be applied enough to be seen from the stage even if it looks like a Halloween makeup up close.   It goes otherwise with male actors who should slightly be more natural even on stage. Last but not the least would be the loose powder.   Before it is applied over the face, dip a large brush unto a powder container then shake it to get most of the powder off in order to avoid leaving white smears over the makeup and therefore ruining it.   Loose powder is for holding the actor’s make up even when they are sweating. Costumes Costumes are very important.   They help audiences identify and understand the actor’s character and social rank as well as his traits and gender.   The style and color would greatly suggest the occasion happening on stage.   Colorful clothes and elaborate makeup may bring more life to Snow in Midsummer as this pertains to rich Chinese culture. The main character, Dou E, may use the traditional Ruqun which is used by ordinary women during the Yuan Dynasty.   This is made up of an upper jacket and lower skirt.   The jacket is made of a red marten or sheepskin garment with loose sleeves and gray collars and cuffs.   This is tucked below a maroon skirt with a gray sash accent to maintain its simplicity. The same type of robe costume may be used by the widow, Mistress Cai as they do not necessarily belong with the Mongolian Aristocrats who wore cur coats and fur caps.   Their costumes must reflect their lifestyle and their role enough to bring out the emotion from the audience, however they should not look like paupers but more like average Chinese people however obviously struggling to maintain their dignity.   However, after her execution, Dou E’s costume must change to loose, ghostly white robe with its light fabric.   The red smear of blood from the execution must appear on the cloth as well. The male actors may use the Yiseyi or Zhisunfu garments where upper and lower short garments were put together while adding folds to the waistline.   Furthermore, big beads were hung on shoulders and the back.   The garments can either be course or of fine quality depending on the social rank the actor is representing (â€Å"Costume in the Yuan Dynasty†).   Donkey Chang and Old Chang may use costumes may use colors that shows a status that is more advantages compared to Dou E and Mistress Cai, however not as luxurious as an upper aristocrat.   Donkey Chang’s costume must be provoking and reflective of his selfish being. Of course the apparent hairdo must not be forgotten.   For male actors, it should be the traditional snail-head, seated Buddha feature.   As for females actors (Dou E and Mistress Cai), the hair must be long with the upper portion tied and placed with some simple white floral accents.   Mrs. Cai’s hair must be all brushed up however with a bulky onion bulb appearance. Lighting This is perhaps the counterpart of camera trick.   One of the things that make stage plays breath-taking is the lighting effect.   In fact thanks to modern-day stage lighting, audiences now are able to afford richer visibility of the entire play, thus connecting more with the intense emotions of the actors. A careful outline of Bill William’s Stage Lighting Design shows four important objectives of stage lighting: (1) Visibility, which helps the audience understand the play.   It is influenced by contrast, size, color and movement. (2) Naturalism (and Motivation), where a sense of time and place is indicated. (3) Composition, the overall image of the stage.   Lighting must reveal actors, objects and scenery depending on their importance. (4) Mood (and Atmosphere), which is the psychological reaction of the audience is influenced by lighting effects that gives the stage a sense of happiness, sadness or even boredom. Dou E’s execution would be a perfect example where lighting is â€Å"highlighted† as this scene indicates a transition from a normal way of life to a cursed one.   In this case, the lighting effects must create a great sense of grief , heaviness, and fear among the audience. Casting   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   A play cannot be a play without the cast.   As the front liners of the production, they are mainly responsible for leaving an impression for the play since they are the ones who have direct contact with the audiences.   Casts are like the main course of a meal.   Prof. Audrey Stanley from the University of California at Santa Cruz presents at least eight points to consider when casting a play: (1) Interpretation of character type and function; (2) Type-casting; (3) Casting against type; (4) Cross-gender casting; (5) Gender- or race-neutral casting. (6) Generational relationships and differences between characters (for instance, how old are Lear’s daughters?); (7) Physical and vocal requirements of different roles; (8) Audience associations and expectations of individual actors.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Dou E’s character must be portrayed by someone who can show her virtuosity but at the same time must have the ability to transform into a vengeful character.   Her father, Dou Tianzhang, must be played as someone who is old of course but has enough strength to do some laborious works.   Mistress Cai must reflect the same humility as Dou E’s character but of course with a motherly touch.   A trace of burden must be shown on her face from life’s realities as well as how youth has been taken from her.   Donkey Chang need not be good-looking however appropriately dressed.   But his dignified appearance must not conceal his disgusting character. Rehearsals Based on Simon Dunmore’s Advice on How to Approach Rehearsals for a Play, rehearsing is composed of thought, discussion, and doing.   It is an important part of the play where the whole team gets to figure out what will work or not.   That is why it is important to discipline oneself especially when it comes to the script.   Even before the rehearsals, the actor must read it several times so he/she will get to be familiar with the character that he is playing.   He should carry it one hand somewhere at his side and put emotion to the delivery of the line while looking at the script at a side glance.   He must be patient and must take his time in memorizing his line.   In case of long speeches, they should be delivered with much care and thought as single or short lines for it is usually a case where a certain idea starts and is connected throughout the story of the play. Stage directions on the other hand, must be read as possible pointers only.   If they came from how the play was originally done, take into consideration that the present production might be different with the casts and circumstances being new.   Pause and silence is a kind of stage direction that must also be given proper timing and must have appropriate place in the play just like long and short lines.   Also in case of abbreviations, the intention of the playwright must be observed so the essence of the communication will not be lost. Writing down notes either from the director or from oneself will be helpful in remembering how to delivery one’s line properly.   Notes need not be long.   Directors may not be right all the time with regards to the character role.   His long experience in theater acting may not give him enough knowledge or understanding of a certain character the way an actor does.   Therefore, a careful and rational discussion must always be made between the two.   Set and costume designs are also very important.   They affect the way an actor moves about the stage.   These objects must work harmoniously with the people of the play and not become a hinder.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Rehearsals do not stop within the rehearsal room.   Proper focus can be achieved with proper practicing though it should not necessarily occupy one’s private time. Rehearsal for Snow in Midsummer Below is a sample table for the Snow in Midsummer’s rehearsal schedule.   It is usually done with six to eight weeks but the production team may change it depending on their needs (Sample Rehearsal Schedule). Sunday Monday Tuesday Wednesday Thursday Friday Saturday Auditions Auditions Call-Backs Post Castlist First Read-Thru Off Construction Crew Meets Block scenes with leads Block scenes with Full Cast Block scenes with leads Begin Set Construction Block scenes with Full Cast Off Work on Set Construction Work scenes with Full Cast Work scenes with leads Work scenes with leads Work on Set Construction Work scenes with Full Cast Work on Set Construction Hang Lights and Set Construction Work through Act I off book Work through Act II off book Work on trouble spots leads only Finish Hang and Rough Focus Act I Run-thru Work on Set Construction Full Cast Paint and Work Day Act II Run-thru Act I Run-thru Act II Run-thru Work on Set Construction First Full Run-thru Complete Set Construction Final Setup Tech and Lights First Tech Rehearsal with Cast Run-thru Full Tech Run-thru Full Tech Costume check Tech Crew Trouble Shooting Run-thru Full Tech Finishing Touches On Set Work on problem areas Full Dress Rehearsal Full Dress Rehearsal Full Dress Rehearsal Full Dress Rehearsal No Makeup Performance Performance Performance The Vision’s Effects on the Audience   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The Snow in Midsummer is a play about tragedy and drama.   However, the whole production team must keep in mind that as the story is based on real struggles of poor people in the past, it might leave a great sense of grievance to the audience.   This is good but only to the extent that it will stimulate their sense of awareness since basically, though the storyline dates back to old times, it is very symbolic of the abuse and tyranny that still exist even in our time.   Therefore, there must be a balance by creating a great sense of hope especially during the scenes where a retrial for Dou E’s case was conducted up to the play’s ending.   The play must establish to the audience that life goes on and there is hope and justice even in the hardest of situations. Steve Campsall wrote in Write a Successful Play that plays must create a lasting appeal to the audience.   Every words delivered by a stage performer should send out both meaning and feeling.   That is why it is important to understand the writer’s intention behind the text he has created.    Common methods such as vivid metaphor, powerful imagery, alliteration, use of rhyme or rhythm, etc, are said to be used often by writers (Write a Successful Play: Effects on the Audience).   Behind the scene interactions will help bring one’s natural acting and transcend the same energy and passion.   The audience must be convinced with everything, from the stage settings to the acting.   Not doing so will be crucial and may create passiveness. Conclusion   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Behind a play’s success could be in anything that is a part of it.   From the director’s vision to the actor’s execution, everyone should make sure that everything works harmoniously so that the flow of the play will be well polished on the grand day itself.   It is both inspiring and fun to see actors on stage behaving like they are not actors but rather they own the stage and they are the characters that they are playing.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Lastly, behind the inspiring acts, elaborate costumes, and colorful props, the message of the story must be retained.  Ã‚   This is one important part that can be shared with the audience.   The lesson that they can learn from watching a play can help them personally.   Once the audience is touched by a play’s story or vision, he/she can use the message or apply it once he goes back to real life. Work Cited â€Å"Stage.† Wikipedia: The Free Encyclopedia.   5 February 2008.   9 February 2008. http://en.wikipedia.org/wiki/Stage_(theatre) Kostof, S. 1995.   A History of Architecture.   The Oxford Press.   8 February 2008.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   http://en.wikipedia.org/wiki/Courtyard Jianyi, H. 2003.   Yuan Dynasty Zaju.  Ã‚   8 February 2008.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   http://www.chinavoc.com/magicn/yzaj.asp â€Å"How to Format a Stage Play.† Script Frenzy Young Writers Program.   2007.   9 February 2008. http://ywp.scriptfrenzy.org/howtoformatastageplay Hillard, K. 2002.   Application of Stage Make Up.   9 February 2008. http://www.essortment.com/applicationstag_rgyu.htm â€Å"Costume in the Yuan Dynasty.† ChinaCulture.org.   10 February 2008.   10 February 2008. http://www.chinaculture.org/gb/en_chinaway/2003-09/24/content_28414.htm Williams, B. 1997-1999.   Stage Lighting Design.   Objectives of stage lighting.   11 February 2008 http://www.mts.net/~william5/sld/sld-100.htm Stanley, A. 1995-1996.   â€Å"Shakespeare Examined through Performance.† 11 February 2008 http://www.tamut.edu/english/folgerhp/Recipes/7cstply.html Dunmore, S. 25 August 1999.   Simon Dunmore’s Advice on How to Approach Rehearsals for a Play.   11 February 2008 http://www.btinternet.com/~simon.dunmore/rehearse.htm Campsall, S.   2008.   Write a Successful Play: Effects on the Audience.   12 February 2008 http://www.englishbiz.co.uk/mainguides/play.htm Sample Rehearsal Schedule.   Tupelo Community Theatre.   13 February 2008. http://www.tctwebstage.com/schedule.htm

A Worst Teacher

I had dreamed about him several times, his face was clearly emerging in my mind, I will never forget his pair of fierce eyes and that wicked mouth. Mr. Yang was the worst teacher in my middle school, although most my middle school’s teachers are not very good. My middle school is a private school. When I was sophomore, Mr. Yang and our Music teacher had been espousal at same year. We all think they will have a ceremonious wedding soon. But the fact is not what we think. In Chinese school, every teacher has an assistant in each class, those assistants help teacher pick up papers and books, or take homework from us and edit then. My friend Yu was Mr. Yang’s assistant. Yu was a cute girl, she have nice voice and smooth long hair. But I detected a strange thing; every time she back to classroom from Mr. Yang’s office, her emotion had been changed, sometimes glad, sometimes displeased. â€Å"Mr.  Yang must did something to her,† I thought, anyway it’s not my business. Five years later, once all my middle school’s friends and I went to my birthday party, I began to ask our middle school career’s mysteries of the unknown. Yu began to crying, I understand why, and ask her â€Å"you cry because Mr. Yang, right? † â€Å"Yes. † She answered. Then I took her to side. She said as she cried â€Å"He is my boyfriend. † I been shocked, doesn’t he have fiancee? Is this the reason why Mr. Yang and our music teacher haven’t done their wedding yet? I have a thousand questions to ask Yu, but it isn’t right timing. Yu kept telling me, and my eyes being opened more and more large. â€Å"Wait; did you just say you went to hotel with him? † I ask her. â€Å"Um†¦ He also asks me some excessive demands. About†¦Ã¢â‚¬  At same time, I can’t inhibit my dander. I tried to call my friend and go find him, but Yu stopped me. â€Å"Let him go, we were just break, I believe that he won’t have a blest wedding. † Right, I thought, he did once, and then he will do twice, until he die, he will never find true love. Whenever I bethink of this event, I can’t stop to think and image Mr. Yang’s lousy eyes. I remember once my classmate Henry and I got a fight in second floor of our school’s hostel. This event becomes a legend in my middle school. The source of the story is, one day afternoon, my friend Bob and I were playing soccer in ours room. After 30 minute Bob has accidentally kicked our roommate Henry’s kettle. We looked at each other’s face and slackened about ten seconds, and then he hastily said, â€Å"Hide it! And never mention this kettle, or†¦ stay it, anyway no one knows. I nod immediately because I felt like I am an ant on a hot pan, but after half hour, this guilty feeling has gradually disappeared. â€Å"I didn’t break anything,† I thought, â€Å"but I won’t tell anyone Bob did it. † Until to evening, we were all going to class, suddenly, a loud voice came â€Å"Who did it! Who break my kettle!? † â€Å"No one break your kettle! Go to your sit and sit! † our math teacher stand behind Henry and said; Henry have got to do so. After evening class, Henry walked to me and asked about his broken kettle. I pretend to do my homework and said â€Å"Don’t know. Then I were peeping him once when he walked away. Second evening class was Mr. Yang’s Chinese class, After this period, every student began to walk back to school’s hostel; I followed people until to second floor of the hostel, a soft and cold voice came to my right ear, even I can felt that breath, â€Å"I know is you, swindler. † â€Å"What did you just said?! † I yelled. And then he yelled back â€Å"I know is you broke my kettle, Bob told everything to me. † Suddenly, I felt I been insult, I lost my mind, clenched my fist and gave his nose a full power punch, and he punched back of course. The result of this fight was disastrous, Henry’s nose bone been broke by me, and my right calf been cut and the wound is about three inches. That’s why this event becomes a legend in my middle school. We two have been taken to hospital then, two hours later we two back to our room. Henry’s bad is below mine, a kind of heavy atmosphere around this room for whole night. At 12 o’clock Mr. Yang came to our room, he punched my right calf and yelled â€Å"you! Get up! † And this punch such as rubbing salt in my wound. I groan out â€Å"what are you doing?! † â€Å"What did you do,† he asked back to me, â€Å"You just broke a nose bone, don’t you know it? â€Å"I know, but he cut my leg also,† I watched his angry eyes and keep groan out; â€Å"you even don’t realize the fact and conclude it my fault? † â€Å"The fact is you hurt Henry,† he said. I hesitate two second, it’s really my fault? Henry didn’t hurt me? I know the fact is Henry cut my calf, and Mr. Yang punched at same wound just 10 second ago. I was hardly getting up and trying to debate with Mr. Yang, â€Å"He was†¦Ã¢â‚¬  Mr. Yang interrupts my speech and yelled â€Å"You have nothing to argue, school will expel you! † Then he shut the door hardly. I can’t believe it, he such a dictator and gave m e a conviction. While I’m thinking, Henry laughed. Then he said â€Å"deserved nemesis, you know who am I? My dad and our president are old friend. I can even call the president dad. † I was silenced. At that time, I understood everything. I understood why Mr. Yang says that, but why does he punch my calf, will he get his wage growth up? By this point, I classify Mr. Yang is a lackey. A teacher teaches student a lot of things; include morality, not just education. You may never meet a teacher such like Mr. Yang. Something that cannot be publicity, but I must write about it. I will never meet a teacher â€Å"great† then Mr. Yang. A Worst Teacher I had dreamed about him several times, his face was clearly emerging in my mind, I will never forget his pair of fierce eyes and that wicked mouth. Mr. Yang was the worst teacher in my middle school, although most my middle school’s teachers are not very good. My middle school is a private school. When I was sophomore, Mr. Yang and our Music teacher had been espousal at same year. We all think they will have a ceremonious wedding soon. But the fact is not what we think. In Chinese school, every teacher has an assistant in each class, those assistants help teacher pick up papers and books, or take homework from us and edit then. My friend Yu was Mr. Yang’s assistant. Yu was a cute girl, she have nice voice and smooth long hair. But I detected a strange thing; every time she back to classroom from Mr. Yang’s office, her emotion had been changed, sometimes glad, sometimes displeased. â€Å"Mr.  Yang must did something to her,† I thought, anyway it’s not my business. Five years later, once all my middle school’s friends and I went to my birthday party, I began to ask our middle school career’s mysteries of the unknown. Yu began to crying, I understand why, and ask her â€Å"you cry because Mr. Yang, right? † â€Å"Yes. † She answered. Then I took her to side. She said as she cried â€Å"He is my boyfriend. † I been shocked, doesn’t he have fiancee? Is this the reason why Mr. Yang and our music teacher haven’t done their wedding yet? I have a thousand questions to ask Yu, but it isn’t right timing. Yu kept telling me, and my eyes being opened more and more large. â€Å"Wait; did you just say you went to hotel with him? † I ask her. â€Å"Um†¦ He also asks me some excessive demands. About†¦Ã¢â‚¬  At same time, I can’t inhibit my dander. I tried to call my friend and go find him, but Yu stopped me. â€Å"Let him go, we were just break, I believe that he won’t have a blest wedding. † Right, I thought, he did once, and then he will do twice, until he die, he will never find true love. Whenever I bethink of this event, I can’t stop to think and image Mr. Yang’s lousy eyes. I remember once my classmate Henry and I got a fight in second floor of our school’s hostel. This event becomes a legend in my middle school. The source of the story is, one day afternoon, my friend Bob and I were playing soccer in ours room. After 30 minute Bob has accidentally kicked our roommate Henry’s kettle. We looked at each other’s face and slackened about ten seconds, and then he hastily said, â€Å"Hide it! And never mention this kettle, or†¦ stay it, anyway no one knows. I nod immediately because I felt like I am an ant on a hot pan, but after half hour, this guilty feeling has gradually disappeared. â€Å"I didn’t break anything,† I thought, â€Å"but I won’t tell anyone Bob did it. † Until to evening, we were all going to class, suddenly, a loud voice came â€Å"Who did it! Who break my kettle!? † â€Å"No one break your kettle! Go to your sit and sit! † our math teacher stand behind Henry and said; Henry have got to do so. After evening class, Henry walked to me and asked about his broken kettle. I pretend to do my homework and said â€Å"Don’t know. Then I were peeping him once when he walked away. Second evening class was Mr. Yang’s Chinese class, After this period, every student began to walk back to school’s hostel; I followed people until to second floor of the hostel, a soft and cold voice came to my right ear, even I can felt that breath, â€Å"I know is you, swindler. † â€Å"What did you just said?! † I yelled. And then he yelled back â€Å"I know is you broke my kettle, Bob told everything to me. † Suddenly, I felt I been insult, I lost my mind, clenched my fist and gave his nose a full power punch, and he punched back of course. The result of this fight was disastrous, Henry’s nose bone been broke by me, and my right calf been cut and the wound is about three inches. That’s why this event becomes a legend in my middle school. We two have been taken to hospital then, two hours later we two back to our room. Henry’s bad is below mine, a kind of heavy atmosphere around this room for whole night. At 12 o’clock Mr. Yang came to our room, he punched my right calf and yelled â€Å"you! Get up! † And this punch such as rubbing salt in my wound. I groan out â€Å"what are you doing?! † â€Å"What did you do,† he asked back to me, â€Å"You just broke a nose bone, don’t you know it? â€Å"I know, but he cut my leg also,† I watched his angry eyes and keep groan out; â€Å"you even don’t realize the fact and conclude it my fault? † â€Å"The fact is you hurt Henry,† he said. I hesitate two second, it’s really my fault? Henry didn’t hurt me? I know the fact is Henry cut my calf, and Mr. Yang punched at same wound just 10 second ago. I was hardly getting up and trying to debate with Mr. Yang, â€Å"He was†¦Ã¢â‚¬  Mr. Yang interrupts my speech and yelled â€Å"You have nothing to argue, school will expel you! † Then he shut the door hardly. I can’t believe it, he such a dictator and gave m e a conviction. While I’m thinking, Henry laughed. Then he said â€Å"deserved nemesis, you know who am I? My dad and our president are old friend. I can even call the president dad. † I was silenced. At that time, I understood everything. I understood why Mr. Yang says that, but why does he punch my calf, will he get his wage growth up? By this point, I classify Mr. Yang is a lackey. A teacher teaches student a lot of things; include morality, not just education. You may never meet a teacher such like Mr. Yang. Something that cannot be publicity, but I must write about it. I will never meet a teacher â€Å"great† then Mr. Yang.