The Ruthlessness in King Harald's Saga Essay Example | Topics and Well Written Essays - 1250 words

Metals and Non Metals free essay sample

Appearance and Hardness of materials Object/Material Appearance Hardness (Shiny/Dull) (Very hard/Not extremely hard) comparable change on the off chance that we attempt to beat a wood log ? Let us discover. Action 4. 1 Take a little iron nail, a coal piece, a bit of thick aluminum wire and a pencil lead. Beat the iron nail with a mallet (Fig. 4. 1). (Be that as it may, take care that you don’t hurt yourself all the while). Make a decent attempt. Hit hard Beating an iron nail with mallet Can you name the materials which are metals? The remainder of the materials in Table 4. 1 are non-metals. Metals can be recognized from non-metals based on their physical and compound properties. Review that shine and hardness are physical properties. additionally the aluminum wire. At that point rehash a similar sort of treatment on the coal piece and pencil lead. Record your perceptions in Table 4. 2. Table 4. 2 Malleability of Materials Object/Material Iron nail Coal piece Aluminum wire Pencil lead Change fit as a fiddle (Flattens/Breaks into pieces) 4. Physical Properties of Metals and Non-metals Have you at any point seen a metalworker beating an iron piece or an article comprised of iron, similar to a spade, a scoop, a hatchet? Do you discover an adjustment looking like these articles on beating? Would you expect a You saw that the state of the iron nail and the aluminum wire changed on beating. On the off chance that they were beaten more earnestly these could be washed into bed covers. You may be comfortable with silver foil utilized for beautifying desserts. You should likewise be acquainted with the aluminum foil utilized for wrapping food. The property of metals by which they can be beaten into dainty sheets is called flexibility. This is a trademark property of metals. As you more likely than not saw, materials like coal and pencil lead don't show this property. Would we be able to call these as metals? Would you be able to hold a hot metallic container which is without a plastic or a wooden handle and not get injured? Maybe not! Why? Attempt to list some different encounters in which a wooden or plastic handle shields you from being harmed while dealing with hot things. Based on these encounters what would you be able to state about the conduction of warmth by wood and plastic? You more likely than not seen a circuit repairman utilizing his screw driver. What sort of handle does it have? Why? Let us discover. the movement with different items in Class VI. Presently, rehash the movement with the materials referenced in Table 4. 3. Watch and gathering these materials into great conductors and poor conductors. Table 4. 3 : Electrical conductivity of materials S. No. Materials Good Conductor/Poor Conductor 1. 2. 3. 4. Iron bar/nail Sulfur Coal piece Copper wire You see that iron bar, nail and copper wire are acceptable conveyors while moved sulfur piece and coal piece are poor conduits. Review how to cause an electric circuit to test whether power to can go through an item or not (Fig. . 2). You may have performed Oh! The importance of reviewing our encounters and afterward of this movement was to show that metals are acceptable channels of warmth and power. We took in this in Class VI. Where do you discover the utilization of aluminum and copper wires? Have you seen wires of coal? Certainly not! The property of metal by which it very well may be brought into wires is called malleability. Have you at any point seen the distinction in sound on dropping an iron sheet/plate, a metal coin, and a bit of coal on the floor? If not, you can attempt it now. Do you note any distinction in the sound created? 45 Have you seen wooden chimes in sanctuaries? Would you be able to give reason? The things made of metals produce ringing sound when struck hard. Assume you have two boxes comparable in appearance, one made of wood and the other of metal. Would you be able to tell which box is made of metal by striking both the containers? Since metals produce ringing sounds, they are supposed to be vibrant. The materials other than metals are not resonating. In the wake of playing out the above exercises, we can say that a few materials are hard, radiant, flexible, pliable, resonating and great conduits of warmth and power. The materials which by and large forces these properties are called metals. The instances of metals are iron, copper, aluminum, calcium, magnesium, and so on. Interestingly, materials like coal and sulfur are delicate and dull in appearance. They separate into fine mass on tapping with hammer. They are not resonating and are poor conveyors of warmth and power. These materials are called non-metals. The instances of non-metals are sulfur, carbon, oxygen, phosphorus, and so forth. Metals like sodium and potassium are delicate and can be cut with a blade. Mercury is the main metal which is found in fluid state at room temperature. These are special cases. which rust is framed. You had likewise acted in Class VII a movement of consuming a magnesium strip in air. You had discovered that in both the procedures oxide arrangement happens. Complete the accompanying responses of iron and magnesium with oxygen. Iron (Fe) + Oxygen (O2) + Water (H2O) ? Magnesium (Mg) + Oxygen (O2) ? Movement 4. 3 Let us check the idea of rust shaped because of the response between iron, oxygen and water. Gather a spoonful of rust and break down it in a next to no measure of water. You will find that the rust stays suspended in water. Shake the suspension well. Test the arrangement with red and blue litmus papers (Fig. 4. 3). What do you watch? Is the arrangement acidic or fundamental? Rust suspension Red litmus paper 4. 2 Chemical Properties of Metals and Non-metals A. Response with Oxygen You know about the wonder of rusting of iron. Review the response by 46 Rust Fig. 4. 3 : Testing the idea of rust SCIENCE Does copper additionally get rusted? I have seen a greenish store on the outside of copper vessels. At the point when a copper vessel is presented to clammy air for long, it procures a dull green covering. The green material is a blend of copper hydroxide (Cu(OH) 2 ) and copper carbonate (CuCO3). Coming up next is the response 2Cu+H2O+CO2+O2Cu (OH)2 + CuCO3 damp air As soon as sulfur begins consuming, bring the spoon into a gas container/glass tumbler [Fig. 4. 4 (a)]. Spread the tumbler with a top to guarantee that the gas created doesn't get away. Evacuate the spoon after some time. Include a little amount of water into the tumbler and rapidly supplant the top. Shake the tumbler well. Check the arrangement with red and blue litmus papers [Fig. 4. 4 (b)]. Presently review the movement of consuming magnesium strip. The debris got on consuming magnesium strip is broken down in water and tried for its acidic/essential nature. Is the arrangement acidic or essential? How would you discover this? You more likely than not saw that the red litmus turns blue. Along these lines, oxide of magnesium is additionally fundamental in nature. When all is said in done, metallic oxides are fundamental in nature. Let us currently watch the response of non-metals with oxygen. Ad libbed deflagrating spoon Fig. 4. 4 (a) : Burning of sulfur powder Activity 4. 4 (To be exhibited by the educator in the class) Take a modest quantity of powdered sulfur in a deflagrating spoon and warmth it. On the off chance that deflagrating spoon isn't accessible, you may take a metallic top of any container and fold a metallic wire over it and give it the shape appeared. Testing of arrangement with litmus papers 47 Table 4. 4 : Metals and Non-metals in Acids and Bases S. No. 1. 2. 3. 4. 5. Name of the base Calcium hydroxide Metal Calcium Name of the corrosive Sulphuric corrosive Non-metal Sulfur The name of the item shaped in the response of sulfur and oxygen is sulfur dioxide gas. At the point when sulfur dioxide is broken up in water sulfurous corrosive is framed. The response can be given as follows: Sulfur dioxide (SO2) + Water (H2O) Sulfurous corrosive (H2SO3) The sulfurous corrosive turns blue litmus paper red. For the most part, oxides of non-metals are acidic in nature. Review the name of a portion of the research center acids and bases you have perused in Class VII. Note down their names in Table 4. 4. Distinguish the metal or nonmetal present in them which structures oxides with oxygen. B. Response with Water Let us perceive how metals and non-metals respond with water. Sodium metal is receptive. It responds energetically with oxygen and water. A ton of warmth is produced in the response. It is, accordingly, put away in lamp fuel. 48 Activity 4. 5 To be exhibited by the instructor. During exhibition exceptional consideration ought to be taken that the size of the sodium metal piece is generally the size of a wheat grain. It ought to be held with a couple of tongs. ) Take a 250 mL recepticle/glass tumbler. Fill half of it with water. Presently deliberately cut a little bit of sodium metal. Dry it utilizing channel paper and envelop it by a little bit of cotton. Put the sodium piece enclosed by cotton into the container. Watch cautiously. During perception avoid the container. At the point when response stops contact the measuring glass. What do you feel? Has the measuring glass gotten hot? Test the arrangement with red and blue litmus papers. Is the arrangement acidic or essential? Fig. 4. 5 : Reaction of sodium with water SCIENCE You saw that sodium responds vivaciously with water. Some different metals don't do as such. For instance, iron responds with water gradually. By and large, non-metals don't respond with water however they might be receptive in air. Such non-metals are put away in water. For instance, phosphorus is an extremely responsive non-metal. It bursts into flames whenever presented to air. To forestall the contact of phosphorus with climatic oxygen, it is put away in water. C. Responses with Acids Let us perceive how metals and non-metals act with acids. test cylinders and name them as A, B, C, D, E, and F. With the assistance of a dropper include 5 mL of weaken hydrochloric corrosive to each test tube individually. Watch the responses cautiously. In the event that no response happens in a chilly arrangement, warm the test tube delicately. Bring a consuming matchstick close to the mouth of each test tube. Rehash a similar action utilizing weaken sulphuric corrosive rather than the weaken hydrocholoric corrosive. Record your perceptions in Table 4. 5. Is there a distinction in the manner metals and non-metals respond with acids? What could the ‘pop’ sound at times be because of when a consuming match sti

Comparison of Three Sculptures free essay sample

Correlation of Three Sculptures Katelyn Sauerland Art 101 October 9, 2012 The significant contrast between the three David’s is clearly the periods wherein they were cut. Michelangelo’s was during the Renaissance, Bernini’s is Baroque, and Donatello cut his David during the Gothic time frame. Michelangelo’s David is extremely huge in size, more than fourteen feet tall. This causes him to appear to linger over his admirers, and makes him a somewhat forcing figure. It is more than evident that this David is exposed, has no imperfections, and is by all accounts in flawless health.The immaculate man, maybe. The entirety of this is normal of the Renaissance time frame in which he was cut. Michelangelo’s David is by all accounts considering something significant, maybe the importance of life? He isn't in a rush to do anything, and he isn't surging off to do anything. Truth be told, he barely resembles the renowned warrior who killed a monster of a man. We will compose a custom article test on Examination of Three Sculptures or then again any comparative subject explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page Bernini’s David, then again, looks just as he is directly in the center of the acclaimed fight with Goliath. You can simply envision the stone in his grasp similar to the one with which he cut down the giant.In Bernini’s sculpture, David has on some way of dress. It isn't substantially more than a bit of material tossed over his genitals, yet it despite everything gives him some humility, which is with regards to the Baroque time frame. Gian Lorenzo Bernini made his sculpture of David utilizing marble as the material. This sculpture is a real existence size portrayal of David during his fight with Goliath. Donatello’s figure of David was made in the Early Renaissance. It is made of bronze and arrives at 158 cm of stature. This model portrays a bare David, wearing just a cap and boots. He has a mysterious grin on his face.David is conveying a blade and he has his foot on Goliath’s head in the wake of vanquishing him. This sculpture got questionable for being the principal unsupported bare man and on the grounds that it was considered to have political essentialness. Something that makes Donatello’s David stand separated is the way that he really made TWO sculptures of David. The first was in 1408, and is made of marble. This marble portrayal is fairly exhausting and customary, and shows none of the imaginative style that Donatello later display. The subsequent David was done in bronze in the 1440’s, and is another bare †despite the fact that this one is wearing a cap and boots.

Boethius Essay Example For Students

Boethius Essay From the beginning of time, each general public has looked for some approach to communicate its emotions and convictions. Music has been a necessary piece of for all intents and purposes each culture, so it is very normal for individuals to havewritten about this subject. More writing has made due than real music, which leaves modernscholars with the activity of making an interpretation of, deciphering, and attempting to comprehend the works of peopleprior to present day melodic documentation. Anicius Manlius Severinus Boethius composed and deciphered manybooks on subjects he felt were imperative to the instruction of people in the future. Of particularinterest is his book, The Fundamentals of Music (De institutione musica). Despite the fact that this bookis not, at this point utilized as a reason for music training, it has lastingly affected music history andtheory. Boethius was conceived either in or around Rome at some point around the year 480 AD. His fatherdied when he was just seven, and he was taken in and raised by one of the wealthiest aristocratsof the time, Symmachus. Boethius got uncommon training, wedded Symmachussdaughter, and drove a regarded profession as a government official, essayist, and researcher until he was imprisonedand executed in 524. Boethiuss works might be separated into four classifications, in chronologicalorder: educational works, treatises on the scientific orders; the coherent works, in essencetranslations or analyses on Aristotle, Cicero, and Porphyry; the religious treatises, worksexpounding conventional Christian precept by the philosophical strategy; and the Consolation ofPhilosophy, an absolutely philosophical treatise written in prison.1 It is the principal classification, which dealswith the numerical orders, that contains his Fundamentals of Music. At the time Boethiuswrote these books, music was viewed as one of the scientific subjects, alongside arithmetic,geometry, and stargazing. Boethius depicted these orders as the Quadrivium, the fourfoldpath to the information on forces things unaffected by material substance.2 The reality thatmusic was viewed as one of the numerical controls is intriguing to present day individuals, since itis now thought about piece of expressions of the human experience, and on almost the far edge of the range from math. Math is currently viewed as severe, foreordained, unbending, and organized, while music is expressive,emotional, and emotional. Be that as it may, individuals of the time expected that the investigation of music wouldbe restricted to the numerical attributes of symphonious extents. In this regard, musicdoes have numerous qualities that can be identified with math, and it was on these perceptions thatBoethius based a huge piece of his Fundamentals of Music. A few people have expressed that Boethiuss five books on music are only interpretations ofworks by Pythagoras. This couldn't be valid, in light of the fact that Pythagoras left no compositions. Be that as it may, they arebased on a solid custom and on crafted by later individuals from the Pythagorean school; from hiseducation by his dad in-law Symmachus and in Athens Boethius was very much familiar withthese, and it is clear from his compositions that he was immovably persuaded of the frameworks validity.3 An enormous segment of Fundamentals of Music manages instruments. Boethius diagrams thedevelopment of the tetrachord and different instruments, and portrays their connections tomythological divine beings and stargazing. Boethius likewise expounded on the Greek convictions in different modeshaving various effects on people and their feelings. This was a crude, however veryintuitive and splendid perception on the impact music can have on man. Pythgoreans accepted, asdid Boethius, tha t various modes had various outcomes. A few modes instigate rest, while otherspurge the daze and disarray of rest when they woke up.4 People of Pythagorass time orof Boethiuss time did not have the documentation or information on melodic development to pinpoint exactlywhat characteristics of every mode evoked explicit emotions. In any case, the perceptions made were giantsteps the correct way. Nuremberg Trials EssayIn end, however some of Boethiuss hypotheses have not demonstrated to be totally validin the advanced act of music hypothesis, huge numbers of his thoughts have had a significant and enduring impacton melodic idea and history. For whatever length of time that individuals stay inspired by the advancement of musictheory and its applications, at that point Boethiuss work will keep on enduring. He has proven,through time, to be one of the most significant scholars and journalists to have composed on the subjectof music, and he has earned a recognized spot in the investigation of music history, yet thehistory of Western human advancement. 1858 wordsBibliographyBibliographyBoethius, Anicius Manlius Severinus. Essentials of Music. Trans. Calvin M. Grove. Ed. Claude V. Palisca. New Haven: Yale University Press, 1989. Thicket, Calvin. Boethius, Anicius Manlius Severinus. In The New Grove Dictionary of Music and Musician, ed. Stanley Sadie, 2: 844-45. London: Macmillan, 1980. Bawl, Roger. Music and the Quadrivium in Early Tudor England. Music and Letters, vol. 76, no. 1 (Feb. 1995), 1-18. Chadwick, Henry. Boethius, the Consolations of Music, Logic, Theology, and Philosophy. New York: Clarendon Press, 1981. Edmiston, Jean. Boethius on Pythagorean Music. The Music Review, vol. 35, no. 3-4 (Nov. 1974): 179-184. Erickson, Raymond. Eugena, Boethius, and the Neapolitanism of Musica and Scholica Enchiriadis. Melodic Humanism and Its Legacy. Ed. Nancy Baker and Barbara Hanning. Stuyvesant, NY: Pendragon Press, 1992. 53-78. Maher, Terence. On a Contemporary Boethian Musical Theory. Ann Arbor: University Microfilms International, 1980. Palisca, Claude V. Prelude by Series Editor to Fundamentals of Music by Anicius Manlius Severinus Boethius. Trans. Calvin M. Nook. ed. Claude V. Palisca. New Haven: Yale University Press, 1989. Seaton, Douglas. Thoughts and Styles in the Western Musical Tradition. Mountain View, CA: Mayfield Publishing Company, 1991. Music Essays