Casting Engine Blocks Automotive Manufacturing Processes Engineering Essay

Casting Engine Blocks Automotive Manufacturing Processes Engineering Essay There are several different types of manufacturing processes to choose from out there and many different alloys that are at ones disposal to be used. Some processes include: sand casting, die casting, and lost-foam casting. In this report, sand and die casting will be discussed with the focus on sand casting. Also, choosing a suitable alloy will be discussed. Is the alloy going to be ferrous or non-ferrous and what qualities does the alloy chosen have, to make it a good choice to use with the manufacturing process is a question to ask oneself. In this case, sand casting has the capability of using any alloy whereas; die casting is generally limited to non-ferrous alloys. Aluminum is a very common alloy to use and it can be used for almost any process. Although, this alloy possesses some qualities that would be desired by most, gray cast iron was decided by us to possess even stronger qualities that led us to choose it for the material used in the design of a cast iron block. Sand cas ting is now and has been for some time one of the most commonly used manufacturing processes and the use of gray cast iron fits very well with this process. The reasons for choosing sand casting as the manufacturing process and gray cast iron as the alloy will be discussed further in the report. Problem Statement: To select a suitable casting process and material that will be as per the requirement of efficient, cost effective and environmentally friendly engine block production. Objectives: To discuss the various casting processes that can be used to manufacture an engine block. To select a suitable alloy for the part. To select a suitable casting process. To justify the above selection. To design the selected process to cast an engine block. To discuss the defects in the casting and challenges to be faced while using the selected process and the methods to overcome these. To discuss the cost consideration and environmental impact of using the selected process. The Identification of Suitable Casting Processes The manufacturing of cast engine blocks out of cast iron involves the consideration of what manufacturing process to use as well as a suitable alloy. The alloy chosen for our company is gray cast iron and the process of selecting this particular alloy will be discussed further in the next section. This section will discuss how our company came to choose sand casting as the manufacturing process by comparing this process with other processes. There are several factors involved in choosing a suitable casting process for manufacturing cast engine blocks. Some of these factors include the type of material that can be used in the casting process, the type of part that can be cast, the finish of the product, the amount of time it takes for the process, and the cost involved. In this section, sand casting will be compared with die casting. Although both are good processes to use, the results vary depending on what process is chosen. There are some similarities between the processes, while there are mostly differences in most aspects of the processes. Selecting a Suitable Alloy An engine block is the main part of an engine which holds all most all the parts of the engine. It should house the internal moving parts, fluids and also withstand the forces and pressure developed during combustion. It should have high strength, wear resistance, good machinability, good vibration absorption capacity, corrosion resistance, low thermal expansion, good thermal conductivity and manufacturability and should have less manufacturing cost. In general, most of the industries use cast iron for manufacturing the engine blocks because of the following reasons: It is cheaper, excellent damping capacity, good wear and high temperature resistant, easily machinable, inexpensive to produce, and can tolerate high pressure and RPM. Other materials which are considered for manufacturing engine blocks are aluminum alloys and magnesium alloys. But, after considering the above factors using cast iron is the feasible option. For choosing the right alloy from cast iron variants, their material properties are compared. Table 1.1 compositions of the different cast irons Name Nominal composition [% by weight] Form and condition Hardness [Brinell scale] Grey cast iron (ASTMA48) C  3.4, Si  1.8,  Mn  0.5 Cast 260 White cast iron C  3.4, Si  0.7, Mn  0.6 Cast (as cast) 450 Malleable iron (ASTM A47) C  2.5, Si  1.0, Mn  0.55 Cast (annealed) 130 Ductile or nodular iron C  3.4, P  0.1, Mn  0.4,Ni  1.0, Mg  0.06 Cast 170 Ductile or nodular iron (ASTM A339) cast (quench tempered) 310 Ni-hard type 2 C  2.7, Si  0.6, Mn  0.5, Ni  4.5, Cr  2.0 Sand-cast 550 Ni-resist type 2 C  3.0, Si  2.0, Mn  1.0, Ni  20.0, Cr  2.5 Cast 140 Table1.2 comparision of the strengths of the cast irons alloys Table 1.3 castability of the different metals. As we need a material which is hard enough, having good strength and good castability, from Table 1.1 we can find gray cast iron having enough and nominal hardness. There are materials which are harder than grey cast iron but as hardness increases material can wear the internal components and will be brittle in nature which is not a preferable property. From Table 1.2 we can observe that elongation is less with good yield strength for gray cast iron which is one of the desirable properties. Both pearlitic and martensitic gray cast irons have less elongation with high yield strength but martensitic gray cast iron has more hardness which is against our requirements and Table 1.3 tells that castability is excellent for gray cast irons compared to other metals and alloys. For desired properties like castability, fluidity, resistance to deformation, relatively low melting point and cost On the whole from the above mentioned tables 1.1, 1.2, 1.3 and above desirable properties gray cast iron matches our requirement. So we finally decide to go for the pearlitic gray cast iron. The Effect of Manufacturing Processes on the Product Sand casting and die casting both consist of the pouring of molten metal into a mold, allowing the metal to cool until it solidifies. The type of mold used in these processes usually varies drastically from one another. Die casting uses the molten metal that gets forced into a mold and is subjected to high pressures so that it solidifies very nicely into the die cavity. Sand casting generally uses silica sand as its material for the mold. Sand is generally chosen as the mold material because of the characteristics that it possesses and the fact that its relatively inexpensive. The strength of the mold is critical in the manufacturing process and using the right type of grains in the sand can improve the strength. A specific type of sand is commonly used for sand casting, and that type is called green molding sand. Green molding sand uses a mixture sand, clay, and water. This mixture provides a moist sand to be present in the mold when the metal is poured into the mold. This moist sand then becomes easily reusable, which contributes to lowering the expenses in the process. Sand casting is an efficient process to use because of the flexibility in what can be done as part of the process. There is no limitation to what material can be used, which means that gray cast iron is available to be used when sand casting engine blocks. There is also no limitation to the type of part that can be cast. The part can also be of any size or shape or weight. Another reason for using sand casting is the minimal costs when compared to other manufacturing process, the amount of time required for production of the parts, and the number of parts required in a production cycle. Sand casting allows for the production of one part at a time if necessary, with no limit to the number of parts to be produced. All costs, including mold material, tooling, and labor costs are relatively low compared to other processes. Although, sand casting has many good qualities that persuade us to use this process, there are a few deficiencies in using the process too. These deficiencies include the finish of the material, porosity, and dimensional tolerance. The dimensional tolerance is much greater than that of other manufacturing processes which causes a greater rate of shrinkage. This shrinkage increases the porosity of the material, which results in a rough surface finish. Die casting is an efficient process to use because more precise results. The die casting process allows for the production of solid, fine parts at a high rate. No additional machining should be necessary on these parts since the dimensional accuracy is so good to begin, with that these parts are ready for use after one cycle of the process. Although the types of materials that can be used are limited, which is mentioned in the next paragraph, experimental results show that gray cast iron is a very workable material for die casting. Even smaller sized parts like pins and fasteners can be casted using die casting, but the smooth surface finish and precision of the parts allow for them to be put to good use. Similar to sand casting and any other casting process, die casting has its disadvantages too. Generally, only nonferrous materials can be casted using die casting. The materials work very well, but that still limits the resources out there for the process which could potentially cause some problems. Also, since the parts produced are small, this limits the potential uses of the part. Another problem that could arise is that even though the labor costs are very low since the process is mostly run on automated systems; these systems and all other equipment are relatively expensive. This is the one major difference between sand casting and die casting that cannot be ignored. Ways to lower the costs are still being worked on, but there is still some work left to do to bring these costs down a sufficient amount. It takes a long time to produce these parts, but being able to produce a large quantity at a time helps to make up for the long lead time. These deficiencies will be looked at in greater detail in a later section. The Sand Casting Procedure Sand casting Sand casting is one of the oldest techniques of manufacturing. In this form, molten metal is poured into a mould made of sand. When the metal is hardened and cooled, the part is removed. In sand casting, the mold is made of packed sand. Mold preparation In the process, we chose green sand casting as our casting process. The sand mixture consists of sand, clay binder, water and additives. The sand also includes zircon(ZrSiO4), olivine(Mg2SiO4), iron silicate(Fe2SiO4), chromite(FeCr2O4). Zircon, olivine and iron silicate have low thermal expansion, and chromite has high heat transfer. During the process, all the ingredients are mixed together and the sand should be moist and not dry. Figure 1. Green Sand Casting Mold Sand casting procedure During the process, patterns and cores are made; sand is thoroughly mixed and then formed about the patterns as per our need. The patterns are removed and the two halves of the molds are put together and are thus ready for pouring the molten metal. The preheated metal is then poured slowly into the mold until the mold is full. The part is then cooled and after the part solidifies thoroughly, the sand mold is removed by striking the part. Lastly, we machine the casting to give it its final shape. Defects Sand castings have many defects such as inclusion, shrinkage, air holes, sand holes, cold shut and cracks. In this procedure, the granule shape, granule size and collapsibility of sand mold effect sand mold casting. Quality inspection Quality inspection of sand casting can be done by sharp impact test, x-ray inspection, pressure test, magnaflux inspection and ultrasonic test. Whereas, to inspect the casting in the foundry itself; visual inspection, dimensional inspection, chemical component inspection and testing to figure out the physical properties by doing the hardness or tensile strength test are commonly used. Casting products and mass production The sand used in making the mold can be used again and again(reclaimed), thus the green sand casting process is cheap and widely used compared to other casting process. Due to this mass production of this process in a cost effective manner is possible. CASTING DEFECTS Some of the possible defect that may arise during the sand casting process Shrinkage defects: These defects mainly occur when feed metal is not available to compensate the shrinkage as the metal solidifies. These defects can be avoided by providing proper gates, vents and risers in the mold. Gas porosity: They are formed as bubbles on the casting after it is cooled. This is due to the presence of large amounts of dissolved gas in the molten metal. To prevent this, the metal is melted in vacuum or in the presence of specific low solubility gases such as argon or carbon dioxide. To minimize gas solubility, the super heat temperature can be kept low. Misruns and cold shuts: They are the empty cavities in solidified metal, due to the lack of fluidity, narrow cross sections, back pressure and turbulence. These are rectified by reducing the pouring temperature, adding sprue and proper gates. Metal penetration: This is the presence of rough surface finish because of the liquid metal penetrating the sand mould. This penetration is due to high pouring temperatures. Lowering the pouring temperature will avoid this phenomenon. Hot Spots: They are formed on the surface that is very hard because of the quick cooling compared to the surroundings. Changing chemical composition and providing proper cooling methods like using chills, these can be avoided. Inclusions: These are metal impurities generally oxides, sulfides, nitrides and carbides formed from the material that is eroded from furnace or impurities present in the mold. These inclusions can be reduced by using ceramic filters or melting the metal in vacuum Hot tears: Also called as hot cracking, these are the failures in the casting that are formed while cast metal starts cooling because of the weak strength of the metal when it is hot and the internal stresses. These can be prevented by proper mold design. Mold erosion: Erosion of the mold sand occurs while filling molten metal into the mold, caused due to sand having less binding strength or high pouring velocity of metal. This can be avoided by redesigning the gating system or by using large runners. Identifying challenges in the process and how they are being addressed An engine block has a very complex geometry. The engine block has internal recesses for the coolant, i.e., water to circulate and the cylinders for the piston to reciprocate. So casting such an intricate shape is always challenging. First, the pattern for making the mold must be very carefully designed because the quality of our casting is as good as the quality of our pattern. For such a complex machined part, we must carefully monitor the cooling of the casting; as such a complex part is bound to cool in an uneven manner. We all know that the major problem concerned with sand casting is the poor surface finish, but in an engine block the only important surface is the cylinder where the piston will reciprocate and it is not important for the cooling water to flow through highly machined surfaces. In sand casting, the surface finish can be substantially improved by using finer sands and we are adding zircon to the sand which will result in a better surface finish. Another challenge in sand casting an engine block is the pouring of the molten metal. Since an engine block is huge and has a complicated geometry, the pouring rate of the metal should be carefully monitored. We should not pour it at such a slow rate that the metal solidifies in the pouring vessel itself and it should not be so fast that molten metal could not reach some regions resulting in voids. In fact, the metal should not be poured. It should be pumped against the gravity so as to avoid gas entrapment. As said earlier, an engine block, due to its geometric complexity will tend to cool irregularly. So the risers should be properly placed to take into account this irregular cooling. Addressing the cost consideration The cost associated with sand casting can be divided into three broad categories: Material cost, Production cost and Tooling cost. Material cost As the name suggests, material cost includes the cost of all the materials used in the sand casting process. These materials include the metal, the mold sand and the core sand. The cost of the metal will depend on a number of factors such as cost of the alloy, purity of the alloy and the castability of the alloy. For more pure alloys, the cost will be higher. For alloys with lower castability, additional metal will be required in order to fill the flow channels and the feed heads to assure a good casting, so in such cases, the cost will be higher. The cost of the mold sand and the core sand will depend on the shape and size of the mold and the core respectively. In this case, since our part is an engine block, due to its size and geometric complexity, the cost is bound to be high. Production Cost Again as the name suggests, production cost will include the cost of all the operations that will take place during the process of sand casting. These will include core making, mold making, pouring, and cleaning. The addition of cores to the casting will increase its cost because it will slow the process down. An engine block, a very complicated part, will definitely have cores which will increase the overall production cost by slowing down the production. Pouring and cleaning costs are determined by the size and weight of the casting. So these will be high for an engine block as it is a big and heavy component, and the mold will take longer to fill and the cast block will take longer to be cleaned. Tooling Cost Tooling cost is the cost associated with the tools used during the sand casting process. These include the patterns used to make the molds and the core-boxes to make the cores. Since an engine block is huge and geometrically complicated, tooling cost will be high. Also, since we are designing for mass production, the patterns as well as the core-boxes will have to be used more frequently. The constant use of the tool will result in the wearing down of the tool at a high rate, which in turn will increase the overall cost as the tool will have to be replaced. A solution to this problem will be to use patterns and core-boxes of a better quality material, but again the cost will be high. Environmental Impact of using Sand Casting: Foundries are generally regarded as being dirty and unfavorable to the environment. The primary issues being faced by the casting industry are the excessive volumes of by-products that are to be sent to landfills, and the Hazardous Air Pollutants (HAPs) which are released during the process. Of all the by-products generated by volume, sand is the largest. Even in processes which involve a high level of sand recovery, some amount of new sand is always required to maintain the optimum quality of sand in the system. This in turn will result in loss of sand from the system. After its use, the sand is either sent to a landfill for disposal, resulting in soil pollution, or it is reclaimed off-site. Not all foundry sands are considered hazardous, especially the ones from ferrous foundries, which pass the TCLP (Toxic Characteristic Leaching Procedure), which, after use can be sent to unlined landfills for disposal. Some non-ferrous sands on the other hand contain high levels of metal because they have to be sent to secured landfills and not the unlined ones. Chemical binders inwaste sand can become a crucial issue if resin-coated sands are wasted in large volumes before the pouring stage as most of the binder in the mold is burnt off during the pouring stage. Hence, the binder level should be carefully monitored so as to prevent it from reaching unacceptable levels over a period of many reclamation cycles. The second largest by-product by volume in the sand casting process is the baghouse dust. It is typically formed when the sand is reclaimed multiple times, which results in the sand grains breaking down to dust particles. Not only will it affect the quality of the casting, but it will also result in health issues such as silicosis. Slag is yet another by-product which is formed during the sand casting process. When flux is added to the molten metal to remove impurities, it reacts with the impurities to form slag which floats to the surface and is to be removed before pouring the metal. The slag so formed has a glass like appearance and is not really hazardous as it can be easily disposed of in unlined landfills. Apart from these solid wastes, there is also a substantial amount of gaseous waste (emissions) produced during the sand casting process. These include benzene, carbon monoxide, hydrogen sulphide, sulphur dioxide, phenols, nitrous oxide and other HAPs. Of all the pollutants, benzene is the most emitted. Conclusion In many ways the job of an engineer is not simple, because to choose between one material or one process over another is never easy. There is no process or material which can be considered as perfect. Each process has its advantages and disadvantages. An engineers job is to find an optimum solution so that the huge amount of investment in this industry is justified. In this project we, as engineers have done a similar job. We have selected sand casting for manufacturing the engine blocks and have justified our decision by discussing various aspects, both good as well as bad, of the selected process.

Suicide in A Perfect Day for Bananafish by J. D. Salinger Essay

A Perfect Day for Bananafish follows the events leading up to the eventual suicide of Seymour Glass. In the story, Seymour is described as a lost spirit who sees himself as being fundamentally different from his social environment following his wartime experience; he leaves the war â€Å"seeing-more† and as a result, awakens to find that he has lost touch with the material world. Salinger uses the story’s dialog as the medium for conveying Seymour’s struggle; he establishes the shallow nature of the environment Seymour is exposed to using the dialog between Muriel and her Mother while simultaneously giving clues about Seymour’s character from the perspectives of the two women in his life. Seymour’s character is built upon further in the second half of the story during the scene in which he converses with Sybil, and also when Seymour is in the elevator moments before he commits suicide. The subtle clues Salinger weaves into the dialog suggest that Se ymour commits suicide to escape the dilemma of either conforming to the materialistic world and sacrificing his spirituality, or choosing not to conform and consequently live estranged from his own wife and the society in which he lives. The opening of the story serves to create the precedent that Muriel is shallow. The first passage describes how Muriel â€Å"uses† her two and a half hour waiting period before her mother’s call. She accomplishes multiple tasks such as painting her toenails, reading a women’s pocket-size magazine article, brushing her hair, and removing a stain from a skirt. Salinger describes Muriel as â€Å"a girl who for a ringing phone dropped exactly nothing.† The references to Muriel as â€Å"a girl† are repeated throughout the story to signify her immaturity; her concern for trivial... ...nd his own life. Many of these clues can be found in the story’s dialog. They suggest that Seymour’s suicide is the manifestation of an awakening gained through his war experience; he is separated from the shallow environment he lives in and can find no other escape. Perhaps Seymour commits suicide in an attempt to break through the barrier that separates him from Muriel and the rest of society. Or maybe Seymour’s mental faculties were damaged by his wartime experience, leaving him disturbed and unstable. The text can be read many ways; however, there is no single interpretation that captures the complexity of Salinger’s short story. While the clues that Salinger leaves throughout the story influence the reader’s perspective on Seymour Glass, ultimately the meaning and justification of Seymour’s suicide depends on the reader’s personal connection to the protagonist.

Renaissance Drama in England

Renaissance Drama in England From Medieval to Renaissance Drama ? Mystery plays -> ? Historical (chronicle) ? Miracle plays -> plays ? Tragedies ? Comedies ? Morality plays -> ? Interludes -> Other public â€Å"spectacles†Ã¢â‚¬ ¦ The Elizabethan Drama ? The Elizabethan era saw a great flourishing of literature, especially in the field of drama. ? The Italian Renaissance had rediscovered the ancient Greek and Roman theatre, and this was instrumental in the development of the new drama, which was then beginning to evolve apart from the old mystery and miracle plays of the Middle Ages. The Italians were particularly inspired by Seneca (a major tragic playwright and philosopher) and Plautus (comic cliches, especially that of the boasting soldier had a powerful influence on the Renaissance and after). ? However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. It is also true that the Elizabethan Era was a very violent age. As a result, representing that kind of violence on the stage in scenes of high ? physical realism? was probably more cathartic for the Elizabethan spectator. Lady Macbeth by John Singer Sargent,1889Elizabethan Drama and Acting – Main Features ? ? ? ? ? ? ? ? ? ? The plays had 5 acts; Physical realism; Issues borrowed from the ancient Greek drama (the chorus); Allegorical characters borrowed from the Medieval moralities; Issues borrowed from the Italian drama (the pantomime); Exaggerated feelings (love, hatred, revenge); Props and settings were simple; Costumes were rich and in accordance with the fashion of the time; There was no curtain; Women were not allowed to perform. Spanish Tragedy by Thomas Kyd ? Examples: Gorboduc (or Ferrex and Porrex) by Sackville ; Norton, TheThe Elizabethan Playhouse ? The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama—once they were in op eration, drama could become a fixed and permanent rather than a transitory phenomenon. The crucial initiating development was the building of The Theatre by James Burbage, in Shoreditch in 1576. The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604).The Elizabethan Playhouse ? The public theatres were three stories high, and built around an open space at the centre. ? Usually polygonal in plan to give an overall rounded effect (though the Red Bull and the first Fortune were square), the three levels of inwardfacing galleries overlooked the open center, into which jutted the stage— essentially a platform surrounded on three sides by the audience, only the rear being restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony. Usually built of timber and plaster and with thatched roofs , the early theatres were vulnerable to fire, and were replaced (when necessary) with stronger structures. When the Globe burned down in June 1613, it was rebuilt with a tile roof. The English Renaissance Drama ? 1. The early tragedies ? 2. The early comedies ? 3. The plays of the ? University Wits? ? 4. William Shakespeare’s plays the â€Å"university wits† The decade of the 1590s, just before Shakespeare started his career, saw a radical transformation in popular drama. A group of welleducated men chose to write for the public stage, taking over native traditions.They brought new coherence in structure, and real wit and poetic power to the language. They are known collectively as the â€Å"University Wits,† though they did not always work as a group, and indeed wrangled with each other at times. ? ? ? ? ? ? ? John Lyly (1554-1606) Thomas Lodge (c. 1558-1625) Christopher Marlowe (1564-1593) Robert Greene (1560-1592) Thomas Nashe (1567-1601) George Peele Thomas Kyd Thomas Kyd (1558 –1594) ? ? ? Th. Kyd was the author of The Spanish Tragedy, and one of the most important figures in the development of Elizabethan drama.The Spanish Tragedie was probably written in the mid to late 1580s. The earliest surviving edition was printed in 1592; the full title being, The Spanish Tragedie, Containing the lamentable end of Don Horatio, and Bel-imperia: with the pittifull death of olde Hieronimo. However, the play was usually known simply as â€Å"Hieronimo†, after the protagonist. Kyd is more generally accepted to have been the author of a Hamlet, the precursor of the Shakespearean play (Ur-Hamlet). Christopher Marlowe(1564 –1593) ? ? ? ? ? ? ? ? ? ?The foremost Elizabethan tragedian before William Shakespeare, he is known for his magnificent blank verse, his overreaching protagonists, and his own untimely death. Marlowe’s most important plays in which he created his tytanic characters are: Dido, Queen of Carthage (c. 1586) (possibly co-written with Thomas Nashe) Tamburlaine, part 1 (c. 1587) Tamburlaine, part 2 (c. 1587-1588) The Jew of Malta (c. 1589) Doctor Faustus (c. 1589, or, c. 1593) Edward II (c. 1592) The Massacre at Paris (c. 1593) Marlowe is often alleged to have been a government spy killed upon the orders of the Queen.William Shakespeare and His Contemporaries ? According to some critics of his time, Shakespeare was vulgar, provincial and overrated. ? Robert Greene (1558 –1592) is most familiar to Shakespeare scholars for his pamphlet Greene's Groats-Worth of Wit (full title: Greene's Groats-worth of Wit bought with a Million of Repentance), which most scholars agree contains the earliest known mention of Shakespeare as a member of the London dramatic community. In it, Greene disparages Shakespeare, for being an actor who has the temerity to write plays, and for committing plagiarism. ? â€Å"†¦ or there is an upstart Crow, beautified with our feathers, that with his Tygers ha rt wrapt in a Players hyde, supposes he is as well able to bombast out a blanke verse as the best of you: and being an absolute Johannes fac totum, is in his owne conceit the onely Shake-scene in a countrey†. William Shakespeare and His Contemporaries ? ? Francis Meres, one year younger than Shakespeare, described himself as â€Å"Maister of Arte of both Universities†; in 1598 Meres published a work which has proven most valuable in dating Shakespeare's plays, for he mentions many of them, and in the most laudatory terms.In Palladis Tamia, Wits Treasury, Meres begins by praising Shakespeare's poetry the two narrative poems, Venus and Adonis and The Rape of Lucrece, and the Sonnets – then compares Shakespeare to Plautus in comedy and to Seneca in tragedy: Shakespeare was â€Å"not of an age, but for all time. † ? These are the words of Shakespeare's great friend and contemporary, Ben Jonson. The quotation comes from Jonson's poem, To the memory of my belove d, found in the First Folio of Shakespeare's works, published in 1623. Ben Jonson (1572-1637) William Shakespeare (1564 – 1616) ? There is no simple explanation forShakespeare’s unrivaled popularity, but he remains our greatest entertainer and perhaps our most profound thinker. He had a remarkable knowledge of human behavior, which he was able to communicate through his portrayal of a wide variety of characters. ? His mastery of poetic language and of the techniques of drama enabled him to combine these multiple viewpoints, human motives, and actions to produce a uniquely compelling theatrical experience. SHAKESPEARE’S EARLY YEARS English playwright William Shakespeare was born in a small house on Henley Street in Stratford-uponAvon in April 1564.The third of eight children, William Shakespeare was the eldest son of John Shakespeare, a locally prominent glove-maker and wool merchant, and Mary Arden, the daughter of a well-to-do landowner in the nearby village of Wilmcote. The young Shakespeare probably attended the Stratford grammar school, the King’s New School. Shakespeare’s Birthplace Stratford upon Avon On November 27, 1582, a license was issued to permit Shakespeare’s marriage, at the age of 18, to Anne Hathaway, aged 26 and the daughter of a Warwickshire farmer.The couple’s first daughter, Susanna, was born on May 26, 1583, and twins Hamnet and Judith who were named for their godparents, neighbors Hamnet and Judith Sadler followed on February 2, 1585. Anne Hathaway? s Cottage Charlecote Park, Sir Thomas Lucy? s Property Sometime after the birth of the twins, Shakespeare apparently left Stratford, but no records have turned up to reveal his activity between their birth and his presence in London in 1592, when he was already at work in the theater. Shakespeare? s biographers sometimes refer to the years between 1585 and 1592 as â€Å"the lost years. Speculations about this period abound. An unsubstantiated report claims Shakespeare left Stratford after he was caught poaching in the deer park of Sir Thomas Lucy, a local justice of the peace. Another theory has him leaving for London with a theater troupe that had performed in Stratford in 1587. SHAKESPEARE IN LONDON ? Shakespeare seems to have arrived in London about 1588, and by 1592 he had attained sufficient success as an actor and a playwright to attract the venom of Greene, an anxious rival. SOME OF SHAKESPEARE’S CONTEMPORARIES HENRY WRIOTHESLEY RICHARD BURBAGE WILLIAM KEMPECRISTOPHER MARLOWE ? In 1594 Shakespeare became the member of Lord Chamberlain’s men and was active in the formation of famous theatre, the Globe. London – The Globe Theater (rebuilt in 1997) London – The Globe Theater (rebuilt in 1997) Shakespeare’s Last Years Shakespeare's company erected the storied Globe Theatre circa 1598 in London's Bankside district. It was one of four major theatres in the area, along with the Swan, th e Rose, and the Hope. After about 1608 Shakespeare began to write fewer plays. In 1613 fire destroyed the Globe Theatre during a performance of Henry VIII.Although the Globe was quickly rebuilt, Shakespeare? s association with it – and probably with the company – had ended. Around the time of the fire, Shakespeare retired to Stratford, where he had established his family and become a prominent citizen. Shakespeare? s daughter Susanna had married John Hall, a doctor with a thriving practice in Stratford, in 1607. His younger daughter, Judith, married a Stratford winemaker, Thomas Quiney, in 1616. ? Shakespeare died on April 23, 1616 – the month and day traditionally assigned to his birth – and was buried in Stratford’s Holy Trinity Church.He had made his will the previous month, ? in perfect health and memory.? The cause of his death is not known, though a report from the Holy Trinity’s vicar in the 1660s claims that he ? died of a fever â₠¬ ¦ contracted after a night of drinking with Ben Jonson and Michael Drayton, friends and fellow writers?. ? England’s greatest playwright, William Shakespeare was buried in the Holy Trinity Church in Stratford-upon-Avon, Warwickshire. His epitaph reads: ? Good frend for Iesvs sake forbeare, ? To digg the dvst encloased heare. ? Blest be ye man yt spares thes stones, ? And cvrst be he yt moves my bones.Trinity Church – Stratford-upon-Avon Shakespeare Authorship Debate ? The Shakespeare authorship debate continues to rage unabated. ? The traditional camp (Stratfordian's) maintain that the famous Bard was indeed a poet, playwright and an actor. ? Critics known as â€Å"Oxfordian? s† argue that a more likely contender may have been Edward De Vere (1550-1604), Christopher Marlowe, Sir Francis Bacon, Derby or even Queen Elizabeth herself! Shakespeare’s Works and their chronology (apud Halliday) ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1589-1590 1. Henry VI 15 90 – 1591 – 2.Henry VI 1592 – 1593 Richard III Titus Andronicus Venus and Adonis 1592 – 1598 Sonnets 1593 – 1594 The Comedy of Errors The Taming of the Shrew The Rape of Lucrece 1594 – 1595 The Two gentlemen of Verona Love? s Labours Lost 1595 – 1596 Romeo and Juliet Richard II A Midsummer Night? s Dream 1596 – 1597 King John The Merchant of Venice 1597 – 1598 1 Henry IV 2 Henry IV 1598 – 1599 Much ado About Nothing Henry V The Merry Wives of Windsor ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1599 – 1600 Julius Caesar As You Like It Twelfth Night 1600 – 1601 Hamlet 1601 – 1602 Troilus and Cressida 1602 – 1603 All? Well that Ends Well Othello 1603 – 1604 Measure for measure 1604 – 1605 Timon of Athens 1605 – 1606 King Lear Macbeth 1606 – 1607 Antony and Cleopatra 1607 – 1608 Coriolanus 1608 – 1609 Pericles, Prince of Tyre 1609 – 1610 Cymbeline 1610 – 1611 The Winter? s Tale 1611 – 1612 The Tempest 1612 – 1613 Henry VIII (1613 – 1614) The Two Noble Kinsmen The First Folio ? The â€Å"First Folio† is of major importance to William Shakespeare as it is the first collected edition of Shakespeare's plays. The copperengraving picture of William Shakespeare is signed Martin Droeshout on the title-page of the „First Folio? 1623). Famous Quotes ? Juliet: â€Å"What's in a name? That which we call a rose By any other name would smell as sweet. † Romeo and Juliet (II, ii, 1-2) Juliet or The Blue Necklace (1898) by John William Waterhouse Famous Quotes ? Hamlet: There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. Hamlet Act 1, scene 5, 159–167 Ophelia (1894) – John William Waterhouse Famous Quotes Hamlet: What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in act ion how like an angel, in apprehension how like a god! he beauty of the world, the paragon of animals – and yet, to me, what is this quintessence of dust? Man delights not me nor woman neither, though by your smiling you seem to say so. Rosencrantz: My lord, there was no such stuff in my thoughts. Hamlet Act 2, scene 2, 303–312 John William Waterhouse Ophelia – blue dress (1905) Famous Quotes ? Jaques: All the world's a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. ? As You Like It Act 2, scene 7, 139–143John William Waterhouse Gather Ye Rosebuds While Ye May (1909) Famous Quotes Macbeth: ? To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. Macbeth Act 5, scene 5, 19–28 John William Waterhouse The Magic Circle (study) (1886) Famous QuotesProspero: ? †¦We are such stuff As dreams are made on; and our little life Is rounded with a sleep. ? The Tempest Act 4, scene 1, 148–158 John William Waterhouse Miranda – The Tempest (1916) Famous Quotes Hamlet: ? To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them. To die—to sleep, No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to: 'tis a consummation Devoutly to be wish'd.To die, to sleep; To sleep, perchance to dream—ay, there's the rub: For in that sleep of death what dreams may come, When we hav e shuffled off this mortal coil, Must give us pause—there's the respect That makes calamity of so long life†¦ Hamlet Act 3, scene 1, 55–87 Sir Laurence Olivier (1907 – 1989) as Hamlet Shakespeare, Our Contemporary Hamlet's Soliloquy ? Since first performed in the early 1600s, the title role in William Shakespeare's Hamlet has remained a favorite of many actors because of the emotional complexity of Hamlet's personality. Nowhere is this complexity more apparent than in Hamlet's famous soliloquy in Act III, Scene 1.The soliloquy is a monologue in which a character reveals inner thoughts, motivations, and feelings. Shakespeare used the technique often, and his soliloquies are poetic and rich in imagery. In Hamlet, a play about a man whose mind may be his fatal flaw, the form reaches its highest level. The Structure of Shakespearean Tragedy as devised by Andrew Cecil Bradley ? Andrew Cecil Bradley (1851–1935) was an English literary scholar, best remembe red for his work on Shakespeare ? The outcome of his five years as Professor of Poetry at Oxford University were A. C.Bradley’s two major works, Shakespearean Tragedy (1904), and Oxford Lectures on Poetry (1909). Bradley's pedagogical manner and his self-confidence made him a real guide for many students to the meaning of Shakespeare. His influence on Shakespearean criticism was so great that the following anonymous poem appeared: I dreamt last night that Shakespeare’s Ghost Sat for a civil service post. The English paper for that year Had several questions on King Lear Which Shakespeare answered very badly Because he hadn’t read his Bradley. (Hawkes 1986 as cited in Taylor 2001: 46)CONSTRUCTION IN SHAKESPEARE'S TRAGEDIES ? As a Shakespearean tragedy represents a conflict which terminates in a catastrophe, any such tragedy may roughly be divided into three parts. ? A. The first of these sets forth or expounds the situation, or state of affairs, out of which the conflict arises; and it may, therefore, be called the exposition. ? B. The second deals with the definite beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. ? C.The final section of the tragedy shows the issue of the conflict in a catastrophe. ? The application of this scheme of division is naturally more or less arbitrary. The first part glides into the second, and the second into the third, and there may often be difficulty in drawing the lines between them. A. The Exposition ? ? ? The role of the exposition is to introduce us into a little world of persons; to show us their positions in life, their circumstances, their relations to one another, and perhaps something of their characters; and to leave us keenly interested in the question of what will come out of this condition of things.We are left thus expectant. This situation is not one of conflict, but it threatens conflict. For example, in â€Å"Romeo and Juliet† we see first the hatred of the Montagues and Capulets; and then we see Romeo ready to fall violently in love; and then we hear talk of a marriage between Juliet and Paris; but the exposition is not complete, and the conflict has not definitely begun to arise, till, in the last scene of the First Act, Romeo the Montague sees Juliet the Capulet and falls in love with her.Sir Frank Dicksee – Romeo And Juliet, 1884 Some Shakespearean â€Å"Tricks† ? ? ? When Shakespeare begins his exposition he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity and sometimes with anxiety. On the other hand, if the play opens with a quiet conversation, this is usually brief, and then at once the hero enters and takes action of some decided kind. For instance, compare the beginning of Macbeth to that of King Lear.In the latter the tone is so low that the conversation between Kent, Gloster and Edmund is written in prose (although they are of noble extraction). At the thirty-fourth line it is broken off by the entrance of Lear and his court, and without delay the King proceeds to his fatal division of the kingdom. William Dyce – King Lear and the Fool in the Storm (c. 1851) ? This tragedy illustrates another practice of Shakespeare's. King Lear has a secondary plot, that which concerns Glouchester and his two sons.To make the beginning of this plot quite clear, and to mark it off from the main action, Shakespeare gives it a separate exposition. ? In Hamlet, though the plot is single, there is a little group of characters possessing a certain independent interest, – Polonius, his son, and his daughter; and so the third scene is devoted wholly to them. B. The Conflict ? The construction of a Shaksepearean tragedy is based on the fight between two opposing sides i n the conflict. They are of almost equal strength and it is difficult to guess which of them is to win.They are victorious in turn, until the conflict reaches its climax. In some tragedies the opposing forces can be identified with opposing persons or groups. So it is in â€Å"Romeo and Juliet† and â€Å"Macbeth†. But it is not always so. The love of Othello may be said to contend with another force, as the love of Romeo does; but Othello cannot be said to contend with Iago as Romeo contends with the representatives of the hatred of the houses, or as Macbeth contends with Malcolm and Macduff. ? Thomas Stothard, The Meeting of Othello and Desdemona (c. 1799)Ups, downs and suspense ? ? ? There is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections. The sequence of events within the conflict, is also based on the principle of alternation. L et us call the two sides in the conflict A and B. All through the conflict we shall find a regular alternation of smaller advances and withdrawals; first A seeming to win some ground, and then the counteraction of B being shown.And since we always more or less decidedly prefer A to B or B to A, the result of this oscillating movement is a constant alternation of hope and fear, causing suspense. Dagnan-Bouveret Hamlet and the Gravediggers ? ? ? ? ? ? ? In Hamlet the conflict begins with the hero's feigning to be insane from disappointment in love, and we are shown his immediate success in convincing Polonius. Let us call this an advance of A. The next scene shows the King's great uneasiness about Hamlet's melancholy, and his skepticism as to Polonius's explanation of its cause: advance of B.Hamlet completely baffles Rosencrantz and Guildenstern, who have been sent to discover his secret, and he arranges for the test of the play scene: advance of A. But immediately before the play sce ne his soliloquy on suicide fills us with misgiving; and his words to Ophelia, overheard, so convince the King that love is not the cause of his nephew's strange behavior, that he determines to get rid of him by sending him to England: advance of B. The play scene proves a complete success: decided advance of A.Directly after it Hamlet spares the King at prayer, and in an interview with his mother kills Polonius, and so gives his enemy a perfect excuse for sending him away (to be executed): decided advance of B, a. s. o. This oscillating movement can be traced without difficulty in any of the tragedies. C. The Catastrophe ? The oscillating movement continues right up to the catastrophe. ? There is a critical point in the action, which proves also to be a turning point.It is critical sometimes in the sense that, until it is reached, the conflict is not, so to speak, clenched; one of the two sets of forces might subside, or a reconciliation might somehow be effected; while, as soon as it is reached, we feel this can no longer be. It is critical also because the advancing force has apparently asserted itself victoriously, gaining, if not all it could wish, still a very substantial advantage; whereas really it is on the point of turning downward toward its fall. This crisis, as a rule, comes somewhere near the middle of the play. ?Alexandre-Marie Colin. The Three Witches from â€Å"Macbeth,† 1827. This movement is most clear in Julius Caesar and Macbeth. In the former the fortunes of the conspiracy rise with vicissitudes up to the crisis of the assassination (III. i. ); they then sink with vicissitudes to the catastrophe, where Brutus and Cassius perish. In the latter, Macbeth, hurrying, in spite of much inward resistance, to the murder of Duncan, attains the crown, the upward movement being extraordinarily rapid, and the crisis arriving early: his cause then turns slowly downward, and soon hastens to ruin.In both these tragedies the simplicity of the const ructional effect depends on the fact that the contending forces may be identified with certain persons, and on the fact that the defeat of one side is the victory of the other. Octavius and Antony, Malcolm and Macduff, are left standing over the bodies of their foes. ? Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.Charles Kean and his wife as Macbeth and Lady Macbeth, in costumes aiming to be historically accurate (1858). ? This is not so in Romeo and Juliet and Hamlet, because here, although the hero perishes, the side opposed to him, being the more faulty or evil, cannot be allowed to triumph when he falls. Otherwise the type of construction is the same. The fortunes of Romeo and Juliet rise and culminate in their marriage (II. vi. ), and then begin to decline before the opposition of their houses, which, aided by accidents, produces a cat astrophe, but is thereupon converted into a remorseful reconciliation.Hamlet's cause reaches its zenith in the success of the play-scene (III. ii. ). Thereafter the reaction makes way, and he perishes through the plot of the King and Laertes. But they are not allowed to survive their success. Frederick Leighton – The Reconciliation of the Montagues and Capulets over the Dead Bodies of Romeo and Juliet, 1853-5 The Play Scene in Hamlet by Daniel Maclise (1806-70) ? http://elizabethan. org/compendium/home. html ? http://www. elizabethan-era. org. uk/elizabethan-england. htm ? http://www. britainexpress. com/History/Elizabethan_life. htm

Elements of University Composition and Communication !

Final Assignment Antonio J. Velazquez Ayala University Of Phoenix Elements Of University Composition And Communication I 24/January/2011 Prof. Wendell Villanueva Abstract The final work of Comm-170 will bring you some insight one different programs and ways to see how University of Phoenix and out professor Wendell Villanueva has and will help us throughout out college experience. Knowing how to work resources in the University of Phoenix web site and learning the different parts of writing and speech we can attain the progress we need in our professional and personal life. Part I A lot of people don’t have wills. Everyone needs a will, but not all people have one.†¦show more content†¦Part III The Writepoint program was really useful in understanding and assimilating my missed used conjunction and sentence fabrication skills in writing in the language of English. For me it was a great tool, and the quickness to give the correction to the student is unremarkable. Now I think this program lacks a bit of words and vocabulary issues. Sometime it spots the problem in your writing but it doesn’t help you get the correct word you need for the paragraph. I had lots of problems trying to find other types of verbs, adverbs, conjunctions, nouns and pronouns for the one I missed used in the paragraph. It would be more easy for the student if this type of program had some type of dictionary applied to it so it becomes more accessible to students are not that dominant of the English vocabulary. But in conclusion it is a great asset to have when writing essays or any casual writing you are tying to do in a language that is not your native or you dominate. Part IV The different elements that are used to make paragraphs,essays and thesis are really important to know and master when pursuing an university level education. Its common to see college students not have a great dominance of writing technique at the first year of college. 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