Magical Realism in House of the Spirits vs. Realism in Madame Bovary Es

Through the application of Realism, Gustave Flaubert demonstrates Emma’s detachment of the death of the characters in Madame Bovary, which contrasts to Isabel Allende’s demonstration of Clara’s attachment to the death of the characters in The House of the Spirits by utilizing Magical Realism. In The House of the Spirits, the characters all share a spiritual bond, which leads to emotional and spiritual connections for Clara during the death of the characters. On the contrary, in Madame Bovary, Emma Bovary depicts a realistic and natural character in society which portrays her selfishness, lack of emotions, and overall detachment towards the death of the others. Both of these connections are demonstrated through Realism and Magical Realism. The author stylistically ascribes negative personality traits prior to the death of a character. These negative characteristics portray the character as corrupt. In the text, Homais furiously mentions, â€Å"You[Justin] are on a downward path†(Flaubert 231). The textual evidence indirectly describes the flaws of Emma. The excuse of Justin committing a crime and Emma’s presence â€Å"coincidentally† in the text or purposely by Flaubert exemplifies reality. Furthermore, the blind beggar mentions, â€Å"Dream of love and of love always,† before the death of Emma (Flaubert 300). In the text, the blind beggar is singing a song, although the song implies traits of Emma. Emma always desires and dreams of love which provides the purpose for the song and demonstrates her not being satisfied with the love Charles provides for her. Additionally, Flaubert mentions, â€Å"Charles was suffocating like a youth beneath the vague love influences that filled his aching he art,† (321) which implies that he still loves Emma dearly. Th... ...onnected due to the fact that ‘I slept badly and dreamt again of Rosa† (Allende 203). The diction of â€Å"again† in the text proves that thinking of Rosa occurs multiple times and that her spirit is connected with him. Additionally, Barrabas reappears multiple times, for example: â€Å"It was the last, ignominious vestige of faithful Barrabas† (Allende 269). Although Barrabas died many centuries ago, he is encountered with Blanca and Alba. He displays the most spiritual reconnection with the characters through detail more than any of the other characters throughout the novel. Allende’s House of the Spirits demonstrate emotional connections and remembrances amongst Clara and the characters through the application of Magical Realism which contrasts to Flaubert’s Madame Bovary which demonstrates Emma’s characterization and lack of emotion towards the death of the characters.

Selection, Hardware and Software Requirements of a PLC

Understand the selection, hardware and software requirements of a PLC There are 3 types of PLC, unitary, modular and rack-mounted. A unitary PLC Is a stand alone unity, it has no room for expansion and works on Its own. They are useful for automating activities such as stress testing. For example the stress testing of a hoist, Instead of paying someone to manually control the hoists up and down movement leaving time In between each motion a PLC could be used Instead. It could be set up to perform a number of cycles of movement of the holst by the use of Ilmlt switches t the top and bottom of Its movement to detect when to change direction.The time to walt between movements can be set so that the motor doesn't get strained. Other safety features could be added, for example, a set of sensors could be installed around the hoist to stop it's movement if some one comes too close to it. It would also be easier to set the parameters of the test and change them easily for testing a different hoist or piece of equipment. It would have to keep its functionality to a small scale as it can't be upgraded at all. A large variety of inputs and outputs could be sed as most PLCs support analogue and digital.This would mean you could have temperature sensors in use on the analogue and through-beam sensors on digital. It is likely that this type of PLC would be mounted somewhere near the object it is controlling, most likely to a nearby wall. A modular PLC allows for other modules to be connected to it increasing its functionality such as position sensing, stepper and servo motion control and packaging and press controls. Where it may have only had the ability to handle a certain amount of functions adding more increases this. The two or more connect ogether and act as if they still Just one.This would be useful for a company that uses a greater amount automation than the above company, perhaps for a conveyor belt system that is wanted to be upgraded in the future and with modula rity more modules could be added to allow for the extension of the conveyor belt and the new Inputs and outputs that are required. For example a bottling company may only just fill bottles but not label them, they could extend the conveyor to allow for them to print and attach labels to the bottles as well which would require a lot more sensors o detect the location of the bottle and outputs for controlling the labelling machine.Individual parts of the PLC can also be swapped out such as the power supplies and CPU, Central Processing unit, handles the programming and Interpreted the Inputs/ outputs. A rack-mounted PLC is very similar to a modular PLC with the ablllty to upgrade and change different parts of it but they are on standard cards that slot into standard more can be fit into a cabinet due to their design to fit closely with similar units. They are most likely to be used on large assembly lines with a wide range of equipment in use simultaneously.They can be upgraded to all ow the line to run better with more memory and faster CPU to better work with the large amount of things happening. The racks with the PLCs in are likely to be kept either in the factory control room or their own individual room specifically for them. Cost is the most important aspect to selecting the right PLC and the lowest cost PLC is the unitary because it is as it is. It can't be modified in anyway they can get expensive though as the specifications increase.Next up is the modular PLC which can be quite large to allow it to be upgraded with more memory, faster CPU and greater power upply. The most expensive are the rack mounted PLCs. They are much smaller than the modular PLCs but still retain the ability to be upgraded allowing you to have more powerful PLCs in smaller space. A robotic arm inside a cell would need to perform the same task continuously and because of this a PLC could be used.Using a series of limit switches to control when the arm moves there wouldn't be a prob lem because it would be able to stop before hitting any obstructions that may be in the way. For example a series of optical sensors would be able to detect when the item to be manufactured as entered the ell and is in the correct position for the arm which would allow the arm to pick it up and perform what it had been programmed to do. Be it to spray paint on it or to add something onto it, because those motions do not need to be dynamic a single program would be enough to manage it.The software requirements could be quite large depending on the complexity of the task and the robotic arm If there are a lot of joints on the arm that are controlled by motors then the program will need to control each one independently and add to the fact the movements required then it is quite complex set of instructions the arm requires because of this it will need a large amount of memory and a fast CPU to execute the commands quickly as it is likely that the manufacturing cell is required to get t hrough a lot of items a day.This would most likely rule out the use of a unitary PLC because the cost would be too great for one with the required specifications. It is also likely that a large amount of robotic arms would be in use so a rack mounted system would be more space efficient, they do cost more than modular PLCs but keeping all the PLCs in cabinets near each other n a neat and organised manner can make it easier for any maintenance required on them. They would need to be near enough to a computer to program them and update software when necessary.The computer could be in a completely different room as a ethernet cable is used to load the new software into them but having one nearby would make it easier for any quick alterations to the software needed in the likely that the operator would use a proprietary piece of software to program the PLC with, if they were from Siemens they would be programmed in Ladder Logic. A PLC would be very useful for this type of activity becau se it is repetitive, the same item would be having the same thing done to it.A PLC controlled arm doesn't need breaks, if set up properly, so it could take the place of a human and thus save money. A problem though is that the item that comes into the cell could have a defect on it that wouldn't be noticed by the sensors in use so whatever the arm does may be done to something that needs to be scrapped. That is something a human worker would have noticed and would have thus saved money by not doing anything to it.The main benefit of having a PLC control it is that the Job is done autonomously and would be more cost effective than employing a human to do it but you lose out on the fact the human can see what they are doing and ensure that the item entering the cell is correct and make sure he does his Job completely before sending it out, if it was spraying they would be able to check the coat is even and well done by eye where you would not get that from a PLC.Stricter control furth er down the line would eliminate this though. Immediate costs would be expensive with a PLC solution, the obotic arms that are going to be controlled need to be bought, the PLCs need to be bought, mounted and wired, someone needs to write the software for them and then maintain their operation. That position would likely be a higher paid position than someone working on the assembly line.Those that do work on the assembly line do not have as high start up costs but the costs are continuous plus allowance for tools and equipment needed such as PPE. Which leads on to the potential cost each has. If a robotic arm breaks it could potentially lead to the whole line being stopped while it s repaired, both of which will cost time and money.If a worker was to not be wearing the required PPE or Just sustain an injury it could mean that the line has to stop although he would be quickly replaced to keep the line running. There is also a possibility that the person that was injured might file c laims against the company that could lead to a large loss of money. The expansion of what the PLC controlled could be very costly as it would require new equipment and wiring which could mean that parts of production need to be shut down for it to be laid.

Biography of Josiah Wedgwood

Josiah Wedgwood (ca July 12, 1730–January 3, 1795) was Englands foremost pottery manufacturer and a mass producer of quality ceramics exported around the globe. A member of his familys fourth generation of potters, Wedgwood started his own independent firm and became the Royal Potter for Queen Charlotte, the consort of King George III. Wedgwoods mastery of ceramic technology was matched by the marketing savvy and connections of his partner Thomas Bentley; together they ran the most famous pottery works in the world.   Fast Facts: Josiah Wedgwood Known For: Creator of the famous Wedgwood potteryBorn: July 12, 1730 (baptized), Churchyard, StaffordshireDied: January 3, 1795, Etruria Hall, StaffordshireEducation: Day School at Newcastle-under-Lyme, left at 9 years of ageCeramic Works: Jasper ware, Queens Ware, Wedgwood blueParents:  Thomas Wedgwood and Mary StringerSpouse: Sarah Wedgwood (1734–1815)Children: Susannah (1765–1817), John (1766–1844), Richard (1767–1768), Josiah (1769–1843), Thomas (1771–1805), Catherine (1774–1823), Sarah (1776–1856), and Mary Anne (1778–1786).   Early Life Josiah Wedgwood was baptized on July 12, 1730, the youngest of at least eleven children of Mary Stringer (1700–1766) and Thomas Wedgwood (1685–1739). The founding potter in the family was also called Thomas Wedgwood (1617–1679), who established a successful pottery works around 1657 at Churchyard, Staffordshire, where his great-great-grandchild Josiah was born.   Josiah Wedgwood had little formal education. He was nine years old when his father died, and he was taken from school and sent to work in the pottery for his eldest brother, (another) Thomas Wedgwood (1717–1773). At 11, Josiah had smallpox, which confined him to bed for two years and ended with permanent damage to his right knee. At the age of 14, he was formally apprenticed to his brother Thomas, but because he could not physically work the wheel, at 16 he had to quit.   Wedgwood teacup and saucer in the Waterford Wedgwood flagship store in London, England. The teacup features the white and blue jasper ware ceramic which is synonymous with the brand. Oli Scarff / Getty Images News Early Career At the age of 19, Josiah Wedgwood proposed that he be taken into his brothers business as a partner, but he was rejected. After a two-year position with the pottery firm of Harrison and Alders, in 1753, Wedgwood was offered a partnership with the Staffordshire firm of potter Thomas Whieldon; his contract stipulated that he would be able to experiment. Wedgwood stayed at the Whieldon pottery from 1754–1759, and he began experimenting with pastes and glazes. A primary focus was on improving creamware, the first commercial English ceramic invented in 1720 and widely used by the potters of the time.   Creamware was very flexible and could be decorated and over-glazed, but the surface was likely to craze or flake when subjected to temperature changes. It chipped readily, and the lead glazes broke down in combination with food acids, making them a source of food poisoning. Further, the application of the lead glaze was hazardous to the health of the workers in the factory. Wedgwoods version, eventually called queens ware, was slightly yellower, but had a finer texture, greater plasticity, less lead content—and it was lighter and stronger and less prone to break during shipments.   Thomas Bentley Partnership In 1759, Josiah leased Ivy House pottery in Burslem, Staffordshire, from one of his uncles, a factory which he would build and expand several times. In 1762, he built his second works, the Brick-House, alias the Bell Works at Burslem. That same year, he was introduced to Thomas Bentley, which would prove to be a fruitful partnership.   Wedgwood was innovative and had a strong technical understanding of ceramics: but he lacked formal education and social contacts. Bentley had a classical education, and he was socially connected to artists, scientists, merchants, and intellectuals in London and around the world. Best yet, Bentley had been a wholesale merchant in Liverpool for 23 years and had a broad understanding of the current and changing ceramic fashions of the day.  Ã‚   Josiah Wedgwoods Ivy and Etruria works in Staffordshire, England, ca. 1753. Oxford Science Archive / Print Collector / Getty Images Marriage and Family   On January 25, 1764, Wedgwood married his third cousin, Sarah Wedgwood (1734–1815) and they eventually had eight children, six of whom survived to adulthood:  Susannah (1765–1817), John (1766–1844), Richard (1767–1768), Josiah (1769–1843), Thomas (1771–1805), Catherine (1774–1823), Sarah (1776–1856), and Mary Anne (1778–1786).   Two sons, Josiah Jr. and Tom, were sent to school in Edinburgh and then privately tutored, although neither joined the business until Josiah was ready to retire in 1790. Susannah married Robert Darwin, and was the mother of the scientist Charles Darwin; Charles grandfather was scientist Erasmus Darwin, a friend of Josiahs. Ceramic Innovations Together, Wedgwood and Bentley created a huge variety of ceramic objects—Bentley keeping an eye to the demand, and Wedgwood responding with innovation. In addition to hundreds of types of tableware, their Staffordshire Etruria manufacturing facility produced specialty wares for grocers and butchers (weights and measures), dairies (milking pails, strainers, curd pots), sanitary purposes (tiles for indoor bathrooms and sewers all over England), and the home (lamps, baby feeders, food warmers).   Wedgwoods most popular wares were called jasper, an unglazed matte biscuit ware available in solid paste colors: green, lavender, sage, lilac, yellow, black, a pure white, and Wedgwood blue. Bas-relief sculptures were then added to the surface of the solid paste color, creating a cameo-like appearance.  He also developed black basalt, a stoneware in striking deep back colors. The Portland Vase (black and white jasper ware) that Wedgwood considered his finest work inside the Wedgwood Museum, in Stoke-on-Trent. Christopher Furlong / Getty Images The Art Market To answer what Bentley saw as a new demand in London for Etruscan and Greco-Roman art, Wedgwood made cameos, intaglios, plaques, beads, buttons, figurines, candlesticks, ewers, jugs, flower holders, vases, and medallions for furniture all decorated with classic art figures and themes. The canny Bentley recognized that original Greek and Roman nudes were too warm for English and American tastes, and the firm dressed their Greek goddesses in full-length gowns and their heroes in fig leaves.   Penelope and Maidens, Wedgwood plaque, 18th century. Illustration from Story of the British Nation, Volume III, by Walter Hutchinson, (London, c1920s). Hulton Archive / Getty Images The demand for cameo portraits skyrocketed and Wedgwood met it by hiring known artists to make models in wax for use on the production floor. Among them were Italian anatomist Anna Morandi Manzolini, Italian artist Vincenzo Pacetti, Scottish gem engraver James Tassie, British designer Lady Elizabeth Templeton, French sculptor Lewis Francis Roubiliac, and English painter George Stubbs.   Wedgwoods two main modelers were British: John Flaxman and William Hackwood. He sent Flaxman to Italy to set up a wax modeling studio between 1787–1794, and Wedgwood also set up a studio in Chelsea where artists in London could work.   George III and Queen Charlotte, modeled by William Hackwood after waxes by Isaac Gosset, 1776-1780, jasper, ormolu frames by Matthew Boulton. Public Domain (on display at Wedgwood Museum, Barlaston, Stoke-on-Trent, England) Queens Ware   Arguably, Wedgwood and Bentleys most successful coup was when they sent a gift set of hundreds of his cream-colored tableware to British King George IIIs consort, Queen Charlotte. She named Wedgwood Potter to Her Majesty in 1765; he renamed his cream-colored ware Queens ware.   Five years later, Wedgwood obtained a commission for a several-hundred piece tableware service from the Russian empress Catherine the Great, called the Husk service. It was followed up by the Frog service, a commission for Catherines  La Grenouilliere (frog marsh, Kekerekeksinsky in Russian) palace consisting of 952 pieces decorated with over 1,000 original paintings of the English countryside.   The Life of a Scientist   Wedgwoods classification as a scientist has been debated over the intervening centuries. Largely through his connection to Bentley, Wedgwood did become a member of the famous Lunar Society of Birmingham, which included James Watt, Joseph Priestly, and Erasmus Darwin, and he was elected into the Royal Society in 1783. He contributed papers to the Royal Societys Philosophical Transactions, three on his invention, the pyrometer, and two on ceramic chemistry.   The pyrometer was a tool made first of brass and then high-fired ceramic that allowed Wedgwood to determine the internal heat of a kiln. Wedgwood recognized that the application of heat shrinks clay, and the pyrometer was his attempt to measure that. Unfortunately, he never was able to calibrate the measurements to any scientific scale available at the time, and the subsequent centuries have found that Wedgwood was somewhat incorrect. It is a combination of heat and the length of kiln time that shrinks pottery in a measurable fashion. The showrooms of Wedgwood Byerley in St Jamess Square, London, 1809. Hulton Archive / Getty Images Retirement and Death   Wedgwood was often ill for much of his life; he had smallpox, his right leg was amputated in 1768, and he had trouble with his sight beginning in 1770. After his partner Thomas Bentley died in 1780, Wedgwood turned the management of the shop in London over to a nephew, Thomas Byerly. Nevertheless, he was a vigorous and active director of the Etruria and other manufactories up until his retirement in 1790. He left his company to his sons and retired to his mansion Etruria Hall. In late 1794, he fell ill—possibly with cancer—and died on January 3, 1795, at the age of 64.   Legacy   When Wedgwood began his work, Staffordshire was the home of several important ceramic manufacturers such as Josiah Spode and Thomas Minton. Wedgwood and Bentley made their company the most important of the Staffordshire potteries and arguably the best-known pottery in the western world. Etruria would run as a facility until the 1930s. Wedgwoods company remained independent until 1987, when it merged with Waterford Crystal, then with Royal Doulton. In July 2015, it was acquired by a Finnish consumer goods company. Selected Sources Born, Byron A. Josiah Wedgwoods Queensware. The Metropolitan Museum of Art Bulletin 22.9 (1964): 289–99. Print.Burton, William. Josiah Wedgwood and His Pottery. London: Cassell and Company, 1922.McKendrick, Neil. Josiah Wedgwood and Factory Discipline. The Historical Journal 4.1 (1961): 30–55. Print.---. Josiah Wedgwood and Thomas Bentley: An Inventor-Entrepreneur Partnership in the Industrial Revolution. Transactions of the Royal Historical Society 14 (1964): 1–33. Print.Meteyard, Eliza. The Life of Josiah Wedgwood: From His Private Correspondence and Family Papers with an Introductory Sketch of the Art of Pottery in England, two volumes. Hurst and Blackett, 1866.Schofield, Robert E. Josiah Wedgwood, Industrial Chemist. Chymia 5 (1959): 180–92. Print.Townsend, Horace. Lady Templetown and Josiah Wedgwood. Art Life 11.4 (1919): 186–92. Print.Wedgwood, Julia. The Personal Life of Josiah Wedgwood, the Potter. London: Macmillan and Company, 1915. Print .