A Fingerprint Identification Technology Information Technology Essay

A Fingerprint Identification Technology Information Technology EssayABSTRACT instanter a days in IT technology, security is needed and it plays an important role in IT applications and security solution applications. For maintaining security BIOMETRICS provides an important role and the learn it defines as bio is related to biological study and where metric know as measurement. Where, Finger print identification is a technique we utilize in biometrics and it is most successful oldest method applicable in abundant uses. Everyone has own unique immutable dactylprints. At which find print is chiefly consist of a furrows and series of ridges on upper layer of a finger. A reproduce is in the first place identify by the furrows and ridges and minutiae points, where an minutiae points stomach be obtained by ridges characteristics where they be contained in ridge bifurcation and refinement. An finger print identification is mainly applicable in investigations.INTRODUCTIONA fingerm ark identification is a lick for identify persons these lowlife be applicable from last 19th centurys. Francis Galton defines the characteristics points of finger print identification and these points be foundation of identification and expand over past centuries. In 1960 finger print identification starts with computing technology, with those computers a Galton point subnet that refers to minutiae has implemented for development of fingerprint technology. Federal Bureau of Investigation (FBI) uses the fingerprint identification in 1969, later that it has fastly develop in many more manual process uses. After that National Bureau of Standards hasConnect with FBI for processing the automate fingerprint identification and before long the development process is going on National Institute of Standards and Technology. After a few years the NIST was focus on developments of fingerprint identification in digital link with the effects of image quality and matching and minutiae extrac tions. For human search narrowing uses the M40 algorithm these algorithms were introduced by FBI and these was implemented by NIST. The M40 algorithm was prove successfully and trained for human technicians for signifi foundationt calculations of small set of images. In 1981, fingerprint technology was improved to Automated Fingerprint Identification System with divers(prenominal) schemes on USA and other countries. On this evaluation of all communication systems were overlooked with each other, that means collection of fingerprint in one system the other system cannot search against the other these standards need more develop in fingerprint identification. In 1994, fingerprint identification was developed the automated incorporated fingerprint identification system with most important challenges. Where the challenges that implement in fingerprint identification was digital fingerprint and ridge characteristics extractions and innovation matching toughie system performance.APPR OACHIn fingerprint identification, a finger mainly looks with black series lines with friction ridges with high portion peaking and these ridges looks white space at less portion of ridge friction. The fingerprint identification mainly consists of minutiae points and ridges and bifurcations. The following figure shows the fingerprint characteristics features of minutiae and other characteristics of fingerprint.CUsersRAGHUDesktopimages.jpgF1 MinutiaeCUsersRAGHUDesktopfinger3.jpgF2 Other fingerprint characteristicsAn overall data can be obtained from fingerprint ridges with friction flow and the feature presence is obtained by the individual path ridges. Some important fingerprint features were developed from AFIS. Such as it does not provide a continuous flow in pattern in friction ridges these frequently obtained in characteristics of ridges in ending and dividing and dots. The main propose of AFIS designing is to clarify the overall flow of ridges with classification and minutiae extractions of fingerprint. Fingerprint identification is mainly obtained by ironware and software technologies.HARDWAREIn hardware implementation in fingerprint identification can be contained by different types of sensors they are optical and capacitive and thermal and these are mainly applicable in digital render collection on upper layer of a finger. Now a days optical sensors are employ commonly for fingerprint image. A sensor which measures the capacitances that can be depend upon appraise the pixel value these types of sensors is knows as capacitive sensors and it can easily evaluate the capacitance because an area of finger is more than area of valley. The thermal scanners are mainly use for the temperature measurement on digital picture at the meter of finger swipe. At which some sensors contained with high frequency during the finger print scanning these type of sensors are knows as ultrasound sensors. Pastly we use some hardware technologies they named as optical sen sors and solid introduce capacitive sensors and solid state temperature sensors and solid state electric field sensors. While in solid state sensors are very small and they can improve to nearly to machine. The latest development technology in sensors are improve with small cards wish debit cards.SOFTWAREIn software technology use in fingerprint technique is consists of two methods one is minutiae matching and another one is pattern matching method. In minutiae matching method it deals with the minutiae points and their direction of every point. In pattern matching method it deals with the similarity of the two fingerprint pictures. In fingerprint matching algorithm we are using two different techniques one is minutiae matching and other one is pattern matching technique and these two techniques are discussed below.Minutiae- found MatchingPattern MatchingMinutiae-based MatchingThe modern fingerprint technology uses the minutiae matching technique. An idea starts from an same finge rprint images give prove minutiae of one picture have same corresponding to other picture at that time picture have touch on minutiae points. Basically, minutiae points are equal at relative aloofness of other minutiae points. Points are matchup at the multiple points of one picture has same distance and another picture multiple points have equal distance. in general minutiae matching features are deals with the fingerprint ridges and these can be divided up into three points one is short ridge and ridge ending and bifurcation.Short ridgepoleRidge EndingBifurcationF1 Short ridges F2 Ridge Ending F3 BifurcationShort Ridge In Short ridges are define as the smaller length than the average length of ridges in fingerprint.Ridge Ending In ridge ending is define as the point at which ridge terminates.Bifurcation In bifurcation one ridge is divided into two ridges.Basically, minutiae points are arranged with their equal position to one another with their directions in enrollment proc ess. In matching process, the fingerprint picture identifies the minutiae points which are equal to stored fingerprint data. In these process, it first evaluate the minutiae points and after that it map the relative placement on finger at that time it contains complexity. This algorithm process cannot used for the person who having the low quality of minutiae points because the algorithm cannot use for the less quality points.Pattern MatchingIn pattern matching, it does not only compares the individual points it can compare all characteristics points on surface of finger. Mainly the characteristics are on finger densities and ridge thickness and curvature of fingerprint. While fingerprint ridges are mainly divided into three basic patterns they are Whorl and Loop and Arch.Arch In arch pattern the ridges are start from one side and ends on other side in between the starting and ending side that is in middle it rises like a curve shape on finger surface area.http//upload.wikimedia.org /wikipedia/en/thumb/3/32/Arch.jpg/200px-Arch.jpgArchF1Loop In loop they form like a curve shape because they will start from one side and end with other side.http//upload.wikimedia.org/wikipedia/en/0/0c/Loop.jpgLoop F2Whorl In whorl ridges are form a pecker shape on centre on the finger surface.http//upload.wikimedia.org/wikipedia/en/thumb/e/ee/Whorl.jpg/200px-Whorl.jpgWhorl F3While in enrollment method, fingerprint can be extracted from the relative distance on small fingerprint section. Mainly pattern matching is use for detecting the duplicate fingerprints it will be based on the area of minutiae point and unusual combinations and low curvature and radius.WORKING WITH BIOMETRICSThe following components are plays an important role in biometrics system. In this process, for collecting the data information on fingerprint we have to use data collection. Raw is defined as the collection of data during the fingerprint process in biometrics. After that process is finished it can matchi ng the persons fingerprint which can be stored before, if it exists the person is authenticated and denied its access. This is process we are using in biometric process. Below figure shows the biometrics process and components in biometrics.CONCLUSIONFor security propose fingerprint place an important role in human recognition from past years and biometric system only be present at the recent years. For the development of fingerprint standards, presidency and other industries had done developments on fingerprint techniques. This development over the highly quality products and faster use of devices and improve the reliability on fingerprint recognition system. Where this technique is mainly used for the government legal methods and investigation propose and science community developments and these are mainly useful for the biometrics. Behind this development we have so many reasons because biometric is not retrieve all security identifications. In this paper we discussed the over view of fingerprint identification and techniques we are using in fingerprint for recognition and also we discussed the how it is use for the biometric system. For determination of fingerprint industry government and other industries will done led on coming generation for fingerprint identification.

String Quintet

line fiverI. A Proposed Analysis of the String Quintet in FIf the only thing Bruckner had ever written for string instruments had been the torpid reason to his string quintet, his reputation would have been secured for all time. The entire work is so admirable that it is hard to believe that its creator had little familiarity with string sleeping room music. Though true, it is hard to credit that Bruckner did not know Beethovens late string quartets at the time he wrote this work. Its harmonies atomic number 18 quite unique and characteristic of Bruckners spot of harmonic minute of arcs and half t sensations. As a result, the intonation is at times quite difficult to get right but even amateurs need to conquer these so as to make the acquaintance of this magnificent work. The first movement, Gemig, entirely avoids the usual Allegro mood one expects to find in a first movement. The plastic main home is full of yearning and developed at great length until the entrance of th e lyrical secondly theme, which conveys almost out of the question bliss. The second movement, Scherzo, is highly syncopated though here, as opposed to its appearance in his symphonies, it is gentler and has a melancholy, contemplative mood to it. The trio section is closely think to the old-style minuet though it is full of feeling. The aforementioned slow movement, adagio, takes one directly to heaven. This is music of affirmation and there is no sense of resignation to an inevitable and unwished for fate. The refreshing color is quite unique, especially when the cello falls silent. The main theme of the finale, Lebhaft bewegt, has a staccato motif over an organ-like underpinning. The slower delightful second theme is a real piece of Austrian folk music and the variations on it are very pleasing.1Above is a useful aesthetic and dimensional entryway to the String Quintet in F, as expressed by the prominent German musicologist Wilhelm Altmann, who lived amid 1862 and 1951. A facsimile of the 1926 Universal Edition miniature sucker of the quintet is included as an appendix, and it is suggested that one experiences both the score and its realisation before engaging with the content of this thesis. It is not the purpose here to provide a rigorous analytical discussion, however, what follows is a proposed structural overview of the four movements of the work, which will be followed by a detailed examination of the Adagio.Moderato (F pip-squeak)1 98 definition1 72Primary Subject radical73 98Primary Subject Group99 170Development171 273Recapitulation and finale Scherzo (D minor)1 62Vivace63 82Pi lento83 119VivaceTrio Pi lento120-159Da Capo 1 119Vivace- Pi lento -Vivace Adagio (G forthwith minor)1 18Primary Subject Group18 34Transition I35 56 unoriginal Subject Group57 66Transition II67 82Simultaneous Recapitulation/Elaboration of Primary Subject Group83 138Simultaneous Recapitulation/Elaboration of Secondary Subject Group139 167Simultaneo us Recapitulation/Elaboration of Primary Subject Group167 173Coda Tonic (G right away minor) consolidation by restatements and dominant implicationsFinale (D flat minor F major)1 16Primary Quartet bailiwick (Vivace)17 32 polyphonous Quintet Theme (Im Tempo etwas nachgebend)33 70Cantabile Theme (Langsamer)71 108Agitato mimetic theme109 114Simultaneous Recapitulation/Elaboration of Cantabile Theme115 158Synthesis and Elaboration of all themes159 195Recapitulation of Primary Quartet Theme and concluding fff cadential flourishAccording to Leopold no.ak, the third movement of the String Quintet in F, the Adagio, was composed between 10 and 31 March 1879.2 Initially, I will establish how the Adagio functions by means of interaction between the five solo instruments, through a detailed examination of Bruckners manipulation of structure, thematic material and harmony throughout the movement, in addition to his exploitation of the quintet idiom. In the following chapter, III. H istorical Reception and Criticism, I will engage with a spectrum of critical assessments of this particular movement, considering value judgements based on symphonic or chamber expectations, or indeed both.Timothy L. Jackson has documented how throughout his career Bruckner considered sonata form to comprise of essentially two (rather than three) large spatial units, whereby the exposition is one element and the development and recapitulation together form the other.3 Bruckner, according to Jackson, referred to the development and recapitulation of the opening movement of Symphony No. 9 in D minor (1894) as the second part, or 2. Abtheilung.4 Table 1, overleaf, displays how the Adagio convincingly functions as a two-part movement. In harmonic terms, Bruckner creates a divide between the various(prenominal)(prenominal) sections by travelling further from the tonic and its mediant, which form the basis of the first section, to keys such as D minor and E flat in the second section. Th e thematic treatment in the respective sections further supports the notion of two-part division in the Adagio, with thematic material being presented in an original context between jams 1 and 66,5 but with the juxtaposition of recapitulation with mutation, or development, throughout disallow 67 to 173.Table 1 Analysis DiagramBar university extensionStructural PositionStructuralFunction Tonal FunctionThematic Function1 18 Section 1Primary Subject GroupTonic (G flat minor) established ( obturate 13) definition of themes A (violin I, bb. 1-9) + B (violin I, bb. 10-12)18 34Transition 1G flat minor B flat minorLink subject assemblys + consolidate B35 56Secondary Subject GroupB flat minor consolidated ( interdict 56-57)Exposition of themesC (viola I, bb. 37-41), D (cello, bb. 51-4) + E (cello, bb. 55-7)57 66Transition 2Tonic preparation (implied V7c at bill 66)Links Sections 1 + 2 and consolidates A67 82 Section 2Recapitulation/Elaboration of unproblematic subject groupTonic (G flat minor) G flat major)Recapitulation and imitative treatment of A83 114Elaboration of Secondary Subject Group and Climax 1 at keep out 107.Durchfhrung style modulatory line of achievement. Concluding with D minor preparation (bar 114)Elaboration of Secondary Subject Group themes115 138Recapitulation/Elaboration of Secondary Subject Group and Climax 2 at bar 135D minor initially, before Durchfhrung style modulatory passage at bar 138 E flat minor cadenceRecapitulation combination, and contrapuntal treatment of themes139 167Recapitulation/Elaboration of Primary Subject Group and Climax 3 at bar 141Tonic (G flat minor)Contrapuntal and sequential treatment of A and B167 173CodaTonic (G flat minor) consolidated by tonic re-statements and repeated dominant implications (second violin)Derived from theme and backing C. Diminished seventh leap and accompaniment reinstatements decreaseWilliam Caplin has argued that composers typically condense and adopt a lesser degree of forma l and motivic complexity within slow movements, in order to secure duration. Thus they are inherently simpler than other string quintet movements.6 Although constructed in a binary fashion, Bruckners Adagio, in opposition to Caplins argument, includes the exposition (e.g. bars 1-18), elaboration (e.g. bars 83-114) and recapitulation (e.g. bars 139-167) of thematic material, revealing a full compliance with the fundamental procedures of sonata form as propounded by Arnold Schoenberg.7 Thematic material from Bruckners exposition areas ( 1, bar 1, and 2,8 bars 37-8) is presented in different tonal areas, in sequence ( 3,9 bars 61-2), in inverted imitation ( 4, bars 99-hundred and one), and in progressive diminution ( 5, bars 169-73. Here the rising major sixth of 2 is progressively compressed in the second violin).Bruckners juxtaposition of thematic elaboration and recapitulation in the second section of the Adagio stands in parallel with the earlier quintets of Mozart, allegedly the first to exploit fully the possibilities of the medium successfully and consistently.10 For example, in the Adagio ma non troppo of the String Quintet in G minor, K. 516, Mozart excludes an independent developmental section, choosing instead to progress directly from the exposition (bars 1 37) to the recapitulation (bars 38 82). However, prefiguring the Brucknerian approach, Mozarts recapitulation features both the reinstatement and regeneration of material from both the primary and secondary subject groups, and thus manifests the integration of two elements of the sonata principle, elaboration and recapitulation.Hans Hubert Schnzeler has argued that Bruckner considered the traditional architecture and procedures of sonata form a mere starting line point, which he filled out, moulded and fashioned to suit his own particular requirements.11 Schnzelers viewpoint can be confirmed by an examination of Bruckners formal construction in the Adagio. Table 1 refers to a sequence of three points of climax, at bars 107, 135 and 141 respectively. At bar 107 the inversion of a secondary theme (originally presented at bar 55) is presented strongly in the bass, whilst the remaining four voices have the same dynamic marking of fff. On the second quaver of the bar, when all five instruments are being played, the pitch project extends two octaves and a perfect fifth, which represents the greatest range thus far in the movement.At bar 135, whilst the pitch range (maximum of two octaves and a major third) and dynamic markings (ff) are less than before, the use of homophony to present the secondary theme maintains the climactic strength ( 6 bar 135, below). Finally, at bar 141 Bruckner recapitulates bars 14-34 climactically by means of an ff unison trill in the violins, whilst the lower strings play in dense homophony ( 7). The first beat of bar 141 contains the greatest pitch range in the entire movement, at two octaves and a major sixth.Bruckners use of a climactic sequenc e in the latter(prenominal) stages of the movement creates a sense of teleological progression. The thematic organicism central to sonata form is utilised to create a dramatic, linear gradient throughout the movement until the respective points of climax. In contrast to the resolution of tension associated with the traditional tonic recapitulation, Bruckners procedure creates an alternative vicinity of arrival within the Adagio. The reiteration (through a three-point succession) of climax, before the inactive dissipation of texture, dynamics and thematic significance throughout the final passage (bar 150 onwards), reflects Bruckners use of a climactic sequence in the latter stages of the movement to create a sense of apogee, as opposed to the traditional resolution.The adoption of teleological and motivically interactive compositional processes in the nineteenth century, with roots in whole shebang such as Beethovens fifth and ninth symphonies, was common. Ernest Newman has docum ented how the climactic region of the Prelude to Wagners Tristan und Isolde the two maximum points of dynamic, ff, which occur between bars 74 84 features motivic material directly derived from earlier in the movement.12 In a similar fashion, Beethovens Allegretto ma non troppo from the Piano Sonata No. 28 in A major, Op. 101 reaches a teleological elaboration of the syncopated chord progression of the exposition codetta (see s 8 and 9).13By the time Bruckner was composing his string quintet, the positioning of melodic climaxes became imperative to the progression of a movement. Notably, the climaxes of the Beethoven and Wagner examples above are positioned in close proximity at 83% and 76% through the Allegretto ma non troppo and the Prelude respectively.14 Newman argues that Wagner unconsciously obeys that natural law of structure that brings in the climax at a point about two-thirds of the time-distance between the beginning and the end.15 In the Adagio of the String Quintet in F Bruckner positions the three points of climax at 62%, 78% and 82%, respectively. Interestingly, the first point of climax (bar 107) occurs at the friendly Section, the Greek numerical constant of 0.6180 (4 d. p.).16 This proportion, which has been widely cultivated by architects, artists and musicians, is manifest in works such as the De Divina Proportione (1509) of Luca Pacioli and Leonardo da Vinci, or reflected in the structural proportions of Debussys La Mer (1905),17 and is believed to produce harmonious proportions and maximise aesthetic experience.18 The composition of three individual points of climax results in the creation of an extended climactic region, unchangeable almost a quarter of the Adagio, revealing the presence of a Schubertian heavenly length, a musical device which allegedly interested and influenced Bruckner.19 Simultaneously, Bruckner cleverly initiates his climactic passage at the point governed by Newmans natural law of structure, but incorporates t eleological prolongation by the sustaining positioning of the remaining two climaxes. appealing Analysis in like manner to Bruckners manipulation of the traditional thematic functions of classical form, harmonic relationships are exploited in order to enhance the linear progression. A detailed harmonic synopsis of the first section reveals how Bruckner exploits the availability of a wide range of keys, such as E flat minor and B flat major (transition 1). Harmonic freedom is also signified by the use of a fluctuating B flat centre during the secondary subject group, through the Schubertian procedures of modal switches and third relationships, and the more adventurous use of harmonic colouring found in the work of Wagner. Theme C, introduced by the first viola at bar 37, is definitely diatonic and outlines an essentially triadic progression, accentuating the tension between the flattened and raised third degree. A simple presentation of the key areas explored in the secondary subje ct group and the second transition displays the remote key relationships employed by Bruckner. The implication of chromatic or Neapolitan relationships (e.g. the chord of Db major originating as the Neapolitan chord of C major) results in an expanded palette of key relationsbar 34 Bmajor/minorbar 51 C majorbar 53 D majorbar 57 B major/minorbar 61 Transition, preparing G majorBy employing distant and much fluctuating key relationships during the Adagio, Bruckner produces tonal instability, a tension-building device used by predecessors such as Schubert, and also Beethoven, in the Bagatelle, WoO 60 (1818) and Symphony No. 5 in C minor (1808), with the ambiguous (C minor/E flat major) tonal identity of its opening motivic gesture. Freed from the conventional assembly of harmony and thematic material, Bruckners formal approach to the Adagio can be comprehended through Dahlhauss definition of a schematic form one sustained exclusively by the quality of the initial idea, the indivi dual character of which compensated for the conventionality of the overall outline.20 In the case of the Adagio, the initial idea is the gradual, yet continuous, gradient of tension tip to the climactic sequence.1 Handbuch fr Streichquartettspieler (Berlin, 1931)2 L. Nowak, op. cit.3 P. Hawkshaw and T. L. Jackson, op. cit.4 Ibid.5 With the exception of the two transitional passages (bb. 18-34 and bb. 57-66), in which thematic material is recycled to link subject groups and reinforce the primary subject group. James Webster (Sonata form, in L. Macy ed. Grove Music Online accessed 01-12-08) documents the traditional reuse of central thematic material in both codas and transitions.6 W. Caplin, Classical Form (1998), 209.7 A. Schoenberg, fundamental principle of Musical Composition (1967).8 The conventional clef distribution, as in 1, will be assumed unless otherwise stated.9 The clef distribution for this example is violin 1 and violin 2 (treble) and viola 1 (alto).10 Cliff Eisen, St ring quintet, in L. Macy (ed.), Grove Music Online (Accessed 01-12-09)11 H. H. Schnzeler, Bruckner (1970), 75.12 E. Newman, The Prelude, in R. Bailey (ed.), Prelude and Transfiguration from Tristan und Isolde (1985), 153 161.13 Both s 8 and 9 are presented as piano reductions, with the conventional treble (upper line) and bass (lower line) distribution.14 Percentages have been calculated in relation to the total number of bars per movement. For example, the Allegretto ma non troppo contains 102 bars. The region of climax is initiated with the crescendo mid-way through bar 84. Bar 84.5 as a percentage approximates to 83%.15 E. Newman, op. cit., 153 161.16 R. Tatlow, Golden number golden section, in L. Macy (ed.), Grove Music Online (accessed 01-12-09).17 R. Howat, Debussy in Proportion A Musical Analysis (1983).18 R. Tatlow, op. cit.19 G. E. Arnold and E. Agate, The Different Versions of the Bruckner Symphonies, The Musical Times, 78/11 (1937), 17 20.20 C. Dahlhaus, Issues in Comp osition, in C. Dahlhaus (ed.), Between Romanticism and Modernism quaternary Studies in the Music of the Later Nineteenth Century, trans. Mary Whittall (Berkley and Los Angeles, 1980), 44.

The play Amadeus and the Destructive Nature of Jealousy Essay -- essay

The play "Amadeus" is Mainly Concerned With the Destructive Nature of JealousyThis passage is all too true, both in son of a bitch Shaffers Amadeus and in life ingeneral. However the play is also concerned with the destructive nature ofignorance and naivety. Salieri is jealous not just of Mozarts talent, but ofthe fact that idol gave the talent to Mozart spiteful, sniggering, conceited,infantine Mozart. He is envious of the vessel of Gods laughter at the patronsaint of mediocrity as he had dubbed himself. Not only did God double-crossSalieri, but he did it using this obscene child. It was this jealousy and therage it inspired that caused Salieri to attempt to kill Mozart by starving himof work and students, and thus, money and food. If Salieri had not restrictedthe amount of money of work actually shown to the general public, then Mozart could havebeen wealthy, and quite possibly selected as the new Kapellmeister.Mozart doesnt understand the importance of pleasing member s of the Viennesecourt. He has no comprehension of the value of money, for when he successfullyearns any, he spends it on lavish food and clothes immediately, instead ofsaving it. He spends all his time stung out music in final copy, which,although beautiful, doesnt earn money as would teaching music.Mozart is really the one who should be jealous, as he has little in the way ofmoney or assets, or even respect. All he has is his talent and his pricelessmusic, but not the sense he...

Bangladesh :: essays research papers

The area know as Bangladesh was a political backwater instead of being contract in any of India political or military events the area which is call Bangladesh now just sat back and watch. Bengal which is what Bangladesh use to be call historians guess that Dravidian speaking people move in the area around 1000 B.C. and they were give the name Bang. This Home land had various name calling which reflected tribal names like Vanga, Banga, Bangala, Bangal, and Bengal. The first great empire that spread everyplace Bangladesh was the Mauryan Empire, and the ruler was Asoka westeren parts of Bengal achieved some importance during Mauryan period. Buddhism was brought to Bengal by Asoka son when he took over. When Mauryan Period was over in eastern Bengal it became know as the kingdom of Samatata although politically independent, it was a tributary state of the Indian Gupta Empire. The third great empire was Harsha Empire which pull Samatata into loosely administered political structure. T he disunity in this empire allowed a Buddhist chief name Gopala to seize power over Bengal, and he started the first pala dynasty. Him and his succersors provide Bengal with thither first stable government. Islamization of Bengal, 1202-1757The Turkish took over Bengal in the early thirteen century. The take over was a long thought out process that began in Afghanistan with military forays Mahmud of ghazni. Bengal had loosely associated with Delhi Sultanate which was established in 1206. In 1341 they became independent from delhi, and Dhaka and established there independent governors of independent Bengal. The turks ruled for about seven dedcades before the conquest of Dhaka by forces of the Mughal Emperor Akbar the great. Bengal was under Mughal until the decline in the early eighteenth century. Under Mughal power Bengal was one of the richest empires of there time, and also a freshet of things were created like there first calendar and also they started collected money on people house, and also there land. The British had a lot influence on there economic in the twentieth century. The country was drained from keeping up Mughals army, and he really did not do anything to ease out the people of the country because over 40,000 slaves were caught by pirates and use as slaves. The locals had to force him to appoint powerful generals as governors. Although they were not protected well they jazz to keep up there Agricultue expanded trade was still encourage, and Dhaka became one of the best textile trade.

Communication Technology :: Communication

Communication TechnologyI began brainstorming and searching for products of nature to complete the invention portion of my writing technology assignment. I could non use any of the modern conveniences of writing. This rule totally eliminated the pen, pencil and unconstipated nail polish that crossed my mind. I also had to determine a surface for my text considering everything must be natural but not modern. I came up with the idea to use a h unrivaledydew and charcoal. The Honeydew would become my surface and the charcoal would become my writing instrument. I settled with this idea because I believed it would meet the natural and technology requirements for the assignment. This idea was not successful because the charcoal didnt show up as well as I planned. In fact, it looked more like I was running out of charcoal and appeared very light. I realized I needed a more rugged surface. I chose a cantaloupe instead. I opted for the smallest for mobility purposes. I needed to r emain universal and somehow connect the statement to our current readings. I decided to write, Different colors, one origin, God. Love all. The text discusses two forms of communicating, oral and written. One side favors oral communication and believes written communication is inferior the other feels oral communication is not as stable as written. One side feels written communication destroys memory. Walter Ong even compares the objections against writing to the objections urged by computers (Tribble and Trubek 2003 79-81). Different cultures did not accpet the written word and chose to strike an oral culture for this reason. The oral world as such distresses literates because the sound is evanescent, (Tribble and Trubek 2003 316). This means the spoken word does not have the same perceptual constancy as the written word because sound can vanish. Whereas the written word can always be referenced. Thomas Watts said, Writing is the First Step, and Essential in fu rnishing out the Man of Business (Thornton 1996 6). It is thought of being of a professional manner when you send someone a letter. This shows that you are literate and have skill to write. For example, you would send a memo to a co-worker but not to a relative.

FRED STENSON’S - TEETH - :: English Literature

FRED STENSONS - TEETH -Teeth, by Fred Stenson, is an interesting short business relationship, with a plotspread between two hockey games and the puerility memories of the main timber. The story is written in first person, through the eyes ofa hockey player the main character - and the setting is in horse operaCanada, mainly around Canadian hockey rinks and the main charactershometown. The story presents a player, who plays hockey for moneyrather than for pleasure. The author of this story tries to ravagethe endorsers, by writing through the eyes of this player, who does notlove the game he plays. The idea that a hockey player aprofessional Canadian hockey player would dislike the game of hockeyand still play, is what shocks, confuses and keeps the readerinterested in the story. This unusual characterization of a hockeyplayer is besides important to the development of plot. Finally, thisstory gives people advice about how to live and enjoy life moreeffectively.The story begins during one of Burnss the main character - hockeygames, on a Tuesday night, not long after Christmas. The players inhis team ar quite fatigued and near the end of a game. They aresupposed to change breezes onto the ice, but Burns is lost in a daydreamabout his youth and the line change goes too slowly. For some seconds at that place is no one on the ice except the goalie and the six members ofother team. The other team scores a goal before the line change iscompleted and Burns team goes on to lose the game 5-3 (93). Thereader must conclude that the loss of the game is partly the cracking ofthe main character. This conclusion comes from the fact that he isdaydreaming about his childhood, and memories of being made to playhockey by his parents. It is at this point in the story that thereader learns of Burns dislike for the game of hockey, and throughthese daydreams that the reader discovers the main charactersmotivation to play the game is the money he is being paid. After thegame , in the dressing room, the manager is angry and threatens to sendsome of the players down to the minor leagues. When the maincharacter hears this, his reaction is not what the reader would expectof a hockey player who loves to play the game. Instead, Burnscontinues to daydream and shows a lack of respect for his teammatesand the manager. The manager mainly blames Burns for the teams loss,because he did not put out, and his lack of enthusiasm infects the

Televised Executions Essay -- Ethical Issues, Death Penalty

In recent years, more and more commonwealth have become aware(p) of crime and murder. It is fewthing that has affected them, their families and neighborhoods. Just about everyone in the world knows someone who has become a victim of murder, rape, and or robbery. In most cases the suspects are flint and have no remorse in regards to the crime they committed. Some individuals are repeat offenders who have received a slap on the wrist from the referee organisation or only faced small jail time. A recent report by the Senate judiciary Committee, called America the most violent and unsafe nation on earth, and it was noted that violent crime in America had increased by 516% since 1960 (Economist, 1992). Many individuals have tried to come up with solutions and scare tactics attempting to deter those who commit crime. It appears that solutions are failing. One author has his own theory of deterrence. George Bryjak the author of Why we should all watch Executions believe s that if the justice system televised executions to the mankind, this would deter individuals from committing crimes. Bryjak stresses his point saying deterrence relies on theory that people will refrain from participating in homicide or crime if they perceive the terror of swift and certain punishment, the death penalty could be made a more effective deterrent if executions were televised and reached a larger audience on a regular basis (Bryjak, 2001). Bryjak appeals to readers in a serious tone and makes very valid points for his reasoning. Bryjaks thus fails to provide sufficient evidence on some of his reasoning to convince readers on his position. In the article, Bryjak reaches the heart of his readers by reminding them of the man wh... ...e author doesnt convince readers by simply saying executions should be public spectacles that this would deter crime. The author even presents credible evidence from those who oppose Bryjak even agrees they make his position look ba d. The author doesnt refute that people are going to commit crimes regardless if they watch someone get executed or not. Research shows individuals are threatened everyday with the consequences they can face for disobeying the law, yet there still appears to be an increase in crime and violence. Many that commit crimes are aware of the possibility of receiving the death penalty if sentenced, even so many individuals still continue to commit acts of murder. The article is entitled Why we all should watch executions and I dont think Bryjak persuaded readers on why they should watch but more so on why there should be executions.