The Ulu Burun Shipwreck: Underwater Archaeology at its Finest Essay

Archaeology is a continuously evolving field where there is a constant stream of new branches and excavation methods. Due to the influx of new technologies and innovations in recent decades, archaeologists have been able to excavate previously inaccessible areas. For example, new diving equipment and tools such as proton magnetometers, side-scan sonar, sub-bottom profiler, and miniature submarines have allowed archaeologists to dive into the deep depths of the ocean. As a result, the branch of underwater archaeology was created to search for shipwrecks and other artifacts on the ocean floor. Underwater archaeology’s role has increased in recent years as it allows archaeologists to more accurately interpret the past by supplementing information gained through traditional land excavations. A prime example of the possible contributions of underwater archaeology is the Ulu Burun shipwreck. The Ulu Burun shipwreck is the remains of a Late Bronze Age (~1600 – 1050 BCE) trading vessel dated to about 1300 BCE. The shipwreck was discovered in 1982 off the coast of Ulu Burun, near the modern city of Kas, Turkey. This fifty-foot long vessel was resting at the bottom of the Mediterranean Sea at a depth of approximately 150 feet. Eleven sets of excavations were conducted from 1984 to 1994 in order to deliver the artifacts to the surface for analysis. From this wreck site, archaeologists now have a more detailed and precise understanding about the trade and distribution of commodities in the Late Bronze Age. With very little textual information available from this time period, archaeologists knew very little about the items that were traded, cultures that traded with each other, and the trade routes. The Ulu Burun shipwrecks acts as a time... ...e Late Bronze Age are presented in underwater archaeology. As a result, there should be a greater push for archaeologists to explore more of the ocean in order to learn about the past. Works Cited Bass, George F. "A Bronze Age Shipwreck at Ulu Burun (Kaş): 1984 Campaign." JSTOR. American Journal of Archaeology. Web. 20 May 2012. . Bass, George F. "Oldest Shipwreck Reveals the Splendors of the Bronze Age." National Geographic 1987. Print. Bowens, Amanda. Underwater Archaeology: The NAS Guide to Principles and Practice. Malden, MA: Blackwell Pub., 2009. Print. Gates, Charles. Ancient Cities: The Archaeology of Urban Life in the Ancient Near East and Egypt, Greece, and Rome. London: Routledge, 2003. Print. Renfrew, Colin, and Paul Bahn. Archaeology: Theory Methods and Practice. London: Thames & Hudson, 1996. Print.

Enterprise Strategy Essay

Vision Our Enterprise Strategy sets out our vision for the Opera House as a dynamic and evolving organisation now and into the future. Our mission and values lie at the heart of our Enterprise Strategy, guiding our plans to ensure the Opera House retains its essential role in Australia’s life and identity. Mission The Sydney Opera house embodies beauty, inspiration and the liberating power of art and ideas. It is a masterpiece that belongs to all Australians. We will treasure and renew the Opera house for future generations of artists, audiences and visitors. Everything we do will engage and inspire people through its excellence, ambition and breadth. We will strengthen our central role in Australia’s life and identity. POLICIES Our Code of Conduct is a set of guidelines that connect our daily behaviour, decisions and actions to the vision, goals and values of Sydney Opera House. 1. We act in the best interests of Sydney Opera House and value our reputation. As a cultural icon and internationally recognized symbol of Australia, Sydney Opera House’s reputation is one of our most valuable assets. As representatives for Sydney Opera House we all have a responsibility to build our reputation and protect it against harm. 2. We act with personal integrity & honesty. Integrity and honesty underpin everything we do. The trust of our customers, partners, colleagues and the community can only be achieved through ensuring all our decisions and actions are honest and made in the best interests of the organization and its stakeholders. 3. We maintain a healthy and safe work environment. Safety and security in our workplace is of vital importance to Sydney Opera House.  Everyone is expected to contribute to creating and maintaining a safe and secure workplace by observing safety and security procedures and policies. 4. We have respect for others & maintain a fair and harmonious workplace. Sydney Opera House is committed to maintaining an inclusive workplace that values the contributions of everyone and is respectful of difference. We all must behave fairly, respectfully and without discrimination to any person we deal with in our work, including other employees, customers and business partners at all times. 5. We value our customers & are committed to service excellence at all times. Customer First: â€Å"In all our endeavours, we are committed to placing the needs and views of our customers first†. 6. We work with economy & efficiency. You must use all Sydney Opera House resources lawfully, ethically and as economically as possible in your work. All equipment, facilities and property should only be used for work purposes and the business of Sydney Opera House unless otherwise approved by your manager. Use of Sydney Opera House information systems must be carried out in accordance with relevant policies and procedures. Use of information systems is monitored. Serious breaches of Sydney Opera House policies and guidelines will result in disciplinary action and may lead to dismissal. 7. We perform our work unimpaired by the consumption of alcohol or use of drugs. Sydney Opera House requires all staff to be unimpaired by alcohol or other drugs that may affect your ability to work safely and effectively.It is important to advise management if you are concerned your work performance may be impaired by medication. Attendance at work while affected by prior use of alcohol or other drugs is not permitted. GOals The Access Strategic Plan has been developed with a focus on Sydney Opera House’s strategic goals: Artistic Excellence Produce and present imaginative and engaging performing arts events from Australia and around the world. Community Engagement and Access Sydney Opera House belongs to everyone and all communities have access to experiences. A Vibrant and Sustainable Site Intensifying customer engagement and ensuring progress works in harmony with heritage values. Earning Our Way remain relevant, contemporary and leverage our position as a critical tourism and cultural asset.

Explore Shakespeare’s Use of Soliloquy in ‘Othello’ Essay

Elizabethan and Jacobean dramatists used his theatrical convention to evoke the inwardness of their characters, a soliloquy provides the audience with accurate access to the character’s innermost thoughts and we learn more about a character than could ever be gathered from the action of the play alone. In ‘Othello’, both the hero and the villain speak in soliloquy. Iago, the villain, speaks his soliloquies first (Othello’s occur towards the end of the play), drawing the audience in as he outlines his intentions and ideas. The soliloquies give us access to the feelings and motivations of both hero and villain, which heightens the intensity of the drama. They are also a source of a great deal of dramatic irony which increases the dramatic tension for the audience. In ‘Othello’, the use of soliloquies is crucial as the play is based on deceit and they allow us to know the motive of characters, especially Iago, and we see the characters in their tr ue light as they use language and images which are typical of them. Iago illustrates the issue of deception through his soliloquies; they are useful as they show Iago’s true feelings. Iago’s character is presented to us through his soliloquies, illustrating motives which he uses to justify his actions, making the soliloquies instruments to show the audience what makes Iago tick. Language is the source of Iago’s power and his soliloquies reinforce this. Iago’s soliloquy in Act1 Sc.3 is where he starts to formulate his plan to get back at Othello. When he is alone, he reveals his true motives. First he mocks Roderigo – â€Å"Thus do I ever make my fool my purse:† making the audience aware of the fact that he is only using Roderigo. He is toying with Roderigo for ‘my own sport and profit’. He suspects Othello of cuckolding him and he wants revenge. Iago knows that Othello trusts him well, and the fact that he says that he will use this against him shows just how devious Iago is – † He holds me well: The better shall my purpose work on him.† Othello holds Iago in very high regard and it is Iago’s use of this that leads Othello to murder his wife. Iago is determined to drive out Cassio and  take his place, he considers how he could do this and decides to use Othello’s trusting nature to try to persuade him that Cassio is too friendly with Desdemona. Iago’s soliloquy suggest that the manipulation of Roderigo and Othello in the first act is leading up to a more serious deception as his web will ensnare Desdemona and Cassio too. The soliloquy shows his ability to improvise quickly, at the start, he is musing over a possible plan, and a few lines later he has the outline of a subtle plan which will bring about his revenge. It is appropriate that Iago uses words which associate him with a devilish image – â€Å"Hell and Night Must bring this monstrous birth to the world’s light.† Without the soliloquy, the audience would not know of Iago’s plan, or the extent to which he is capable of manipulating people. The soliloquy clearly shows Iago’s evil nature and his use of devilish imagery reinforces this. Another of Iago’s soliloquies in Act2 Sc.3 is also useful in showing us Shakespeare’s use of soliloquies. At the beginning of the speech, Iago reflects on how no one can accuse him of being the villain when he offers such good, helpful advice. We can see that he manipulates a lot of the characters and knows that he is acting. We see Iago’s true maliciousness in this speech as he intends to use Desdemona’s good nature to â€Å"enmesh them all†; he wants to destroy an innocent with whom he has no quarrel so that he can carry out his revenge. The speech shows Iago’s delight in his own cunning and acting abilities, revelling in the fact that he has the power to turn Desdemona’s â€Å"virtue into pitch†. As is typical throughout the play, Iago shows that he has nothing but contempt for honesty and innocence and he looks forward to corrupting them, associating honesty with foolishness. Iago’s loyalty is only to himself, and he even plans to use his wife in his scheme. The imagery Iago uses is again crude and materialistic, he will persuade Othello that Desdemona pleads for Cassio for her â€Å"body’s lust†, and without her knowing it, her conviction in Cassio and her pleas for him to be forgiven by Othello only serve to â€Å"undo her credit with the Moor†. Iago’s  language in his soliloquies emphasises his deception, as with Othello and Cassio, he is generally polite and guarded. The soliloquy serves to provide the audience with another view into his evil mind that he cannot express in dialogue with other characters as he is trying to manipulate them and needs them to think of him as honest and trustworthy. Othello’s language is a contrast to Iago’s, he is seen as the most romantic of Shakespeare’s heroes, his speeches often emphasise this difference as he uses poetic lines and images. However, this language sees a significant change as Iago poisons Othello’s mind, and his speeches soon take on similar traits of Iago, using devilish language and hellish imagery. Although Othello’s soliloquy in Act5 Sc.1 shows a change from the chaotic mind he showed in Scene 4; his anger has passed to an infinite sorrow, and he speaks more like the Othello we saw at the beginning of the play. Othello’s speech reveals a number of things about Othello that we would not otherwise know. Othello sees himself as acting as a martyr and for justice as he suggests that his purpose is to prevent Desdemona from committing further sins of adultery. His repetition of â€Å"It is the cause†, plus the fact that he will not say what the cause actually is, implies that Ot hello finds it hard to take Desdemona’s life and be separated from her. Othello does not want to spill Desdemona’s blood; some critics suggest that this is because he wants to avoid leaving any marks of murder so he can feel blameless. Other critics see it as Othello’s desire to leave Desdemona looking perfect – â€Å"Yet I’ll not shed her blood, Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster:† It is as if Othello wants to see Desdemona as she does usually, with no marks of murder on here. Throughout the rest of the speech, Othello uses complex imagery; he speaks of a rose being plucked and then withering, he then says – â€Å"Be thus when thou art dead and I will kill thee, And love thee after.† This suggests determination, but also pain and reluctance, Othello has to use symbols, Desdemona as a rose, by doing this, he avoids confronting the deed directly and distances himself from Desdemona as a person so that be might be more able to carry out the murder. The opposition (the play is heavily based on opposites and opposition) in Othello is clearly shown in his lines about weeping and sorrow – â€Å"But they are cruel tears: this sorrow’s heavenly – It strikes where it doth love.† Othello implies that sorrow is â€Å"heavenly†, which is the opposite to what sorrow should be, this emphasises that Othello is acting out of love, as a martyr of love. Without the soliloquy, the audience might not have been able to know what Othello was thinking as he justifies his action in killing Desdemona. It portrays Othello as his usual calm self while he does not speak passionately and seems in control of what he is saying, the images and language he uses are opposed and shows that he is emotionally torn. From this, we can see that Shakespeare uses soliloquies to put forward what the dialogue between characters cannot; we see the characters true emotions and motives when they speak in soliloquy and this is implied when they use language and imagery which is typical to them. Iago’s soliloquies show his true nature, he highlights what his scheming has accomplished and indicates his future plans and actions. The audience has a chance to view his characters and what he thinks of the other players. Othello’s soliloquies come later on in the play when we can see the changes in Othello as he is poisoned by Iago. They serve to portray Othello’s nature to us and emphasise the beauty of his language.

Desert Precipitation, Plant, and Animal Life

Desert Precipitation, Plant, and Animal Life Deserts, also known as arid lands, are regions that receive less than 10 inches of precipitation a year and have little vegetation. Deserts occupy about one-fifth of the land on Earth and appear on every continent. Little Precipitation The little precipitation and rain that falls in deserts is usually erratic and varies from year to year. While a desert might have an annual average of five inches of precipitation, that precipitation may come in the form of three inches one year, none the next, 15 inches the third, and two inches the fourth. Thus, in arid environments, the annual average tells little about actual rainfall. What does matter is that deserts receive less precipitation than their potential evapotranspiration (evaporation from the soil and plants plus transpiration from plants equals evapotranspiration, abbreviated as ET). This means that deserts do not receive enough precipitation to overcome the amount evaporated, so no pools of water can form. benedek / Getty Images Plant and Animal Life With little rainfall, few plants grow in desert locations. When plants do grow, they are usually spaced far apart and are quite sparse. Without vegetation, deserts are highly prone to erosion since there are no plants to hold down the soil. Despite the lack of water, a number of animals call deserts home. These animals have adapted to not only survive, but to flourish, in harsh desert environments. Lizards, tortoises, rattlesnakes, roadrunners, vultures, and, of course, camels all live in deserts. Flooding in a Desert It doesnt rain often in a desert, but when it does, the rain is often intense. Since the ground is often impermeable (meaning that water isnt absorbed into the ground easily), the water runs quickly right into streams that only exist during rainfalls. The swift water of these ephemeral streams are responsible for most of the erosion that takes place in the desert. Desert rain often never makes it to the ocean, the streams usually end in lakes that dry up or the streams themselves just dry up. For instance, almost all of the rain that falls in Nevada never makes it to a perennial river or to the ocean. Permanent streams in the desert are usually the result of exotic water, meaning that the water in the streams comes from outside of the desert. For example, the Nile River flows through a desert but the rivers source in high in the mountains of Central Africa. Where Is the Worlds Largest Desert? The worlds largest desert is actually the very cold continent of Antarctica. It is the worlds driest place, receiving less than two inches of precipitation annually. Antarctica is 5.5 million square miles (14,245,000 square kilometers) in area. Outside of polar regions, Northern Africas Sahara Desert is the worlds largest desert at more than 3.5 million square miles (nine million square kilometers), which is slightly smaller than the size of the United States, the worlds fourth largest country. The Sahara stretches from Mauritania to Egypt and Sudan. What Is the Worlds Hottest Temperature? The worlds highest temperature was recorded in the Sahara Desert (136 degrees F or 58 degrees C at Azizia, Libya on September 13, 1922). Why Is a Desert so Cold at Night? The very dry air of the desert holds little moisture and thus holds little heat; thus, as soon as the sun sets, the desert cools considerably. Clear, cloudless skies also help to quickly release heat at night. Most deserts have very low temperatures at night. Desertification In the 1970s, the Sahel strip that stretches along the southern fringe of the Sahara Desert in Africa experienced a devastating drought, causing land that was formerly used for grazing to turn to desert in a process known as desertification. Approximately one-quarter of the land on Earth is threatened by desertification. The United Nations held a conference to begin discussing desertification in 1977. These discussions eventually resulted in the establishment of the United Nations Convention to Combat Desertification, an international treaty established in 1996 to combat desertification.

How to Personalize Your Revision Checklist

How to Personalize Your Revision Checklist How to Personalize Your Revision Checklist How to Personalize Your Revision Checklist By Guest Author This is a guest post by Laura Hamby. If you want to write for Daily Writing Tips check the guidelines here. Everyone has their methods. I’ve read revision checklists all over the Internet, but still that didn’t stop me from coming up with my very own checklist. Why? Why not? Who knows better than I how I write? And while I will confess to incorporating items from the checklists of other authors, especially those who write in the genre I do (because I’m a big fan of learning from others), I also know the areas I need to pay attention to on the second/third, et cetera, go-round on my manuscript. The idea is not to revise your voice right out of your work. It is possible to do that if you’re not careful. You also don’t want to revise yourself so you wind up sounding like the person whose checklist you’ve borrowed for your own use. So, what did I consider when putting my personalized checklist together? I’m glad you asked. 1. Things my critique partner pings me on regularly. In the beginning, I had a crit partner who would whack my knuckles with her cyber ruler about head hopping. Stay in ONE point of view? It took me a while to figure it out, but eventually I caught on and now when I head hop, I KNOW what I’m doing. These things are subject to change as you grow as a writer. 2. Things I personally think I can and should do better. Several years ago, I gave myself a mission to use better, stronger verbs whenever and wherever I could. I took baby steps in the beginning, I’d write, then go back and check for passive, lackluster verbs. After a while, I moved on to refusing to use a wimpy verb in the rough draft, even if it meant I stared at the screen until I came up with something better. I like to think now that I’ve about got this licked- the verbs with verve come more easily than the verveless verbs now. As with number one, the items on this portion of your checklist will change, which is exactly what you want, as it shows that you’re growing as a writer. 3. Feedback I’ve received from editors. Hey, I figure if I’m lucky enough to get a rejection complete with what worked and what didn’t work for the editor, that’s as positive a rejection as you can get. And boy, how stupid would I be to discount what the editor has to say? 4. Those pesky generic things that should be on every revision checklist. You know, fun things like spelling, grammar, punctuation, looking for words that are words but are the wrong words. Example: â€Å"The hen is mightier than the sword.† These are what I like to call ‘Fun Typos’ because they often are worth at least a weak giggle, if not a full belly laugh when you find them. 5. Compositional/conventional aspects. Plot, flow, pacing, all threads tied off in a pretty bow, and so forth. 6. Have I stayed true to my voice? We all have a unique voice, but sometimes, it’s possible for it become lost when we try to be too clever or when we fight our way through a scene as if it were a paper bag we had to escape from using nothing but a dull toothpick. This is the part that is truly personal, above and beyond the conventions, like using periods to indicate the end of a statement, that we must observe. What questions can you ask yourself on your checklist that will resonate with how you write and what you write in regard to remaining true to your voice? Feel free to add or subtract from this list, and hey, if you come up with something to consider for creating your own personal revision checklist, let me know. I’m a big believer in being teachable and learning as much as I can about the craft of writing. Laura Hamby writes romantic comedy, has been e-published and enjoys her quest for self-directed continuation learning in writing . Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Writing Basics category, check our popular posts, or choose a related post below:16 Substitutes for â€Å"Because† or â€Å"Because Of†List of Greek Words in the English LanguageEbook, eBook, ebook or e-book?

Formal Business Report Term Paper Example | Topics and Well Written Essays - 1500 words - 1

Formal Business Report - Term Paper Example The results of the study largely show that Yellow Pages are becoming obsolete as it is quickly being taken over by online marketing. In view of these results, the president of Glass & Mirror is recommended to adopt online marketing and to focus on building the company’s brand name. DiFeo Glass & Mirror is a wholesale and retail company owned by Michelle DiFeo, located in New York’s Westchester County. The company has used Yellow pages for advertisement campaigns since 2004 and, hence, has continued to ignore other campaign options such as internet, which have taken the centre stage in the advertisement industry. DiFeo has admitted that use of Yellow Pages is ‘a force of habit’ which is worth her investment, but it is clear that she has spent a staggering amount on them - this study will reveal how this expenditure could be ineffective (Stamoulis 4). DiFeo Glass & Mirror has used Yellow Page advertising as one of its best option for product promoting. In New York’s Westchester County, which is the DiFeo Glass & Mirror’s service area, there are tens of phone books. This means that DiFeo Glass & Mirror has to advertise in a multiple phonebooks in order to reach many of those who need its services. As a result, DiFeo Glass & Mirror spends thousands of dollars on Yellow Pages campaign. In this study, this campaign is considered absolutely ineffective. Some of the reasons cited for causing Yellow Pages ineffectiveness include the fact that customers are quickly turning to online advertisements, the cost of Yellow Pages supersedes its benefit, and because administration of Yellow Pages is extremely complex (Stamoulis 5). When estimating the benefits of Yellow pages, measurements such as cost per call, monthly calls per phone book and cost per sale are used. A company cannot achieve utmost results if this information is not available. If the company relies

Compare and contrast Essay Example | Topics and Well Written Essays - 1000 words - 2

Compare and contrast - Essay Example Most of these artists engaged in paintings of beautiful women a character that we see with works from Sharaku and Katagawa. However, landscapes had been given limited attention by most of thee artists hence the reason for Hokusai’s diversion. Most of the critics of Hokusai’s works defined his landscape paintings as the Western paintings since they differed from Japanese paintings in terms of imagination, composition, atmosphere and the natural observation. A good piece of art showing an assumption of Tsunami off the coast of Japan is an ancient art done by Katsushika Hokusai (Nagata and Bester 28). This piece of art was done between 1760-1849. However, many people argue that this piece of art is not a Tsunami but depicts other things. This geometrical piece of art employs the use of circles, lines, and triangles in an artistic manner, which creates a sense of space collapsing. From the picture, there is an indication that the boatmen are not fighting against the huge wa ve but rather using the flow of the wave for their movement. Most of the artist believes that this picture was created as a symbol of his death since this is just one of the pieces of arts Hokusai produced just before his death. The painting is a traditional Japanese piece of art especially by the Japanese writings that are embedded in it. We also find this feature in the other two paintings indicating that these are traditional ukiyo-e paintings. The piece of art also symbolizes Japanese tradition. Hokusai shows symbols of tradition in this piece of art. Mount Fiji is shown from a background and this time is not shown as a huge mountain but just a small one shifting the focus of everyone’s perception. The picture also indicates Japanese anglers in boats struggling with the sea wave. In addition to this, a sense of energy has been created in this picture. Three quarters of the film is the huge sea wave, which consumes the great mount Fiji. This shows that Hokusai wanted to ex press energy in his composition. The technique used in painting of this picture is from the printing of woodblocks a technique that was mostly used by Buddhists in the 17th century. Otanaji Oniji II is a 1794-95 piece of art, which was developed by Toshusai Sharaku. In this piece of art, Sharaku’s great composition depicts a sense of energy, which is displaying realism and beauty. We can compare the theme of energy in relation to Hokusai’s picture in which the sea consumes three quarters of the space. From Sharaku’s picture, we can see that the artist has employed the use of lines triangles, and circles the same way in which Hokusai developed in The Great wave off Kanagawa. However, Sharaku in this piece of art is more real and articulate (Narazaki 79). The face of the picture takes three quarters of the space emphasizing the key area he wanted to expose. When comparing the themes of these two pictures we notice that Sharaku’s picture illustrates a huge s ense of modernity. The person in the picture is beautiful and with lots of energy shown in the face while Hokusai’s picture indicates a deep sense of tradition from the boats and the physical background. In comparison, all these piece of arts were done in the 17th century a time when most of the artists used woodblocks as their main tool for production of their pieces of art. Sharaku also shows a sense of tradition in this portrait. The clothing of the person in the p