Disproportionation Definition in Chemistry

Disproportionation is a chemical reaction, typically a redox reaction, where a molecule is transformed into two or more dissimilar products. In a redox reaction, the species is simultaneously oxidized and reduced to form at least two different products. Disproportionation reactions follow the form: 2A → A A where A, A, and A are all different chemical species.The reverse reaction of disproportionation is called comproportionation. Examples Hydrogen peroxide converting into water and oxygen is a disproportionation reaction. 2 H2O2 → H2O O2 ï » ¿Water dissociating into H3O and OH- is an example of a disproportionation reaction that is not a redox reaction.

Analysis Of Thomas More s Utopia - 1338 Words

In today’s 21st century world dystopian fiction has made a massive resurgence in popular culture and continues to evolve even today. The piece of literature that serves as the source and namesake of this genre is Thomas More’s Utopia (1516) â€Å"which describes a fabricated country named Utopus after its conqueror. King Utopus reshapes a savage land into an ideal society through planning and reason fulfilling the ideal of the philosopher-king.† Utopia is derived from the Greek words ou and topos meaning â€Å"no place† directly stating that the land is impossible to arise, but it is proved feasible by way of social engineering. A dystopia, dis topos, bad place is a way to scare the audience; it being false offers meager relief, because in the audience’s mind it is possible. In Utopia class distinctions have been eliminated, but at the same time there is a loss of individual liberties and ingenuity. Usually set in the future, dystopian works customa rily show the apprehensions and worries that the author experiences in contemporary culture. Over time fear diminishes and with this dystopias created because of it begin to not frighten readers. The opposite is also true, in instances where society has caught up with ideals that were completely imaginary. Aldous Huxley s Brave New World is more profound today than its publishing date in 1932, since the purely contrived use of salable drugs, genetic exploration, and social media have all evolved into a quintessential part of today’sShow MoreRelatedAnalysis Of Thomas More s Utopia1904 Words   |  8 Pagesnegativity that flows throughout our minds. Thomas More s’ Utopia portrays a place that is not the heavenly perfection we all wish was just waiting for us, but rather, it shows a place where we humans must come together and work as one people to fight the negativity and promote equality and positivity for all. His goal of escaping the detrimental state of the European society was in reach, only in the utopia mentioned in his book. This book was one of the first of it s kind, capturing the eyes of many readersRead MoreAnalysis Of `` Inferno And Thomas More s Satirical Dialogue `` Utopia ``1366 Words   |  6 Pages characters, and theme.. Dante’s Inferno and Thomas More’s Utopia are perfect examples of the use of irony as they utilized the various techniques throughout their stories. There are a plethora of accounts where irony is apparent, including the sceneries, dialogue, and titles that are portrayed in their work. This essay will examine and compare the uses of irony in Dante Alighieri’s narrative poem, Inferno and Thomas More’s satirical dialogue, Utopia. Dante’s Inferno describes distinctive usesRead MoreKirstie Williams. Benson. English 271 Distance Education.1481 Words   |  6 Pagesreligious freedoms, and dystopia/utopia similarities throughout More’s literature. I. Introduction A. Imagine you are a sailor, sailing the vast emptiness of the ocean. B. To your dismay, the storm thrashes waves against your boat. C. You find yourself on the island of Thomas More’s Utopia D. Some facts about Thomas More II. Common Law / Commonplace / Customs A. The commons in Thomas More’s Utopia are drastically different from the society in which he lived. B. Thus, More spent most of his lifetime scrutinizingRead MoreLeadership Is Not Changed Over The Course Of Time952 Words   |  4 PagesThe definition of leadership has not changed over the course of time. Through a compare and contrast method of analysis, one can glean the common traits of a leader from Shakespeare’s Macbeth, Thomas More’s Utopia, and Queen Elizabeth’s speech to the Spanish Armada. Leadership can be defined as a person who is able to relate to their subjects, accept their responsibilities as a leader, and has a following of supportive people. In Queen Elizabeth’s speech to her troops at Tilbury, she evinces herRead MoreEssay Utopia4252 Words   |  18 PagesUtopia In the year 1515, a book in Latin text was published which became the most significant and controversial text ever written in the field of political science. Entitled, ‘DE OPTIMO REIPUBLICATE STATU DEQUE NOVA INSULA UTOPIA, clarissimi disertissimique viri THOMAE MORI inclutae civitatis Londinensis civis et Vicecomitis’, translated into English would read, ‘ON THE BEST STATE OF A COMMONWEALTH AND ON THE NEW ISLAND OF UTOPIA, by the Most Distinguished and Eloquent Author THOMAS MORERead MoreAnalysis Of Aurobindo s Theory For Mandala Essay1819 Words   |  8 Pages Figure 2 Illustration of Aurobindo s theory for Mandala The actual effect of such a dynamic and individualistic ‘model for’ made them different in their rules of conduct and in their economic activities. What is important to note here is that the image of this colony, in 1970, emerge as tension with the earlier evolutionary model when the design for â€Å"Matri Mandir† was proposed. Since the belief for this utopian settlement was based on ‘spiritualization’ of matter, the proposal for Matri MandirRead MoreThe And The Handmaid s Tale By Margaret Atwood1260 Words   |  6 Pagesin two of the most well known fundamentalist societies in literature history: Utopia by Sir Thomas More, and The Handmaid’s Tale by Margaret Atwood. Both authors acknowledge that property represents a significant threat to governments that aim to have an equal society where every citizen contributes to the well being of the nation. Thus, property is restricted because it fosters individualism. First, through the analysis of More’s ideal society, one can understand the importance of restricting privateRead MoreLiterary Review of Sexuality and Gender in Science Fiction Literature3057 Words   |  13 Pagessexuality in SF. Some of what I have read seems to be a general overview while some is more focused, but everything clearly references other theorists, studies and texts to back up the arguments made. The Cambridge Companion to Science Fiction- Edward James This book combines essays by academics and writers of SF, which examine the genre from diverse perspectives. It inspects the beginnings of SF from Thomas More to the present day, and presents significant critical approaches such as Marxism, feminismRead MoreThomas More s Utopia?2123 Words   |  9 PagesThomas More’s Utopia Thomas More wrote this book in 1516. He was latin and published this book in Louvain which is basically belgium. This book was written as a conversation between these three people, Thomas More, Peter Giles and Raphael Hythloday. More and Giles are real people who lived and breathed on this earth but Raphael is completely fictional he did not exist at all. They meet and their meeting turns into the book we now know as Utopia. I believe that a lot of the ideas presented inRead MoreIdeal. Flawless. Unrivaled. Quintessential. Too good to be true. Perfect. In addition to being2200 Words   |  9 PagesIdeal. Flawless. Unrivaled. Quintessential. Too good to be true. Perfect. In addition to being synonyms of one another, all of the aforementioned words share one similar and unique characteristic – they all describe utopian societies. A utopia is generally defined as a ‘perfect world’. In this type of society, every individual is equal and the woes of humanity â₠¬â€œ greed, war, starvation – are nonexistent. However, this type of world can be found in an often-criticized government – socialism. Generally

The Kalapalo Indians Essay Example For Students

The Kalapalo Indians Essay The Kalapalo Indians of Central Brazil are one of a few surviving indigenouscultures that is uniquely protected by a national reserve in lowland SouthAmerica. Through no effort of there own, they have been isolated artificiallyfrom Brazilian social and economic influences that reach almost every otherIndian tribe in Brazil. This unusual situation has made it possible for theKalapalos culture to be undisturbed by the outside world and the surroundingtribes. Much of Kalapalo life is run through a central concept or an ideal ofbehavior, called ifutisu. This is an infinite ideological concept that isrepresented in many ways in social life and ideal organization among theKalapalo. The area in which the Kalapalo live is in the northeastern Mato Grosso statecalled Upper Xingu Basin. There are four unintelligible languages by groups inthis region. This makes the Upper Xingu Basin linguistically diverse, but withmany of the groups still sharing the same social and ideological features. It isvery difficult to trace back the origins of Kalapalo life because of theintegration of the many different and culturally diverse groups in the UpperXingu Basin. So, many of systems of kinship classification, marriage practices,ceremonial organizations, status allocation, and religious beliefs areconsistent with cultural rules and social practices and not with the originalsystem. Many of the modern local groups can only reconstruct their own historywhich is in limited detail, these systems cant be isolated completely from theexisting society. The two most important social units in Upper Xingu society are the village andthe household groups. Both the village and household can be considered corporatein that both control rights to territorial resources, acts as a unit whenperforming certain economic and ceremonial activities. Members of a householdgroup are obligated to pass out food which they collect amongst themselves. Evenwhen one cannot supply food a Kalapalo is assured of a share because everyone istreated with the same kind of respect. Despite this corporate organization,membership in villages and households is constantly changing, and there is muchmovement of people between group to group. The Kalapalo society is a system wherein social units, such as the villagegroups and households exist only because of the individual who decides to livein these systems and choose to cooperate with one another. This is verydifferent from other non-western societies whereas the individual acquire theresponsibility to join in social units, by birth or other means of relationshipto and with each other regardless of the identity of the individual themselves. The Kalapalo social organization is characterized by a flexible group membershipand significant differences in the classification of individuals with certaingroups. The choices for the Kalapalo to join groups is based on the personalrelationship between one another instead of certain clan membership, religiousbeliefs, or ancestry. The Kalapalo have an attitude towards cleanliness which encompasses all aspectsof life such as; food, houses, belongings, and physical appearance. During thetime of the year when manioc is being ready to be planted or when it isharvesting time, it is not uncommon to find them bathing three or four times adaily. The Kalapalos attitude towards cleanliness approaches the excessiveside. The Kalapalo believe in generosity and peaceful behavior toward every one theyencounter. They reject all acts of aggression and violent expression and find itinappropriate for human beings. Instead the Kalapalo embrace an ideal of non-violence which includes suppression of anger and a passive tolerance of behavior. In Kalapalo society people are incorporated into a cycle of reciprocity andgenerosity . The idea of sharing takes place only along the lines of priorrelations; such as kinship, friendship, or membership of the same household. The Osage Orange Tree - Peer Pressure EssayKeesing, Roger M. 1975. Kin Groups and Social Structures. Holt, Rinehart, Winston: New York. This book examines the decent groups, the nature of alliance system andthe internal complexity and diversity of actual societies. Through kinship andkin groups and there social structures. This source has been helpful in myresearch because explains the formal principles of kin group organization, italso shows the kin groups in evolutionary and ecological perspective. The bookalso explains the difference between kin groups and social structures and at thesame time explains how kin groups play roles in certain social structures andvies versa . Goody, Jack. 1971. Kinship. Cox Wyman Ltd.: Great Britain. Langara GN 480 G6This book examines the complex kin networks of many tribal societies andshows the vital role in safeguarding social and cultural stability. It alsoexamines the traditional kinship system, kin groups and marriage alliance. Thissource has been helpful to my research because it has explains certainstructure roles and how they affect certain societies. It is also helpfulbecause it explores the formations of alliances through marriage. Finally thisbook show the collection of kin groups and the relationship to social andcultural stability. Levi-Strauss, Claude. 1969. The Elementary Structures of Kinship. Becon Press.: Boston. Langara GN 480 .L413This book examines the principle of kinship, nature of exogamy. Thetheory of kinship which includes Malinowskis theory and its contradiction. Historical analysis, social structures, incest and the connection to marriage. This source has been helpful to my research because it has shown the elementarystructures and theories of kinship. It has also given many kin terms and thereexplanations. Finally it tries to explain the significance of social structuresand there relationship between kin groups. Schusky, Ernest L. 1965. Manual for Kinship Analysis. Holt, Rinehart Winston.: New York. Langara GN 480S35This book examines the beliefs and ideal behavior of a people and theiractual behaviors by understanding kinship practices. It also examines thetheory of kinship and the development of functional anthropology. This book alsoincludes the theories and perspectives of Malinowski and Radcliffe-Brown. Thisbook has been helpful in my research because it has broken down the kinshipsystem and other kinship classifications. It analyze the kinship structure andthe kin groups through simple explanatory graphs. Category: Biographies

New tracks on Tobacco Road Essay Example For Students

New tracks on Tobacco Road Essay The telltale leaf is not immediately visible along the highway, and no garish billboards mar the lazy hills, but you can smoke in the airport. And nobody seems to be in a hurry to sweep up the overflowing ashtrays that dot the lobby of the downtown Stouffers Hotel. Indeed, theres no doubt when you reach Winston-Salem, N.C., that youre in a tobacco town. A cigarette town. Since 1989, this quietly southern place with its For lease signs every second downtown corner, its rows of purple and red Chevy Geos baking in the August sun, has also been an important theatrical venue when it hosts every two years the largest gathering of African-American theatre professionals in the U.S. Larry Leon Hamlin, artistic director of the North Carolina Black Repertory Company, is the father of this National Black Theatre Festival. And this year, as it has been for the past three events, RJ Reynolds is the major sponsor. For those who recall black New Yorks tobacco wars and its arresting poster campaign proclaiming, They used to make us pick it, now they make us smoke it, the idea of an RJ Reynolds liaison may seem impolitic. But behind Hamlins defense of the companys financial support is a clue to his own strategy, and much of the raison detre of this festival. Weve had too many people dying in those factories, he bristles when you ask. Its time to get something back. To Hamlin, a medium-built man with a flair for the dramatic gesture, the issue has never been who is funding, but what are we doing with that money? What theyve done with the money, along with in-kind services amounting to nearly $400,000 from black companies, is to sponsor the only festival of its kind and one that continues to expand. Participation has increased 20-30 percent over 1991; there are eight more productions and 31 more performances than at the last festival. For 1995, Hamlin has set another ambitious goal to broaden the biennial event into an international celebration. At this years festival, held Aug. 2-7, there was a palpable feeling of ownership and reunion among the thousands of celebrants from across the country who descended on Winston-Salem. As historian Loften Mitchell declared in the cocktail lounge one evening, You wanna talk about heritage we walking all over top of it! It was there in the nightly drumming sessions of artists and vendors that ricocheted off the towns ghostly buildings one-quarter mile in all directions. In the riot of sequins and bugle beads, mudcloth and cowries, bourbon and white zinfandel. In the roster of celebrity guests from Sidney Poitier to Pam Grier whose achievements in the theatre were being honored. Catching the buzz And then there were the offstage dramas. Like the buzz that caught when it seemed that the lately controversial Pomo Afro Homos might come to perform. The San Francisco-based performance group had circulated a release in the months preceding the event that publicly accused the NBTF of homophobia, and of banning them from the festival for the second year in a row. Hamlin had always maintained that the critically acclaimed troupe missed the deadline the first year, and this year, neglected to invite him to view any performance. Confronted about the controversy at one panel discussion on alternative theatre and the mainstream, a flustered Hamlin dared Pomo Afro Homos to produce the piece of paper where I said they were banned, later insisting that though they sent a video, the bad lighting made it impossible to judge their performance. This is the boys club, said one performer who regretted that the troupe was not part of the festival agenda. Thats why we wanted to bust it. I think its a damn shame. .uf88403a58c5f8b08d85d7643e243b354 , .uf88403a58c5f8b08d85d7643e243b354 .postImageUrl , .uf88403a58c5f8b08d85d7643e243b354 .centered-text-area { min-height: 80px; position: relative; } .uf88403a58c5f8b08d85d7643e243b354 , .uf88403a58c5f8b08d85d7643e243b354:hover , .uf88403a58c5f8b08d85d7643e243b354:visited , .uf88403a58c5f8b08d85d7643e243b354:active { border:0!important; } .uf88403a58c5f8b08d85d7643e243b354 .clearfix:after { content: ""; display: table; clear: both; } .uf88403a58c5f8b08d85d7643e243b354 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf88403a58c5f8b08d85d7643e243b354:active , .uf88403a58c5f8b08d85d7643e243b354:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf88403a58c5f8b08d85d7643e243b354 .centered-text-area { width: 100%; position: relative ; } .uf88403a58c5f8b08d85d7643e243b354 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf88403a58c5f8b08d85d7643e243b354 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf88403a58c5f8b08d85d7643e243b354 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf88403a58c5f8b08d85d7643e243b354:hover .ctaButton { background-color: #34495E!important; } .uf88403a58c5f8b08d85d7643e243b354 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf88403a58c5f8b08d85d7643e243b354 .uf88403a58c5f8b08d85d7643e243b354-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf88403a58c5f8b08d85d7643e243b354:after { content: ""; display: block; clear: both; } READ: Dynamics in Dido and Aeneas EssayPomo Afro Homos never managed to find a venue in town, but the whole episode became fuel for speculation on whether this wasnt symptomatic of a broader lack of innovation and risk-taking within the black theatre itself an issue that has attended this festival since its inception. Whose festival is it? Depends who you ask. Laurie Carlos and her partner Robbie McCauley are two of theatres most seasoned performance artists. Their piece for this fest, Persimmon Peel, is a rich and stinging commentary on the countrys prevailing cultural mores. As often happened around tobacco road over the course of the week, conversation became performance, and sometimes rivaled what was on the official schedule. Over a hearty southern breakfast in the Stouffers dining room one morning, Carlos and McCauley took time to vent. Spoonful of grits. Ask waitress for hot water. I had seen Pomo Afro Homos in San Francisco. What they needed was a popular black audience, McCauley says. Because it was about calling out. I saw the Dark Fruit piece at Lincoln Center. I saw how much that piece had grown. It was important for this theatre festival audience. Bite of muffin. Part of the old guard here has always been concerned with a certain kind of legitimacy and always tried to get it in a Eurocentric kind of way, added Carlos. Adrienne Kennedy started talking in a whole different way, and they aint ready for her yet. McCauley shakes her head. Part of that whole Eurocentric mode is to wait until somebody is dead. What about the opening night gala? I ask. What did you think of that? (The gala, which featured a celebrity conga line marching onto a blood-red two-tiered dais without a hint of self-mockery, was one of the most talked-about theatrical events of the week.) Overeasy arrives over well. You have to get the joke, replies McCauley. This is the ~Image Awards. Similar to the patriarchy. The celebs parading down the quintessential aisle to get their due. Meanwhile, you cant get to the show because the limousines are in the way. Jam. You are designated to sit on this side of the room, Carlos pipes in with mock officiousness. Mr. Puff Puff has to sit on the other side. More jam. For a moment, McCauleys expression tums grave. I cant say how many people came up and said, ~We saw you on the front cover of TDR. Meaning, if the white people say youre legit, you must be legit. One sensuous black woman Without a doubt, NBTF has always catered to more traditional theatre forms. This year was the first in the festivals history in which a full program of performance art had been scheduled. We didnt know what was gonna happen with the new stuff, Hamlin admits. But people have been responding. Indeed, it turned out to contain some of the best that the festival had to offer. The Circle Unbroken Is a Hard Bop, by Sekou Sundiata, Stephanie Alston and Craig Harris, so moved the audience with its analysis of the triumphs and failures of the 60s that a thunderous ovation prevented the performers from even finishing the piece. Out of Los Angeles came Keith Antar Mason and the Hittite Empires Shango Walks Through Fire, a wildly chaotic though riveting piece that mixed Yoruba ritual, 60s-style confrontation and a decidedly 90s L.A. nihilism. Mason brought down the house when he requested one sensuous black woman as a volunteer, then proceeded to wash her feet in fresh watermelon and massage them with oil. Also on the Cultural Odyssey bill, curated by Idris Ackamoor, was Judith Alexa Jacksons brilliantly satirical WOMB/man Wars; a disquieting meditation on erotica by Rhodessa Jones; Ntozake Shanges The Love Space Demands; and Ackamoors own rejoiceful celebration of vaudeville, Shoehorn! .uf0ac1a35b62762011529155812948cbb , .uf0ac1a35b62762011529155812948cbb .postImageUrl , .uf0ac1a35b62762011529155812948cbb .centered-text-area { min-height: 80px; position: relative; } .uf0ac1a35b62762011529155812948cbb , .uf0ac1a35b62762011529155812948cbb:hover , .uf0ac1a35b62762011529155812948cbb:visited , .uf0ac1a35b62762011529155812948cbb:active { border:0!important; } .uf0ac1a35b62762011529155812948cbb .clearfix:after { content: ""; display: table; clear: both; } .uf0ac1a35b62762011529155812948cbb { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf0ac1a35b62762011529155812948cbb:active , .uf0ac1a35b62762011529155812948cbb:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf0ac1a35b62762011529155812948cbb .centered-text-area { width: 100%; position: relative ; } .uf0ac1a35b62762011529155812948cbb .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf0ac1a35b62762011529155812948cbb .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf0ac1a35b62762011529155812948cbb .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf0ac1a35b62762011529155812948cbb:hover .ctaButton { background-color: #34495E!important; } .uf0ac1a35b62762011529155812948cbb .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf0ac1a35b62762011529155812948cbb .uf0ac1a35b62762011529155812948cbb-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf0ac1a35b62762011529155812948cbb:after { content: ""; display: block; clear: both; } READ: Court clashes over free speech EssayElsewhere in the festival, John Amos wowed the audiences with his one-man Halleys Comet, while a spirited production of Douglas Turner Wards Days of Absence hit the Winston-Salem radio waves. And while Bill Harriss Robert Johnson: Trick the Devil, paid homage to the father of the blues, Amiri Barakas haunting Meeting Lillie stirred the ghosts of the 1940s South. In between, there was plenty of time out for trading theatre philosophy and honing precious audience development strategies. Bill Green, director of Houstons The Ensemble, spent one evening lamenting the unshakeable primacy of what he called gorilla theatre shows like Beauty Shop and A Good Man Is Hard to Find that have long been the staple of black regional playhouses over the more highbrow pursuits. Animated in his Chicago Bulls cap and tuxedo, Green asserted, You gotta get them saying, ~Oh, they had Beauty Shop. And next week, well, they gonna have something called The Blacks by Jean Genet. You just slip it in. Thats how you gotta do it.