Health Information Exchange Essay Example | Topics and Well Written Essays - 1500 words

Health Information Exchange - Essay Example ea in several ways including but not limited to improved quality of patient care, reduced costs and faster communication between patients and medical professionals. Though many professional bodies and individuals support the installation of a HIE scheme, there exists several challenges to this which are still being addressed. Of these issues, privacy, confidentiality, possible unauthorized access and misuse of medical records are of primary concern. This essay will examine HIE in relation to defining it as a process and what it aims to achieve in the medical community. It will then look at its development within recent years as technical advancements have made it a possible method of faster information transmission. Challenges that remain within the area of HIE will then be briefly examined with a view to summarizing them to their main areas of concern. Potential solutions to these problems will then be described and a final concluding discussion will then follow. Health Information Exchange (HIE), is a term used to describe the process of information sharing in relation to the health of individuals, among Health Information Organizations (HIOs) across the world. The sharing of this information is aimed at maintaining individual confidentiality, privacy and security, while providing a faster and more effective way of sharing health-related information for the benefit of both patients and HIOs (AHIMA). HIE is a fundamental part of the health information technology (HIT) network which is currently being reviewed in the United States and the National Health Information Network (Health Information Exchange). It is still not fully developed but is expected to be implemented at some stage in the near future. It is the responsibility of Health Information Organizations to ensure the successful operation of HIE. In order for this to function, they must â€Å"create a standardized interoperable model that is patient centric, trusted, longitudinal, scalable, sustainable, and

The General Principles of Operation Management Essay

The General Principles of Operation Management - Essay Example Being selected by a lot of market research and surveys as the car of the year for a number of years it shows that, Toyota has an unbeaten record worldwide. Due to the good quality Toyota's worldwide fame and success kept going, back in 1995, Toyota was the top car in the Middle East. Moreover, TMC has manufactured extremely high-quality cars that do not make much noise or do they do produce unpleasant fumes, Toyota uses more than 40 emission-control systems, it also uses dozens of technologies that have improved passenger-car safety. 2) The second performance objective is speed, this objective highlights the fact that by doing things on reasonably fast speed, the company can minimize the time between the order and the availability of the product same goes for a service this tends to give the customer a speed advantage over other companies. The TMC's techniques are highly focused operations that lessen complexity by using easy as well as small machines, which are robust and supple. This is done by rearranging the layout along with the flow in order to improve simplicity improves the speed of production. Statistics of the late 1980 show how 27 years back the output per worker was a lot more than US or European plants. 3) The third performance objective is dependent... 3) The third performance objective is dependability, this objective highlights the fact that the organization has performed complete its production in the time period which it has promised the customer (David 2006). In order to get a better understanding of this objective a good example to quote here would be that TMC includes 'Just-in-time' (JIT) production system along with workers who are multi-skilled that work as a team, They use 'kanban control' which has permitted them to deliver products as they have promised. Improving efficiency as well as quality is the first and foremost concern of not only the managers and technical experts but also of each and every employee. So, it can be said that TMC is a good example of the third objective. 4) The fourth objective is 'flexibility', this objective involves the responding to a vibrant environment of the organization that brings change in their products and services it also changes the manner in which they do business. An organization has got to learn to love a change in order to develop flexible as well as responsive organizations to manage with a good dynamic business environment. (Peters, T. 1998) Again to demonstrate the importance of these objectives the example of TMC will be used. The TMC plant is always adopting new and innovative manufacturing resources, in order to launch new models at a fast pace. Due to this Toyota was able to attain an extremely high level of flexibility, producing fairly small batches of diverse models with slight or no loss at all of productivity or quality. TMC during the years has provided an array of options from which customers can select from.

An operational amplifier

An operational amplifier Introduction: Anoperational amplifier, which is often called anop-amp, is aDC-coupledhigh-gainelectronic voltageamplifierwith a differential input and, usually, a single-ended output.An op-amp produces an output voltage that is typically millions of times larger than the voltagedifferencebetween its input terminals. Typically uses of the operational amplifier are to provide voltage amplitude changes (amplitude and polarity), oscillators, filter circuits, and many types of instrumentation circuits. An op-amp contains a number of differential amplifier stages to achieve a very high voltage gain. Typically the op-amps very large gain is controlled bynegative feedback, which largely determines the magnitude of its output voltage gain in amplifier applications, or thetransfer functionrequired. Without negative feedback, and possibly withpositive feedbackforregeneration, an op-amp essentially acts as acomparator. High inputimpedanceat the input terminals and low output impedance at the output terminals (ideally zero) are important typical characteristics. Op-amps are among the most widely used electronic devices today, being used in a vast array of consumer, industrial, and scientific devices. Many standard IC op-amps cost only a few cents in moderate production volume; however some integrated or hybrid operational amplifiers with special performance specifications may cost over $100 US in small quantities. Op-amps sometimes come in the form of macroscopic components, or asintegrated circuitcells; patterns that can be reprinted several times on one chip as part of a more complex device. The op-amp is one type ofdifferential amplifier. Other types of differential amplifier include thefully differential amplifier(similar to the op-amp, but with two outputs), theinstrumentation amplifier(usually built from three op-amps), theisolation amplifier(similar to the instrumentation amplifier, but with tolerance to common-mode voltages that would destroy an ordinary op-amp), andnegative feedback amplifier(usually built from one or more op-amps and a resistive feedback network). An Amplifier is made of: A Gain Block (ideally possessing infinite gain) Feedback A Network that sets the amount of feedback (e.g. resistors) The circuit symbol for an op-amp is shown to the right, where: The power supply pins (V_{text{S}!+}andV_{text{S}!-}) can be labelled in different ways). Despite different labelling, the function remains the same to provide additional power for amplification of signal. Often these pins are left out of the diagram for clarity, and the power configuration is described or assumed from the circuit. Op amps are versatile ICs that can perform a variety of mathematical functions. For this reason, they are the building blocks of many signal processing circuits. They have almost infinite gain, high input impedance, and low output impedance. Because of this, there is no current drawn at either input, and the voltage at both inputs must be equal (they are often drawn with a short connecting them) Op amps have two inputs, an inverting (-) and non inverting (+). A positive voltage source and negative voltage source or ground are connected directly to the op amp, although these are rarely shown on circuit diagrams. There is a single output, which is almost always connected to the inverting input with a feedback loop. Ideal Op Amps: There are three rules for analyzing op amp circuits. In addition to KVL and KCL, any op amp circuit should be solvable with these rules. Infinite input impedance. No current is drawn so: Infinite gain. This means that the input voltages must be equal. Zero output impedance. This means that output voltage does not depend on the output current. Real Op Amps: Ideal op amps are modelled with infinite gain and infinite impedance. While real op amps have high gain and low impedance, they are not infinite. This limiting factor can affect the performance of the circuit, so it should be considered. Another limitation of real op amps is voltage gain. Instead of being infinite, the maximum output voltage is about 1.4 V lower than the supply voltage (this is due to diode drops in the op amp). Ideal behaviour is not an accurate modelling technique when square waves are used. For this type of input, the voltage changes infinitely fast as it jumps from the high to the low parts of the wave. Op amps cant change instantaneously, there is a slight slope produced in the output. This can be measured by the slew rate (with is the change in voltage over the change in time). Rise time is another parameter used to calculate how quickly an op amp can adjust. The amount of time it takes the voltage to change from 10% to 90% of the desired value is the rise time. For application with square wave input, these two factors can affect the response of your circuit. Connecting an Op Amp: Op amps with Dual in Line Packages should be connected to a breadboard as shown here. The notch is at the top of the op-amp, with pins counted counter clockwise from the upper left corner. Operation: The amplifiers differential inputs consist of V_{!+}input and aV_{!-}input, and ideally the op-amp amplifies only the difference in voltage between the two, which is called thedifferential input voltage. The output voltage of the op-amp is given by the equation, WhereV_{!+}the voltage at the non-inverting terminal is,V_{!-}is the voltage at the inverting terminal andGopen-loopis theopen-loopgain of the amplifier. (The term open-loop refers to the absence of a feedback loop from the output to the input.) Op-amp with inverting input grounded through a resistor; input at the non-inverting input, and no feedback With no negative feedback, the op-amp acts as a switch. The inverting input is held at ground (0 V) by the resistor, so if the Vinapplied to the non-inverting input is positive, the output will be maximum positive, and if Vinis negative, the output will be maximum negative. Since there is no feedback from the output to either input, this is anopen loopcircuit. The circuits gain is just the Gopen-loopof the op-amp. Standard two-resistor non-inverting amplifier circuit The magnitude ofGopen-loopis typically very large-seldom less than a million-and therefore even a quite small difference betweenV_{!+}andV_{!-}(a few microvolts or less) will result in amplifier saturation, where the output voltage goes to either the extreme maximum or minimum end of its range, which is set approximately by the power supply voltages.Finleys lawstates that When the inverting and non-inverting inputs of an op-amp are not equal, its output is in saturation. Additionally, the precise magnitude ofGopen-loopis not well controlled by the manufacturing process, and so it is impractical to use an operational amplifier as a stand-alonedifferential amplifier. If linear operation is desired,negative feedbackmust be used, usually achieved by applying a portion of the output voltage to the inverting input. The feedback enables the output of the amplifier to keep the inputs at or near the same voltage so that saturation does not occur. Another benefit is that if much negative feedb ack is used, the circuits overall gain and other parameters become determined more by the feedback network than by the op-amp itself. If the feedback network is made of components with relatively constant, predictable, values such as resistors, capacitors and inductors, the unpredictability and inconstancy of the op-amps parameters (typical of semiconductor devices) do not seriously affect the circuits performance. If no negative feedback is used, the op-amp functions as a switch or comparator. Positive feedback may be used to introducehysteresisor oscillation. Returning to a consideration of linear (negative feedback) operation, the high open-loop gain and low input leakage current of the op-amp imply two golden rules that are highly useful in analysing linear op-amp circuits. Golden rules of op-amp negative feedback Ifthere is negative feedback andifthe output is not saturated, both inputs are at the same voltage; no current flows in or out of either input. These rules are true of the ideal op-amp and for practical purposes are true of real op-amps unless very high-speed or high-precision performance is being contemplated (in which case account must be taken of things such as input capacitance, input bias currents and voltages, finite speed, and otherop-amp imperfections, discussed in a later section.) As a consequence of the first rule, theinput impedanceof the two inputs will be nearly infinite. That is, even if the open-loop impedance between the two inputs is low, the closed-loop input impedance will be high because the inputs will be held at nearly the same voltage. This impedance is considered as infinite for an ideal opamp and is about onemegaohmin practice. Ideal and real op-amps: An equivalent circuit of an operational amplifier that models some resistive non-ideal parameters. An ideal op-amp is usually considered to have the following properties, and they are considered to hold for all input voltages: Infiniteopen-loop gain(when doing theoretical analysis, alimitmay be taken as open loop gainGgoes to infinity) Infinite voltage range available at the output (vout) (in practice the voltages available from the output are limited by the supply voltagesV_{text{S}!+}andV_{text{S}!-}) Infinitebandwidth(i.e., the frequency magnitude response is considered to be flat everywhere with zerophase shift). Infiniteinput impedance(so, in the diagram,R_{text{in}} = infty, and zero current flows fromv_{!+}tov_{!-}) Zero input current (i.e., there is assumed to be noleakageorbiascurrent into the device) Zeroinput offset voltage(i.e., when the input terminals are shorted so thatv_{!+}=v_{!-}, the output is avirtual groundor vout= 0). Infiniteslew rate(i.e., the rate of change of the output voltage is unbounded) and power bandwidth (full output voltage and current available at all frequencies). Zerooutput impedance(i.e.,Rout= 0, so that output voltage does not vary with output current) Zeronoise InfiniteCommon-mode rejection ratio(CMRR) InfinitePower supply rejection ratiofor both power supply rails. In practice, none of these ideals can be realized, and various shortcomings and compromises have to be accepted. Depending on the parameters of interest, a real op-amp may be modelled to take account of some of the non-infinite or non-zero parameters using equivalent resistors and capacitors in the op-amp model. The designer can then include the effects of these undesirable, but real, effects into the overall performance of the final circuit. Some parameters may turn out to havenegligibleeffect on the final design while others represent actual limitations of the final performance that must be evaluated. History: 1941: First (vacuum tube) op-amp An op-amp, defined as a general-purpose, DC-coupled, high gain, inverting feedbackamplifier, is first found in US Patent 2,401,779 Summing Amplifier filed by Karl D. Swartzel Jr. of Bell labs in 1941. This design used threevacuum tubesto achieve a gain of 90dB and operated on voltage rails of  ±350V. It had a single inverting input rather than differential inverting and non-inverting inputs, as are common in todays op-amps. ThroughoutWorld War II, Swartzels design proved its value by being liberally used in the M9artillery directordesigned at Bell Labs. This artillery director worked with the SCR584radarsystem to achieve extraordinary hit rates (near 90%) that would not have been possible otherwise. 1947: First op-amp with an explicit non-inverting input In 1947, the operational amplifier was first formally defined and named in a paper by Professor John R. Ragazzini of Columbia University. In this same paper a footnote mentioned an op-amp design by a student that would turn out to be quite significant. This op-amp, designed by Loebe Julie, was superior in a variety of ways. It had two major innovations. Its input stage used a long-tailedtriode pair with loads matched to reducedriftin the output and, far more importantly, it was the first op-amp design to have two inputs (one inverting, the other non-inverting). The differential input made a whole range of new functionality possible, but it would not be used for a long time due to the rise of the chopper-stabilized amplifier. 1949: First chopper-stabilized op-amp In 1949, Edwin A. Goldberg designed achopper-stabilized op-amp.This set-up uses a normal op-amp with an additionalACamplifier that goes alongside the op-amp. The chopper gets an AC signal fromDCby switching between the DC voltage and ground at a fast rate (60Hz or 400Hz). This signal is then amplified, rectified, filtered and fed into the op-amps non-inverting input. This vastly improved the gain of the op-amp while significantly reducing the output drift and DC offset. Unfortunately, any design that used a chopper couldnt use their non-inverting input for any other purpose. Nevertheless, the much improved characteristics of the chopper-stabilized op-amp made it the dominant way to use op-amps. Techniques that used the non-inverting input regularly would not be very popular until the 1960s when op-ampICsstarted to show up in the field. In 1953, vacuum tube op-amps became commercially available with the release of the model K2-W from George A. Philbrick Researches, Incorporated. The designation on the devices shown, GAP/R, is a contraction for the complete company name. Two nine-pin 12AX7 vacuum tubes were mounted in an octal package and had a model K2-P chopper add-on available that would effectively use up the non-inverting input. This op-amp was based on a descendant of Loebe Julies 1947 design and, along with its successors, would start the widespread use of op-amps in industry. 1961: First discrete IC op-amps With the birth of thetransistorin 1947, and the silicon transistor in 1954, the concept of ICs became a reality. The introduction of theplanar processin 1959 made transistors and ICs stable enough to be commercially useful. By 1961, solid-state, discrete op-amps were being produced. These op-amps were effectively small circuit boards with packages such as edge-connectors. They usually had hand-selected resistors in order to improve things such as voltage offset and drift. The P45 (1961) had a gain of 94dB and ran on  ±15V rails. It was intended to deal with signals in the range of  ±10V. 1962: First op-amps in potted modules By 1962, several companies were producing modular potted packages that could be plugged intoprinted circuit boards. These packages were crucially important as they made the operational amplifier into a singleblack boxwhich could be easily treated as a component in a larger circuit. 1963: First monolithic IC op-amp In 1963, the first monolithic IC op-amp, the  µA702 designed byBob Widlarat Fairchild Semiconductor, was released. MonolithicICsconsist of a single chip as opposed to a chip and discrete parts (a discrete IC) or multiple chips bonded and connected on a circuit board (a hybrid IC). Almost all modern op-amps are monolithic ICs; however, this first IC did not meet with much success. Issues such as an uneven supply voltage, low gain and a small dynamic range held off the dominance of monolithic op-amps until 1965 when the  µA709 was released. 1966: First varactor bridge op-amps Since the 741, there have been many different directions taken in op-amp design.Varactorbridge op-amps started to be produced in the late 1960s; they were designed to have extremely small input current and are still amongst the best op-amps available in terms of common-mode rejection with the ability to correctly deal with hundreds of volts at their inputs. 1968: Release of the  µA741 The popularity of monolithic op-amps was further improved upon the release of the LM101 in 1967, which solved a variety of issues, and the subsequent release of the  µA741 in 1968. The  µA741 was extremely similar to the LM101 except that Fairchilds facilities allowed them to include a 30pF compensation capacitor inside the chip instead of requiring external compensation. This simple difference has made the 741thecanonical op-amp and many modern amps base their pin out on the 741s.The  µA741 is still in production, and has become ubiquitous in electronics-many manufacturers produce a version of this classic chip, recognizable by part numbers containing741. 1970: First high-speed, low-input current FET design In the 1970s high speed, low-input current designs started to be made by usingFETs. These would be largely replaced by op-amps made withMOSFETsin the 1980s. During the 1970s single sided supply op-amps also became available. 1972: Single sided supply op-amps being produced A single sided supply op-amp is one where the input and output voltages can be as low as the negative power supply voltage instead of needing to be at least two volts above it. The result is that it can operate in many applications with the negative supply pin on the op-amp being connected to the signal ground, thus eliminating the need for a separate negative power supply. The LM324 (released in 1972) was one such op-amp that came in a quad package (four separate op-amps in one package) and became an industry standard. In addition to packaging multiple op-amps in a single package, the 1970s also saw the birth of op-amps in hybrid packages. These op-amps were generally improved versions of existing monolithic op-amps. As the properties of monolithic op-amps improved, the more complex hybrid ICs were quickly relegated to systems that are required to have extremely long service lives or other specialty systems. Recent trends Recently supply voltages in analog circuits have decreased (as they have in digital logic) and low-voltage op-amps have been introduced reflecting this. Supplies of  ±5V and increasingly 5V are common. To maximize the signal range modern op-amps commonly have rail-to-rail inputs (the input signals can range from the lowest supply voltage to the highest) and sometimes rail-to-rail outputs. A very typical commercial IC op amp circuit is the 741. This IC has been available for many years, and a number of variations have been developed to help minimize the errors inherent in its construction and operation. Nevertheless, the analysis we will perform here using the 741 will apply to any other IC op amp, if you take into account the actual parameters of the device you are actually using. Therefore, we will use the 741 as our example IC op amp. A differential amplifier connected as an op amp. To the right is a circuit using the 741 op amp IC, with the input and feedback resistors that are required for this circuit to operate properly in an analog computer. Note that there are actually two inputs to the amplifier, designated + and - in the figure. This is because the 741, like all IC op amps of this type, is in fact a differential amplifier. Thus, the output voltage is determined by thedifferencebetween the two input voltages. The +, or non-inverting input, is grounded through a resistor as shown. Thus, its input voltage is always zero. The -, or inverting input, is the one that is actively used. Thus, we establish that the inverting input, which is also the junction of the input and feedback resistors, must operate as a virtual ground in order to keep the output voltage within bounds. So far, so good, but what about the actual voltage gain? It cant possibly be infinite, and if it isnt infinite, there must be some non-zero input voltage to produce a non-zero output voltage. In fact, the typical open-loop voltage gain for the 741 is 200,000. This does not mean that every such device has a gain of 200,000, however. What is guaranteed is that the commercial version (the 741C) will have a minimum gain of 20,000. The military version is more stringently selected, and will have a minimum voltage gain of 50,000. For the 741C, then, with a maximum output voltage of  ±10 volts, the maximum input voltage required at the inverting input can never be more than  ±10/20,000 =  ±0.0005 volt, or 0.5 milli volts. Typical measurement accuracy uses three significant digits, so we would measure voltages from 0.00 volts to  ±10.00 volts. The maximum input voltage is more than an order of magnitude smaller than this, and hence is insignificant in a typical analog computer. But what about input bias current? Surely the IC requires at leastsomesmall amount of input current? Well, yes, it does. The 741C requires a typical input bias current of 80 nA (thats nano Amperes, where 1nA=10-9A). The maximum input bias current for the 741C is 500nA, or 0.5 µA. So how do we use this information to minimize the errors it could cause into insignificance? Well, lets consider the resistance that would be required for this current to cause a significant voltage drop. If we keep the voltage error small enough, we can ignore it as immeasurable. This means we must keep the values of Rinand Rfas small as possible, consistent with proper operation of the circuit. At the same time, we cannot make them too small, or the op amp itself will be overloaded. For proper operation, the total load resistance at the 741 output should not be smaller than 2000 ohms, or 2k. This amounts to a maximum output current of 5 mA at 10 volts output. This means that the output resistance of the op amp is not the desired zero ohms. However, as long as you dont draw too much current from the output, the use of heavy negative feedback has an added benefit: It makes the op amp behaveas ifit had zero output resistance. That is, any internal resistance will simply mean that the op amp must produce an internal voltage enough higher than the calculated value so that the final output voltage will be the calculated value. So what if we make our input and feedback resistors about 10k each? Then the current demand on the output is only 1 mA at 10 volts, leaving plenty of capacity for additional inputs. And the voltage caused by the input bias current wont exceed 10,000-0.5-10-6=0.005volt. This is half of the least significant digit of our measurement capability, which is not as good as we would like, but will do. Also, this is the absolute worst-case situation; most practical applications wont see an error this big. In addition, the input bias current applies equally to both inputs. This is the reason for the resistor connecting the + input to ground. If this resistor is close in value to the parallel combination of Rin and Rf, the same voltage error will be generated at the two inputs, and will therefore be cancelled out, or very nearly. Thus, we can relegate this problem to true insignificance by means of correct circuit design and careful choice of component values. The 741 does also have two error characteristics, calledinput offset voltageandinput offset current, which define the inherent errors which may exist between the two inputs to the IC. However, the 741 also has the means for balancing these variations out, so the actual errors are minimized or eliminated, thus once again removing them from significance. A problem with any op amp is a limited frequency response. The higher the gain of the complete circuit, the lower the working frequency response. This is one reason an overall gain of 20 is a practical limit. (Another reason is that the input and feedback resistors become too different from each other.) Also, the standard 741 has aslew rateof 0.5v/ µs. This means that the output voltage cannot change any faster than this. The newer generation of op amps, such as the 741S, have a slew rate more like 5v/ µs, and hence can operate over the entire audio range of frequencies without serious problems. Classification of Operational Amplifier: Op-amps may be classified by their construction: discrete (built from individualtransistorsortubes/valves) IC (fabricated in anIntegrated circuit) most common hybrid IC op-amps may be classified in many ways, including: Military, Industrial, or Commercial grade (for example: the LM301 is the commercial grade version of the LM101, the LM201 is the industrial version). This may defineoperating temperatureranges and other environmental or quality factors. Classification by package type may also affect environmental hardiness, as well as manufacturing options;DIP, and other through-hole packages are tending to be replaced bySurface-mount devices. Classification by internal compensation: op-amps may suffer from high frequencyinstabilityin somenegative feedbackcircuits unless a small compensation capacitor modifies the phase- and frequency- responses; op-amps with capacitor built in are termedcompensated, or perhaps compensated forclosed-loopgains down to (say) 5, others: uncompensated. Single, dual and quad versions of many commercial op-amp IC are available, meaning 1, 2 or 4 operational amplifiers are included in the same package. Rail-to-rail input (and/or output) op-amps can work with input (and/or output) signals very close to the power supply rails. CMOSop-amps (such as the CA3140E) provide extremely high input resistances, higher thanJFET-input op-amps, which are normally higher thanbipolar-input op-amps. Other varieties of op-amp include programmable op-amps (simply meaning the quiescent current, gain, and bandwidth and so on can be adjusted slightly by an external resistor). Manufacturers often tabulate their op-amps according to purpose, such as low-noise pre-amplifiers, wide bandwidth amplifiers, and so on. Single-Ended Inputs With single-ended inputs you connect one wire from each signal source to the data acquisition interface the Micro link. The measurement is the difference between the signal and the ground or earth at the Micro link. This method relies on the signal source being grounded (earthed), and the signal sources ground and the Micro links ground having the same value. Differences in Ground Levels We think of the ground as a constant 0V, but in reality the ground, or earth, is at a different level in different places. The closer together the places, the more likely the ground level will be the same. Make a connection between two grounds and the difference in levels can drive large currents, known as earth or ground loops. This can lead to errors when using single-ended inputs. Noise Errors Single-ended inputs are sensitive to noise errors. Noise (unwanted signal contamination) is added because signal wires act as aerials, picking up environmental electrical activity. With single-ended inputs you have no way of distinguishing between the signal and the noise. The ground and noise problems can be solved by differential inputs. Differential Inputs With differential inputs, two signal wires run from each signal source to the Microlink. One goes to a + input and one to a input. Two high-impedance amplifiers monitor the voltage between the input and the interface ground. The outputs of the two amplifiers are then subtracted by a third amplifier to give the difference between the + and inputs, meaning that any voltage common to both wires is removed. This can solve both of the problems caused by single-ended connections. It means that differences in grounds are irrelevant (as long as they arent too large for the amplifier to handle). It also reduces noise twisting wires together will ensure that any noise picked up will be the same for each wire. Floating Signals A common problem when using differential inputs is neglecting any connection to ground. For example, battery-powered instruments and thermocouples have no connection to a buildings ground. You could connect a battery, for instance, between the Micro links + and inputs. The 2 input amplifiers will try to monitor the voltages + to earth and to ground. However, as there is no connection between the battery and ground, these voltages to ground could be any value and may be too large for the amplifier to handle. For these floating signal sources you should provide a reference. The Micro link has a socket labelled 0V. Run a wire from, say, the wire to this OV socket, either directly or via a resistor. (If your signal source is itself grounded dont make a connection to the Micro links 0V socket.) Amplifier Ability and Operating Range The three amplifiers used for differential inputs are collectively known as an instrumentation amplifier. Ideally, as previously described, any voltage common to both wires (common mode voltage) is cancelled. In practice the two input amplifiers are not perfectly matched so a fraction of the common mode voltage may appear. How closely the instrumentation amplifier approaches the ideal is expressed as the common mode rejection ratio (CMRR). This is the reciprocal of the fraction let through and is usually given in decibels. The higher the rejection ratio the better. Another specification to look for is the common mode range. This is the maximum contamination voltage with which the amplifier can cope. If the difference in ground levels between your interface and signal source exceeds this value, your measurement will be inaccurate. Less Signals with Differential Inputs? An obvious disadvantage of differential inputs is that you need twice as many wires, so you can connect only half the number of signals, compared to single-ended inputs. Should you decide that single-ended inputs are OK for you if you have short signal wires, close together signal sources, and signals larger than around 100 mV for e.g. you can use differential inputs in single-ended mode. To do this short one of the signal wires (usually the input) to the Micro link V input. Differential inputs, therefore, give you the option of either mode. Op-Amp Characteristics: A very typical commercial IC op amp circuit is the 741. This IC has been available for many years, and a number of variations have been developed to help minimize the errors inherent in its construction and operation. Nevertheless, the analysis we will perform here using the 741 will apply to any other IC op amp, if you take into account the actual parameters of the device you are actually using. Therefore, we will use the 741 as our example IC op amp. A differential amplifier connected as an op amp. To the right is a circuit using the 741 op amp IC, with the input and feedback resistors that are required for this circuit to operate properly in an analog computer. Note that there are actually two inputs to the amplifier, designated + and - in the figure. This is because the 741, like all IC op amps of this type, is in fact a differential amplifier. Thus, the output voltage is determined by thedifferencebetween the two input voltages. The +, or non-inverting input, is grounded through a resistor as shown. Thus, its input voltage is always zero. The -, or inverting input, is the one that is actively used. Thus, we establish that the inverting input, which is also the junction of the input and feedback resistors, must operate as a virtual ground in order t

Comparing Poor Mans Pudding, Bartleby, Ministers Black Veil, or Masqu

Lack of Epiphany in Poor Man's Pudding, Bartleby, Minister's Black Veil, or Masque of the Red Death In the Melville stories, "Poor Man's Pudding and Rich Man's Crumbs" and "Bartleby, the Scrivener", the narrators go through what appear to be life-changing experiences. Hawthorne offers a similar outline in "The Minister's Black Veil" as does Poe in "Masque of the Red Death". Yet, at the conclusion of each of these stories, there is no evidence to suggest that the narrator is affected by the differences (and perhaps similarities) of their lives and those less fortunate.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In "Poor Man's Pudding and Rich Man's Crumbs" The narrator has the opportunity to absorb, as much as an "outsider" can, the heartache and trials of the lower class. While he cannot deny the experience of being in the Coulters home as thought provoking-- that appears to be all it is for him. "But the instinct of the poor is wiser than we think". He does not totally align himself with the upper class in the second part of the story but he will not refuse the benefits and privileges of wealth. He may be inwardly affected by the gluttony and callousness of the rich and the sympathetic circumstances of the poor, but any inward conversion is not exemplified in his outward behavior. ..Of all the preposterous assumptions of humanity over humanity, nothing exceeds most of the criticisms made on the habits of the poor by the well-housed, well-warmed, and well-fed".Here, I believe, the reader is the one who is changed by the narrator's experiences an d the lack of change on the part of the narrator is upsetting to the reader. The reader is able to go with the narrator through both situations, but unlike the narrator, the reader is able to sympathize with th... ...ected by the differences (and perhaps similarities) of their lives and those less fortunate. They stand at the crossroad that would define their character and their future course of action. Some choose ambivalence, some choose to see and turn away, others may even convince themselves that they are actually better than they used to be. But without acting on any internal change these people have failed to convince the reader that they have been redeemed. Their inability or unwillingness to extend themselves to the cause of brotherhood and human kindness is their testament. The reader has no pity for these men, but unlike them the reader can internalize the lessons of their experiences and effect change in their own lives. Their failure to act is their greatest folly, but the reader can rise above these characters, recognizing their failure and take a different path. Comparing Poor Man's Pudding, Bartleby, Minister's Black Veil, or Masqu Lack of Epiphany in Poor Man's Pudding, Bartleby, Minister's Black Veil, or Masque of the Red Death In the Melville stories, "Poor Man's Pudding and Rich Man's Crumbs" and "Bartleby, the Scrivener", the narrators go through what appear to be life-changing experiences. Hawthorne offers a similar outline in "The Minister's Black Veil" as does Poe in "Masque of the Red Death". Yet, at the conclusion of each of these stories, there is no evidence to suggest that the narrator is affected by the differences (and perhaps similarities) of their lives and those less fortunate.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In "Poor Man's Pudding and Rich Man's Crumbs" The narrator has the opportunity to absorb, as much as an "outsider" can, the heartache and trials of the lower class. While he cannot deny the experience of being in the Coulters home as thought provoking-- that appears to be all it is for him. "But the instinct of the poor is wiser than we think". He does not totally align himself with the upper class in the second part of the story but he will not refuse the benefits and privileges of wealth. He may be inwardly affected by the gluttony and callousness of the rich and the sympathetic circumstances of the poor, but any inward conversion is not exemplified in his outward behavior. ..Of all the preposterous assumptions of humanity over humanity, nothing exceeds most of the criticisms made on the habits of the poor by the well-housed, well-warmed, and well-fed".Here, I believe, the reader is the one who is changed by the narrator's experiences an d the lack of change on the part of the narrator is upsetting to the reader. The reader is able to go with the narrator through both situations, but unlike the narrator, the reader is able to sympathize with th... ...ected by the differences (and perhaps similarities) of their lives and those less fortunate. They stand at the crossroad that would define their character and their future course of action. Some choose ambivalence, some choose to see and turn away, others may even convince themselves that they are actually better than they used to be. But without acting on any internal change these people have failed to convince the reader that they have been redeemed. Their inability or unwillingness to extend themselves to the cause of brotherhood and human kindness is their testament. The reader has no pity for these men, but unlike them the reader can internalize the lessons of their experiences and effect change in their own lives. Their failure to act is their greatest folly, but the reader can rise above these characters, recognizing their failure and take a different path.

Frostbite Chapter 2

TWO DIMITRI MADE ONE PHONE CALL, and a veritable SWAT team showed up. It took a couple of hours, though, and every minute spent waiting felt like a year. I finally couldn't take it anymore and returned to the car. Dimitri examined the house further and then came to sit with me. Neither of us said a word while we waited. A slide show of the grisly sights inside the house kept playing in my mind. I felt scared and alone and wished he would hold me or comfort me in some way. Immediately, I scolded myself for wanting that. I reminded myself for the thousandth time that he was my instructor and had no business holding me, no matter what the situation was. Besides, I wanted to be strong. I didn't need to go running to some guy every time things got tough. When the first group of guardians showed up, Dimitri opened the car door and glanced over at me. â€Å"You should see how this is done.† I didn't want to see any more of that house, honestly, but I followed anyway. These guardians were strangers to me, but Dimitri knew them. He always seemed to know everybody. This group was surprised to find a novice on the scene, but none of them protested my presence. I walked behind them as they examined the house. None of them touched anything, but they knelt by the bodies and studied the bloodstains and broken windows. Apparently, the Strigoi had entered the house through more than just the front door and back patio. The guardians spoke in brusque tones, displaying none of the disgust and fear I felt. They were like machines. One of them, the only woman in the group, crouched beside Arthur Schoenberg. I was intrigued since female guardians were so rare. I'd heard Dimitri call her Tamara, and she looked about twenty-five. Her black hair just barely touched her shoulders, which was common for guardian women. Sadness flickered in her gray eyes as she studied the dead guardian's face. â€Å"Oh, Arthur,† she sighed. Like Dimitri, she managed to convey a hundred things in just a couple words. â€Å"Never thought I'd see this day. He was my mentor.† With another sigh, Tamara rose. Her face had become all businesslike once more, as though the guy who'd trained her wasn't lying there in front of her. I couldn't believe it. He was her mentor. How could she keep that kind of control? For half a heartbeat, I imagined seeing Dimitri dead on the floor instead. No. No way could I have stayed calm in her place. I would have gone on a rampage. I would have screamed and kicked things. I would have hit anyone who tried to tell me things would be okay. Fortunately, I didn't believe anyone could actually take down Dimitri. I'd seen him kill a Strigoi without breaking a sweat. He was invincible. A badass. A god. Of course, Arthur Schoenberg had been too. â€Å"How could they do that?† I blurted out. Six sets of eyes turned to me. I expected a chastising look from Dimitri for my outburst, but he merely appeared curious. â€Å"How could they kill him?† Tamara gave a small shrug, her face still composed. â€Å"The same way they kill everyone else. He's mortal, just like the rest of us.† â€Å"Yeah, but he's †¦ you know, Arthur Schoenberg.† â€Å"You tell us, Rose,† said Dimitri. â€Å"You've seen the house. Tell us how they did it.† As they all watched me, I suddenly realized I might be undergoing a test after all today. I thought about what I'd observed and heard. I swallowed, trying to figure out how the impossible could be possible. â€Å"There were four points of entry, which means at least four Strigoi. There were seven Moroi†¦Ã¢â‚¬  The family who lived here had been entertaining some other people, making the massacre that much larger. Three of the victims had been children. â€Å"†¦ and three guardians. Too many kills. Four Strigoi couldn't have taken down that many. Six probably could if they went for the guardians first and caught them by surprise. The family would have been too panicked to fight back.† â€Å"And how did they catch the guardians by surprise?† Dimitri prompted. I hesitated. Guardians, as a general rule, didn't get caught by surprise. â€Å"Because the wards were broken. In a household without wards, there'd probably be a guardian walking the yard at night. But they wouldn't have done that here.† I waited for the next obvious question about how the wards had been broken. But Dimitri didn't ask it. There was no need. We all knew. We'd all seen the stake. Again, a chill ran down my spine. Humans working with Strigoia large group of Strigoi. Dimitri simply nodded as a sign of approval, and the group continued their survey. When we reached a bathroom, I started to avert my gaze. I'd already seen this room with Dimitri earlier and had no wish to repeat the experience. There was a dead man in there, and his dried blood stood out in stark contrast against the white tile. Also, since this room was more interior, it wasn't as cold as the area by the open patio. No preservation. The body didn't smell bad yet, exactly, but it didn't smell right, either. But as I started to turn away, I caught a glimpse of something dark redmore brown, reallyon the mirror. I hadn't noticed it before because the rest of the scene had held all of my attention. There was writing on the mirror, done in blood. Poor, poor Badicas. So few left. One royal family nearly gone. Others to follow. Tamara snorted in disgust and turned away from the mirror, studying other details of the bathroom. As we walked out, though, those words repeated in my head. One royal family nearly gone. Others to follow. The Badicas were one of the smaller royal clans, it was true. But it was hardly like those who had been killed here were the last of them. There were probably almost two hundred Badicas left. That wasn't as many as a family like, say, the Ivashkovs. That particular royal family was huge and widespread. There were, however, a lot more Badicas than there were some other royals. Like the Dragomirs. Lissa was the only one left. If the Strigoi wanted to snuff out royal lines, there was no better chance than to go after her. Moroi blood empowered Strigoi, so I understood their desire for that. I supposed specifically targeting royals was simply part of their cruel and sadistic nature. It was ironic that Strigoi would want to tear apart Moroi society, since many of them had once been a part of it. The mirror and its warning consumed me for the rest of our stay at the house, and I found my fear and shock transforming into anger. How could they do this? How could any creature be so twisted and evil that they'd do this to a familythat they'd want to wipe out an entire bloodline? How could any creature do this when they'd once been like me and Lissa? And thinking of Lissathinking of Strigoi wanting to wipe out her family toostirred up a dark rage within me. The intensity of that emotion nearly knocked me over. It was something black and miasmic, swelling and roiling. A storm cloud ready to burst. I suddenly wanted to tear up every Strigoi I could get my hands on. When I finally got into the car to ride back to St. Vladimir's with Dimitri, I slammed the door so hard that it was a wonder it didn't fall off. He glanced at me in surprise. â€Å"What's wrong?† â€Å"Are you serious?† I exclaimed, incredulous. â€Å"How can you ask that? You were there. You saw that.† â€Å"I did,† he agreed. â€Å"But I'm not taking it out on the car.† I fastened my seat belt and glowered. â€Å"I hate them. I hate them all! I wish I'd been there. I would have ripped their throats out!† I was nearly shouting. Dimitri stared at me, face calm, but he was clearly astonished at my outburst. â€Å"You really think that's true?† he asked me. â€Å"You think you could have done better than Art Schoenberg after seeing what the Strigoi did in there? After seeing what Natalie did to you?† I faltered. I'd tangled briefly with Lissa's cousin, Natalie, when she became a Strigoi, just before Dimitri had shown up to save the day. Even as a new Strigoiweak and uncoordinatedshe'd literally thrown me around the room. I closed my eyes and took a deep breath. Suddenly, I felt stupid. I'd seen what Strigoi could do. Me running in impetuously and trying to save the day would have only resulted in a quick death. I was developing into a tough guardian, but I still had a lot to learnand one seventeen-year-old girl couldn't have stood against six Strigoi. I opened my eyes. â€Å"I'm sorry,† I said, gaining control of myself. The rage that had exploded inside me diffused. I didn't know where it had come from. I had a short temper and often acted impulsively, but this had been intense and ugly even for me. Weird. â€Å"It's okay,† said Dimitri. He reached over and placed his hand on mine for a few moments. Then he removed it and started the car. â€Å"It's been a long day. For all of us.† When we got back to St. Vladimir's Academy around midnight, everyone knew about the massacre. The vampiric school day had just ended, and I hadn't slept in more than twenty-four hours. I was bleary-eyed and sluggish, and Dimitri ordered me to immediately go back to my dorm room and get some sleep. He, of course, looked alert and ready to take on anything. Sometimes I really wasn't sure if he slept at all. He headed off to consult with other guardians about the attack, and I promised him I'd go straight to bed. Instead, I turned toward the library once he was out of sight. I needed to see Lissa, and the bond told me that was where she was. It was pitch-black as I walked along the stone walkway that crossed the quad from my dorm to the secondary school's main building. Snow completely covered the grass, but the sidewalk had been meticulously cleared of all ice and snow. It reminded me of the poor Badicas' neglected home. The commons building was large and gothic-looking, more suited to a medieval movie set than a school. Inside, that air of mystery and ancient history continued to permeate the building: elaborate stone walls and antique paintings warring with computers and fluorescent lights. Modern technology had a foothold here, but it would never dominate. Slipping through the library's electronic gate, I immediately headed for one of the back corners where geography and travel books were kept. Sure enough, I found Lissa sitting there on the floor, leaning against a bookcase. â€Å"Hey,† she said, looking up from an open book propped up on one knee. She brushed a few strands of pale hair out of her face. Her boyfriend, Christian, lay on the floor near her, his head propped up on her other knee. He greeted me by way of a nod. Considering the antagonism that sometimes flared up between us, that was almost on par with him giving me a bear hug. Despite her small smile, I could feel the tension and fear in her; it sang through the bond. â€Å"You heard,† I said, sitting down cross-legged. Her smile slipped, and the feelings of fear and unease within her intensified. I liked that our psychic connection let me protect her better, but I didn't really need my own troubled feelings amplified. â€Å"It's awful,† she said with a shudder. Christian shifted and linked his fingers through hers. He squeezed her hand. She squeezed back. Those two were so in love and sugary sweet with each other that I felt like brushing my teeth after being around them. They were subdued just now, however, no doubt thanks to the massacre news. â€Å"They're saying†¦they're saying there were six or seven Strigoi. And that humans helped them break the wards.† I leaned my head back against a shelf. News really did travel fast. Suddenly, I felt dizzy. â€Å"It's true.† â€Å"Really?† asked Christian. â€Å"I figured that was just a bunch of hyped-up paranoia.† â€Å"No †¦Ã¢â‚¬  I realized then that nobody knew where I'd been today. â€Å"I†¦ I was there.† Lissa's eyes widened, shock coursing into me from her. Even Christianthe poster child for â€Å"smartass†looked grim. If not for the horribleness of it all, I would have taken satisfaction in catching him off guard. â€Å"You're joking,† he said, voice uncertain. â€Å"I thought you were taking your Qualifier†¦Ã¢â‚¬  Lissa's words trailed off. â€Å"I was supposed to,† I said. â€Å"It was just a wrong-place-and-wrong-time kind of thing. The guardian who was going to give me the test lived there. Dimitri and I walked in, and†¦Ã¢â‚¬  I couldn't finish. Images of the blood and death that had filled the Badica house flashed through my mind again. Concern crossed both Lissa's face and the bond. â€Å"Rose, are you okay?† she asked softly. Lissa was my best friend, but I didn't want her to know how scared and upset the whole thing had made me. I wanted to be fierce. â€Å"Fine,† I said, teeth clenched. â€Å"What was it like?† asked Christian. Curiosity filled his voice, but there was guilt there toolike he knew it was wrong to want to know about such a horrible thing. He couldn't stop himself from asking, though. Lack of impulse control was one thing we had in common. â€Å"It was †¦Ã¢â‚¬  I shook my head. â€Å"I don't want to talk about it.† Christian started to protest, and then Lissa ran a hand through his sleek black hair. The gentle admonishment silenced him. A moment of awkwardness hung between us all. Reading Lissa's mind, I felt her desperately grope for a new topic. â€Å"They say this is going to mess up all of the holiday visits,† she told me after several more moments. â€Å"Christian's aunt is going to visit, but most people don't want to travel, and they want their kids to stay here where it's safe. They're terrified this group of Strigoi is on the move.† I hadn't thought about the ramifications of an attack like this. We were only a week or so away from Christmas. Usually, there was a huge wave of travel in the Moroi world this time of year. Students went home to visit their parents; parents came to stay on campus and visit their children. â€Å"This is going to keep a lot of families separated,† I murmured. â€Å"And mess up a lot of royal get-togethers,† said Christian. His brief seriousness had vanished; his snide air was back. â€Å"You know how they are this time of yearalways competing with each other to throw the biggest parties. They won't know what to do with themselves.† I could believe it. My life was about fighting, but the Moroi certainly had their share of internal strifeparticularly with nobles and royals. They waged their own battles with words and political alliances, and honestly, I preferred the more direct method of hitting and kicking. Lissa and Christian in particular had to navigate some troubled waters. They were both from royal families, which meant they got a lot of attention both inside and outside of the Academy. Things were worse for them than for most Moroi royals. Christian's family lived under the shadow cast by his parents. They had purposely become Strigoi, trading their magic and morality to become immortal and subsist on killing others. His parents were dead now, but that didn't stop people from not trusting him. They seemed to think he'd go Strigoi at any moment and take everyone else with him. His abrasiveness and dark sense of humor didn't really help things, either. Lissa's attention came from being the last one left in her family. No other Moroi had enough Dragomir blood in them to earn the name. Her future husband would probably have enough somewhere in his family tree to make sure her children were Dragomirs, but for now, being the only one made her kind of a celebrity. Thinking about this suddenly reminded me of the warning scrawled on the mirror. Nausea welled up in me. That dark anger and despair stirred, but I pushed it aside with a joke. â€Å"You guys should try solving your problems like we do. A fistfight here and there might do you royals some good.† Both Lissa and Christian laughed at this. He glanced up at her with a sly smile, showing his fangs as he did. â€Å"What do you think? I bet I could take you if we went one on one.† â€Å"You wish,† she teased. Her troubled feelings lightened. â€Å"I do, actually,† he said, holding her gaze. There was an intensely sensual note to his voice that made her heart race. Jealousy shot through me. She and I had been best friends our entire life. I could read her mind. But the fact remained: Christian was a huge part of her world now, and he played a role I never couldjust as he could never have a part of the connection that existed between me and her. We both sort of accepted but didn't like the fact that we had to split her attention, and at times, it seemed the truce we held for her sake was paper thin. Lissa brushed her hand against his cheek. â€Å"Behave.† â€Å"I am,† he told her, his voice still a little husky. â€Å"Sometimes. But sometimes you don't want me to†¦.† Groaning, I stood up. â€Å"God. I'm going to leave you guys alone now.† Lissa blinked and dragged her eyes away from Christian, suddenly looking embarrassed. â€Å"Sorry,† she murmured. A delicate pink flush spread over her cheeks. Since she was pale like all Moroi, it actually sort of made her look prettier. Not that she needed much help in that department. â€Å"You don't have to go†¦.† â€Å"No, it's fine. I'm exhausted,† I assured her. Christian didn't look too broken up about seeing me leave. â€Å"I'll catch you tomorrow.† I started to turn away, but Lissa called to me. â€Å"Rose? Are you†¦are you sure you're okay? After everything that happened?† I met her jade green eyes. Her concern was so strong and deep that it made my chest ache. I might be closer to her than anyone else in the world, but I didn't want her worrying about me. It was my job to keep her safe. She shouldn't be troubled about protecting meparticularly if Strigoi had suddenly decided to make a hit list of royals. I flashed her a saucy grin. â€Å"I'm fine. Nothing to worry about except you guys tearing each other's clothes before I get a chance to leave.† â€Å"Then you better go now,† said Christian dryly. She elbowed him, and I rolled my eyes. â€Å"Good night,† I told them. As soon as my back was to them, my smile vanished. I walked back to my dorm with a heavy heart, hoping I wouldn't dream about the Badicas tonight.

Literature questions

1. What is the nature of Feudal society in the Middle Ages? How might Aquinas’ concept of Natural Law reflect the more general medieval belief in hierarchy and a hierarchical universe? How does Dante’s Inferno also reflect the medieval belief in hierarchy? In other words, how does the poem structure the punishment of sin in relationship to God’s love (or its absence)? Provide two examples to illustrate this relationship, one early, one late, to show the change as we descend. The nature of Feudal society in the Middle Ages was very much that the roles of people of various classes were very much defined. The feudal lords would rule over the peasants and each person’s role in society was defined by his rank and his birth. The concept of Aquinas’ Natural Law philosophy reflects the more general medieval belief in hierarchy and hierarchical universe because this philosophy implies that there is a natural state of things; for example, the poor should be beneath the rich. Also, the concept of what is right versus what is wrong is part of this Natural Law. This idea is evident in the beliefs of the medieval period and within that particular society. In literature this belief is also reflected, such as in Dante’s Inferno, a poem that deals with hell and damnation. In this literature the medieval belief in hierarchy is connected to the idea of man’s sin. The idea of purgatory is important to the medieval belief in hierarchy because it leads one to believe that there is a natural order in the universe as well as on earth. Just as the main character in Dante’s Inferno must go through various stages of hell and purgatory before he can be reconnected with God’s love, so is this seen on earth in earthly institutions and society. 2. What are the key features of Renaissance Humanism? How does it view the capacities of humanity in distinction to the views of the Middle Ages? How might Shakespeare’s Much Ado About Nothing reflect the new Renaissance view of humanity? Renaissance humanism is a philosophical movement that put a great deal of emphasis on what mankind can accomplish. In direct contradiction to the traditional Christian beliefs in Europe at the time, which focused on the sinfulness of mankind and that he was nothing without God, the humanist movement steered people towards the liberal arts and the humanities in hopes that the potential of mankind could be appreciated. This philosophy was almost heretical because it places such an emphasis on beauty, art, and humankind and not completely on God. While the Middle Ages saw all things that mankind accomplished as being, by nature, sinful because of the sinful nature, humanism was all about appreciating what mankind can accomplish. In â€Å"Much Ado About Nothing† by William Shakespeare the ideals of humanism are definitely reflected because of the strong emphasis on the arts and the importance of the individual as opposed to the group. In this play we see a lot of elements that are a precursor to the Romantic era, with the relationships between the lovers and the way that each of the characters interacts with each other. 3. How does the Enlightenment tend to view mankind and society? What do these thinkers believe will promote progress, happiness, and justice? How does Voltaire’s Candide both express and critique these Enlightenment assumptions? The Age of Enlightenment was a time when people were beginning to reexamine the accepted ideals and beliefs of times past. It was a time of reason, when they began to really look for their own answers and not relying solely on the Church to tell them what to believe, or the monarchs. The Enlightenment viewed mankind and society as having free will, not having innate virtues given to them automatically by God. Society was supposed to help create equality, liberty, and fraternity, and even accepted forms of government were reexamined. The thinkers of the Enlightenment believed that true progress, happiness, and justice could only be achieved by creating societies that nurtured mankind’s search for reason and establishing equality among people. In Voltaire’s Candide the writer shows the audience the transition from the beliefs of the Middle Ages to the Enlightenment in the difference between the attitudes of two of the characters. In this story Pangloss sees the world as being naturally right, while Candide feels that it is not fate that makes a persons life, but their own actions. This idea is seen throughout the story of these two characters as they progress through El Dorado, where gold is not worth anything because there is so much of it. This idea is also very rational in nature and reflects the Enlightenment view. 4. How does the Romantic movement represent a revolt against key Enlightenment values? How might Emily Bronte’s Wuthering Heights express some reservations about some extreme Romantic assertions, particularly about the passions of the â€Å"natural† self as opposed to the artificial constraints of civilization? The Romantic movement represents a revolt against key Enlightenment values because it was during this period that there was a shift in values and core beliefs from the logical and rational emphasis of the Enlightenment to a period that focused more on the natural passions of each individual person. While the Enlightenment focuses more on the head, the Romantic period definitely was all about the heart, and people projected that shift in values through their art and writing. Everything about the Romantic period challenged the view that science, reasoning, and society were what needed to dictate one’s actions. Instead, the focus should be on one’s own wants and needs. In a novel like Wuthering Heights, written during the Romantic period, these extreme Romantic assertions were even challenged. In this novel the characters are fighting with their inner passions and their natural selves. The love story between Heathcliff and Catherine is a perfect example of a Romantic relationship: she’s rich, he’s poor, and he is very much the antagonistic type of character and yet she loves him because of what is in her heart. While the Romantic period was all about opposing the artificial constraints of civilization and not worrying about what society dictates but instead depending on their own feelings to dictate them, this novel challenges this by posing questions about whether or not the relationship between these two main characters is really a good one. 5. Andre Gide’s Straight is the Gate, published in 1909, is set in the period just before World War One: in other words, at a time when it was still possible to hold nineteenth-century ideals. Even though Gide was unaware of the catastrophe about to fall on Europe, he still seems to sense that there is something wrong with the bourgeois world of the age. What does the story suggest is wrong with this pre-war world? How might Gide be classified as a modernist? In Andre Gide’s Strait is the Gate seems to suggest that there are problems existent in the pre-war world of Europe, mostly having to do with the bourgeois world of the age and the way that people viewed each other. This story at first glance is a love story that deals with the way that dedication to God can change the way people relate to each other, particuarly in the relationship between Alissa and Jerome, but it shows that the Romantic ideals of the 19th century were still being held onto by many people in Europe. Gide can be classified as a modernist because his style was very modern but, more importantly, his themes were modern in that he was a humanist that was moving away from the 19th century beliefs that were prevalent at the time and dealing with issues in society, especially issues dealing with homosexuality and challenging religious beliefs.