Advanced. Engineering Mathematics. KA. SECOND EDITION. Michael D. Greenberg. Department of Mechanical Engineering. University of Delaware, Newark. Advanced Engineering Mathematics, 2nd Edition. Michael Greenberg, University of Delaware. © |Pearson | Available. Share this page. Advanced. I used this book for a graduate-level two-course sequence on engineering math based largely on Greenberg's own courses (there's a lot of faculty from Cornell.
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PDF Advanced Engineering Mathematics 2nd Edition solution manuals or printed answer keys, our experts show you how to solve each. edition) pdf by michael greenberg this engineering mathematics is ok its uses by some advanced engineering mathematics michael greenberg pdf - [PDF]Advanced Engineering Mathematics 2nd Edition (Solutions Manual) by Michael D. Greenberg. Showing of 5 messages. [PDF]Advanced Engineering .
It's as if Donne was in some hidden way crying out for someone, anyone, to raise him from his deplorable state.
Is it any wonder, then, that Donne was so full of sorrow? Guss was saying- " Donne was so accepting of "sex" and "abstract reasoning" and "bias" and "self-knowledge" that he sorrowed to the point of death. On the other hand, he was so repelled by death and its nothingness, that he persistently and ingeniously animates it in his art, and loves to talk in his sermons as if he will be one of the few mortals exempt from dying This is surely a fear that plagues Donne, and we have seen its expression on other occasions in the The question most of us want to ask about death-Is it going to hurt?
It would have been beneath his dignity to worry about pain. It threatened to turn him into an inanimate object. As we move into his Holy Sonnets, we will see this attitude even stronger in Donne; but for the present, as for young Donne, it is a faint, desperate cry.
No less than seventy-two times throughout the Songs and Sonnets do the words sigh, cry, pain, grief, and shame appear-eighty-three if you count his inclusion of fear-pulling ahead of the word death, which appears a whopping seventy-one times, by one or twelve whichever way you look at it.
This superiority to death struck him, above all else, as a personal affront. He refused to succumb to it passively, in art as in life.. It was because of his unchecked sexual immorality that he fretted at death, that death was such a negative subject to him in the subtext of his own life.
He could tolerate any form of death, so long as it allowed him to remain alive. He whined about it in his Songs and Sonnets so incessantly that I find Carey's statement ambitious in the extreme-"beneath his dignity to worry about pain.
Carey While I agree that Donne refused to succumb to death passively, I argue that it was not beneath his dignity to worry about pain. I suggest that any man who snivels at pain the way young Donne did only proves that he is not man enough for death. But it remains to clarify what kind of pain we are discussing here.
Young Donne presents a classic reminder of the debilitating effects bred in the human body as well as the mind by overt or covert take your pick unchecked sexual immorality. To that I reply, true; but it was still pain that he burbled over. Pain of physical death or pain of lasting shame for un-repented of sin at death?
Yet again, someone might say, well, yes, but Carey was speaking of old Donne, Doctor Donne. In this poem, we detect the voice of awareness and remorse as Donne declares: Whilst yet to prove, I thought there was some Deitie in love So did I reverence, and gave Worship, as Atheists at their dying houre Call, what they cannot name, an unknown power, As ignorantly did I crave: Thus when Things not yet knowne are coveted by men, Our desires give them fashion Donne's cry of pain in love was his fear of pain in death, his fear of death itself.
While it is true that Carey was wrestling to explain Donne's fixation with death in his later years, and while I agree that Donne did gain confidence over death, I adjure that Carey's premise-"Death was an insult to his ego" -is inconsistent with Donne's character.
Since so, my minde Shall not desire what no man else can finde, I'll no more dote and runne To pursue things which had indammag'd me.
Carey claims that Donne didn't fear pain, but he did fear pain. Lines ; ; This last poem stands for itself. He complained of it as a youth, and he complained of it in his later years as a result of his "feeble flesh" 7. It need hardly be said that Donne was plagued with "a kinde of sorrowing dulnesse to the mind" 20 and that he fixated on the idea of those "things which had indammag'd" 34 him.
It was because of that aching within himself that young Donne felt compelled to commit it to verse, although not directly as we see his emotions associated with unchecked sexual immorality disguised by the dramatic difficulties between lovers. Now that I have divested Donne's youthful character of moral stature to a limited extent, sufficient to demonstrate my point, my digression of Donne comes to an end. I will attempt to show the change in Donne between his youth and later years.
The paradox in his will stems from a will to repent and come unto God and his Christ. His fixation with death continues, even spikes; however, it is his response to death that most interests me. In Donne's Divine Poems, we hear the voice of a man imploring God's grace in Holy Sonnets IV and V: "Drown my world with my weeping earnestly" 8 , "yet grace, if thou repent, thou canst not lacke" 9.
The Divine Poems are not the record of discoveries, but of struggles to appropriate a truth which has been revealed I have attempted to demonstrate-how well is a matter of the reader's judgment-that when Donne defied sin and delighted in the sexual implication of death throughout his Songs and Sonnets, death was attended by a deep sense of anguish, sighs and tears, as well as shame, pain, grief, and fear.
The image which dominates his divine poetry is the image of Christ as Savior, the victor over sin and death" Gardner , brackets mine. As I move forward, I will attempt to demonstrate that when Donne recognized his sinful state and the need for correction, though he first feared death, ultimately, he developed a sense of confidence over it, even defied it.
For a second voice on the issue, Helen Gardner informs us that "the absence of ecstasy makes his [Donne's] Divine Poems so different from his love poems.
Yet, it is in this poem that we first find an indication of Donne's growing confidence over death. There is an ecstasy of joy and an ecstasy of grief in his love-poetry; in his divine poetry we are conscious almost always of an effort of will" Gardner , brackets mine.
While lines one through nine bewail sin and death, line ten suggests a startling change in attitude. It is slight, almost imperceptible, but it is there. Line ten: "By thy leave I can looke, I rise again. As Donne immersed himself in religion, he learned "that Christ should suffer, and that he should be the first that should rise from the dead, and shew light unto the people, and to the Gentiles" Acts ; he learned that Christ overcame sin and death; he learned that because Christ was resurrected all will be resurrected; and because of Christ's resurrection Donne's hope of surpassing the grave, of living, increased.
Why else would he say by Christ's leave, or resurrection, "I rise again" if he was certain, or even believed, death was the end of life? Donne continues: "But our old subtle foe so tempteth me" At the same time, his expressions communicate something important to us.
He came to realize what all of us will at one time or another that "wickedness never was happiness" Alma. Donne's self-awareness and transition from sin to repentance is communicated through his poetry, and we would do well to learn from his experiences rather than attempt to justify him or ourselves.
We can hardly read these lines without feeling in some measure Donne's effulgent awe at the resurrection and his desire to join the angels. When once he feared it, loathed it, and would that he could wish it away, he eventually embraced it with all the defiance and confidence any man could possess.
Compared to the Songs and Sonnets, in which the word sin appears three times, the word sin appears in the Divine Poems a startling thirty-eight times. Yet, someone might say, well, yes, but it is well known that Donne was never a true convert to religious principles and ideals. Marotti argues, "I am suspicious of any scheme that has Donne moving gradually toward a serious religious commitment since, for example, as late as he was still vigorously pursuing secular preferment.
As Donne's recognition of sin increases so his association with grief, shame, pain, tears, and sighs declines from a shout at seventy-two times in the Songs and Sonnets to a whisper at twenty-three times in the Divine Poems. From young Donne's reign of unchecked sexual immorality to Doctor Donne's zealous devotion to God, we find a reformed Donne, a humbled Donne, a changed Donne.
Others might note Donne's sustained sexual references in the Holy Sonnets and cite them as proof he didn't reform, that he was still the same-a pervert. These shouts and whispers bring us to Donne's ultimate shout of defiance at death in Holy Sonnet X: Death be not proud, though some have called thee Mighty and dreadful, for, thou are not soe, For, those, whom thou think'st, thou dost overthrow, Die not, poore death, nor yet canst thou kill mee; From rest and sleepe, which but thy pictures bee, Much pleasure, then from thee, much more must flow, And soonest our best men with thee doe goe, Rest of their bones, and soules deliverie.
How else could Donne successfully uppercut death in the heavy-weight finals if death were illusive and ungrappleable? Donne makes death tangible by personification; and by it, he ends the existence of death in fourteen swift strokes. Well, I wouldn't go as far as calling him a pervert, but the sexual references are strong. Thou art slave to Fate, chance, kings, and desperate men, And dost with poyson, warre, and sicknesse dwell, And poppie, or charmes can make us sleepe as well, And better then thy stroake; why swell'st thou then?
Consider the words Donne uses to defeat death: "poore death" 4 -Donne gives it the first smack; "slave" 9 -ouch; we wince; "poyson," "warre," "sicknesse" 10 -these are death's comrades, miserable and pitiful; "short sleepe" 13 -a blow to the ego as Donne's opponent curls to the ground; OK, so I must admit, that was kind of a low blow; "soules deliverie" 8 -Donne raises his gloves in the air as his beaten enemy expires on the mat.
Helen Gardner enlightens us by stating, "Some religious be regarded as a species of love-poetry; but Donne's is not of that kind. One short sleepe past, wee wake eternally, And death shall be no more, death, thou shalt die. The image of Christ as Lover appears in only two of his poems" Gardner How then do we explain them in Donne's Holy Sonnets?
He says, Because the models of sonnet sequences were basically amorous ones and because Donne's own lyrics had been love poems, he turned to the language of love and to familiar erotic conventions to express religious desire in his Some might continue to argue that neither of the points that I have made-Donne, guilty of unchecked sexual immorality, feared death; but Donne, becoming a devout Christian, changed and embraced death with a confidence little known to most men-are in any way valid for two reasons:.
Do we detect a sense of bitterness in Carey's voice here, a sense of the stunned, shocked, and appalled that any Christian would dare slam death to the ground with an astounding hope in the resurrection of Christ? Some might continue by asserting that Donne was not sincere in his religious career, that in his poetry we find evidence to the contrary, that he still wanted and longed for a secular career. Simply writing it out at the speed of thought and hand, we derive the sense of mighty power this poem possesses.
He seems to have given death the old one-two and beat it to the ground. According to Carey, "The speaker is plainly trying to convince himself, and failing so badly that he cannot even decide whether he wants to say sleep is better than death or vice versa" Carey's anger merely proves that Donne made a pretty strong dent in the armor of the self-lauding ignorant. Donne states his confidence over death with a ring of finality that is wholly and irrevocably undeniable by the world.
It is possible because of the resurrection of Christ. In Donne's final words and apparent conviction we read: "And death shall be no more, death, thou shalt die" According to Marotti, "All the biographical evidence suggests However, even if Donne didn't frequent the ladies as often as we'd all like to imagine and even if Donne wasn't truly converted or sincere in his religious zeal, I avow that his mere association with unchecked sexual immorality in his youth gave him cause for grief and fear of death and likewise his mere association with religious principles and doctrines gave him cause for a hope in Christ and greater confidence over death.
Perhaps no other poem demonstrates the change in Donne's confidence over death as does this. When did Donne begin to feel this way about death, and what gives him so much confidence in the face of death? In Carey's words, "It is part of the strength of this poem that its argument is so weak" Carey In Christ, Donne achieved hope and confidence over death, and no amount of vehement backlash from pompous intellectuals like Carey will ever change that. Donne clearly declares that death has nothing of which to be proud because even those whom it thinks to overthrow will not die.
Death, Donne says, is merely a picture of rest and sleep; but that sleep will shortly pass, and we will wake eternally.
Christ overcame death and by his resurrection all will rise again, so death holds no claim over any mortal. His personification of death is an interesting choice. Personifying death allows Donne to attack it not as a subject of abstraction but a subject of tangible quality. He rose from the dirt of flesh-led despair to embrace the heavens and all its welcome glory. I assert that Holy Sonnets I and VII are a stretch in this direction, but only slightly; and then Donne slams death on the mat and tramples all over it with religious rhetoric.
Though that sleep be long or short-be it the first or second resurrection-all will assuredly rise with immortal bodies and live forever. Donne's complexity may only be on the surface, but to a large degree I give his complexity credit for the range of people that his work has touched. It is his passions that undoubtedly draw the curiosity of both the religious and irreligious.
Donne had a gift for words, a gift for divulging the workings of the human mind, a gift for drawing all kinds and classes to him-those obsessed with life or death. How to get good marks in english creative writing.
Creative writing solar eclipse There is no doubt that technology invades almost every aspect of our life now, from how we communicate, to how we relax, learn, and even receive the news. While certain advances are generally considered positive, there is a question of whether we are now completely dependent on technology, and would be able to survive without it. There is worry that being overly reliant on gadgets could completely transform society as we know it, and that it may be too late to stop this from happening.
Some people can already point to whole skill sets that are being lost as a result of technology. Very few people see map-reading as a skill worth learning anymore, as we can rely on GPS, and nobody tries to calculate anything in their head as everyone has a calculator on their phone.
These were considered vital skills at one point, and are on the verge of being lost completely. Another element that bothers people is that the art of conversation could die, as so much communication is conducted via technology, whether through texting or social media.
People rarely even pick up the phone to make a call any more, meaning that simple speech communication, not just face to face is at risk. The main issue that bothers many people is the fact that there is a whole generation of children who are being raised in such a way that technology fills most of their needs.
A tablet is often a babysitter, and a movie has replaced a bedtime story. Physical development can be stunted or harmed as so many kids just sit around playing video games all day.
As a society we benefit from accepting and adapting to advances, such as the telephone instead of the letter, and now instant communication is possible. In situations of emergency, in contacting loved ones who live far away, this can only be seen as a good thing. People worried TV would wipe out communication initially, and yet family units and communities have survived. Children have changed their sources of entertainment over the years, and yet one thing that remains the same is that they still rely on their parents and families for food, shelter, clothing, and nurture.
Technology covers cars and planes, which is the best method of transport in so many ways, and many of these advances have led to modern medicine, which most people see as an advantage.
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Students have consistently used these services and have never been disappointed. Let no one lie to you that they are the best without strong evidence. Richard has taught writing courses at the University of Pennsylvania, Temple University, and other venues. He currently is on faculty at Rosemont College in the Graduate Publishing and MFA programs where he teaches courses including creative nonfiction and publishing law.
Richard provides services as a writing coach for serious writers. Intellect Books , which is in library collections throughout the world. Her classes offer writers another way into their writing. Amy marries entertainment business acumen with writing that reflects a film-like sensibility. She resides in Los Angeles, and recently completed a libretto for a new opera, The opera premiered at Portland State University in November In addition to screenplays, Amy writes essays, plays, and occasionally freelances as a journalist.
She lives in the Philadelphia area and teaches writing in the local community. Creative writing club uga About the Program Our innovative MFA program includes both studio instruction and literature courses. In the second year, they teach popular Creative Writing courses to Davis undergraduates under faculty supervision, gaining valuable experience and sharing their insight and enthusiasm with beginning practitioners.
We also created an introductory sequence of workshops taught by graduate students, which has become one of the highlights of the program for the second years who teach the courses and the undergraduates who take them.
Some of our graduate students choose to live in Sacramento or the Bay Area, making use of the commute-by-train option, which is still very much in place. For those commuting by car, Davis is a minute drive from Sacramento and a minute drive from the Bay Area.
Orchards, farms and ranches border it on all sides. The town boasts a legendary twice-weekly farmers market complete with delicious food trucks and live music. Bike and walking paths lead everywhere many students prefer not to own a car while they are here and there are copious amounts of planned green space in every subdivision. The flatness of the land makes Davis ideal for biking, and the city over the past 5 decades has installed bike lanes and bike racks all over town.
In fact, in ,, in its compilation of "America's Best Biking Cities," named Davis the best small town for cycling. Packed with coffee houses, bookstores, and restaurants that serve cuisine from every continent, Downtown Davis has a casual vibe. Davis is filled with hard wood trees, and flower and vegetable gardens, and wild ducks and turkeys walk the campus as if they own the place. Although summers get quite hot, the other three seasons are mild, and each, in their own way, quite beautiful.
For more about the town, check out the Davis wikipedia page:. Yet another option is to live in the scenic rural areas Davis is surrounded by. To the west of Davis, Lake Berryessa and the Napa valley are close by.
To the east, the Sierra mountains are close by; Reno and Tahoe are just a couple hours drive in that direction. Spss homework help Creative writing is any writing that goes outside the bounds of normal professional, journalistic, academic, or technical forms of literature, typically identified by an emphasis on narrative craft, character development, and the use of literary tropes or with various traditions of poetry and poetics.
Due to the looseness of the definition, it is possible for writing such as feature stories to be considered creative writing, even though they fall under journalism, because the content of features is specifically focused on narrative and character development. Both fictional and non-fictional works fall into this category, including such forms as novels, biographies, short stories, and poems. In the academic setting, creative writing is typically separated into fiction and poetry classes, with a focus on writing in an original style, as opposed to imitating pre-existing genres such as crime or horror.
Writing for the screen and stage—screenwriting and playwriting—are often taught separately, but fit under the creative writing category as well. Creative writing can technically be considered any writing of original composition. In this sense, creative writing is a more contemporary and process-oriented name for what has been traditionally called literature, including the variety of its genres.
Marksberry notes: While creative writing as an educational subject is often available at some stages, if not throughout, K—12 education, perhaps the most refined form of creative writing as an educational focus is in universities.
Following a reworking of university education in the post-war era, creative writing has progressively gained prominence in the university setting. In the UK, the first formal creative writing program was established as a Master of Arts degree at the University of East Anglia in For the first time in the sad and enchanting history of literature, for the first time in the glorious and dreadful history of the world, the writer was welcome in the academic place.
If the mind could be honored there, why not the imagination? Traditionally these programs are associated with the English departments in the respective schools, but this notion has been challenged in recent time as more creative writing programs have spun off into their own department. There is no longer any uncertainty about the position of any element in the ordered series of the periodic system. The chemical properties of the isotopes of an element are essentially the same, and all the isotopes of an element occupy the same place in the periodic system in spite of their differences in atomic weight.
Detailed understanding of the periodic system has developed along with the quantum theory of spectra and the electronic structure of atoms, beginning with the work of Bohr in Important forward steps were the formulation of the general rules of the old quantum theory by William Wilson and Arnold Sommerfeld in , the discovery of the exclusion principle by Wolfgang Pauli in , the discovery of the spin of the electron by George E.
The development of the electronic theory of valence and molecular structure, beginning with the postulate of the shared electron pair by Gilbert N.
Lewis in , also played a very important part in explaining the periodic law The periodic table of the elements contains all of the chemical elements that have been discovered or made; they are arranged, in the order of their atomic numbers, in seven horizontal periods, with the lanthanoids lanthanum, 57, to lutetium, 71 and the actinoids actinium, 89, to lawrencium, indicated separately below unless otherwise stated, will be used as reference.
First there is the hydrogen period, consisting of the two elements hydrogen, 1, and helium, 2. Then there are two periods of eight elements each: the first short period, from lithium, 3, to neon, 10; and the second short period, from sodium, 11, to argon, There follow two periods of 18 elements each: the first long period, from potassium 19, to krypton, 36; and the second long period, from rubidium, 37, to xenon, The first very long period of 32 elements, from cesium, 55, to radon, 86, is condensed into 18 columns by the omission of the lanthanoids which are indicated separately below , permitting the remaining 18 elements, which are closely similar in their properties to corresponding elements of the first and second long periods, to be placed directly below these elements.
The second very long period, from francium, 87, to oganesson, , is likewise condensed into 18 columns by the omission of the actinoids.
The six noble gases—helium, neon, argon, krypton, xenon, and radon—occur at the ends of the six completed periods and constitute the Group 18 0 group of the periodic system. It is customary to refer to horizontal series of elements in the table as periods and vertical series as groups.
The 17 elements of the fourth period, from potassium, 19, to bromine, 35, are distinct in their properties and are considered to constitute Groups 1—17 Ia—VIIa of the periodic system. Also the second group, the alkaline-earth metals, is considered to include beryllium, magnesium, calcium, strontium, barium, and radium but not the elements of Group 12 IIb.
The boron group includes those elements in Group 13 IIIa. The other four groups are as follows: the carbon group, 14 IVa , consists of carbon, silicon, germanium, tin, lead, and flerovium; the nitrogen group, 15 Va , includes nitrogen, phosphorus, arsenic, antimony, bismuth, and moscovium; the oxygen group, 16 VIa , includes oxygen, sulfur, selenium, tellurium, polonium, and livermorium; and the Although hydrogen is included in Group 1 Ia , it is not closely similar to either the alkali metals or the halogens in its chemical properties.
Hydrogen is, in fact, the most individualistic of the elements: no other element resembles it in the way that sodium resembles lithium, chlorine resembles fluorine, and neon resembles helium.
It is a unique element, the only element that cannot conveniently be considered a member of a group. A number of the elements of each long period are called the transition metals.