The Coca Cola Commercial

The Coca Cola Commercial Coca-Cola has one of the most recognized brands in the world, and that recognition is due in large part to the companys careful marketing and branding efforts. In an Essence magazine, I noticed that the Coca Cola uses warm welcoming colors such as gold, brown, and orange to set the atmosphere. Also symmetry plays an important role in this advertisement. For instance, the props are equally matching on both sides the table around the cake. There is one woman in the center of the group as a focal point; all the other women have their heads tilted toward her. Clothes in this ad even have a pattern. First, the woman to the far right has a pattern shawl; the woman next to her left is wearing a solid color blouse. As we continue to examine each woman clothes, every other woman is wearing either solid color or a pattern shirt. Facial gestures are scripted as well; if we look closer on each side of the table two women give the same face expression with their nose up and month open. Another symmetrical trait is the women hair styles. Therefore the women that match facial expression also match with having long hair styles. The storyline is simple; it takes place at someone house in the kitchen. Friends gather around the table to celebrate a birthday. Skinny African American women are look happy and are laughing having a good time. Then the advertisement states in lower case letters, whos counting? Coca Cola make it real. Coco Cola ad is targeting African American women in their mid twenty to mid thirties and promising them that no one care about the calories, age doesnt matters, and y ou will have a good time because Coca Cola is the real taste of soda. Evidently, the brand being advertised in the ad is unmistakably Coca Cola, and the product being promoted is Coca cola can. The characters in the advertisement give a picture of young African American women, probably in their mid twenties to mid thirties celebrating a birthday party. Undoubtedly, the advertisement is specifically meant for them. According to Goddard, women in such an age group are faced with a couple of decisions to make, which include but are not limited to marriage, career status, and independence (121). Additionally, these women are usually faced with dietary and weight problems, matter that forces them to watch their eating habits more closely. It would seem unusual to see a woman in this age group celebrating some good moments without the company of men. This leads to majority of them being insecure, unhappy, and less confident. Conversely, the ad gives another scenario of the situation that is sure of attracting emotions. The women in the ad are all happy, as e videnced from the facial expressions and the celebration. Interestingly, they seem independent and able to treat themselves without help from any male presence. Pickton Masterson postulate, Coca cola products give a clear impression that it is the ideal drink for the occasion (15). The advertisers make of use hype to illustrate a certain impressions. Hype refers to vague and meaningless statements as such as Coca Cola Making It Real and no one is counting. This makes the whole scenario to sound good. Another attention-seeking hook towards the target market in the advertisement is the use of femininity and culture. The Coca cola ad is all-feminine with complete presence of females. Additionally, the setting of the advertisement is the kitchen, a place commonly associated with the female species. Robinson Warwick argue that gender stereotype is sure to capture the attention of the African American woman who loves to share issues affecting them during social settings such as in friends parties and social settings (50). The Coca cola can fit in properly to such a scenario given that they are all females celebrating a birthday party of one of their own. Culture is applicable in this situation given that the advertisement specifically targets females of African American origin. The feminine scenes of African American women depict the culture being targeted in the ad (niche marketing). Beauty is among the outstanding features of this Coca Cola ad in that images of average African American women are used to glamorize the whole scenario. Robinson Warwick goes further to claim that, Even if their ages can easily be categorized into a particular group, they still manage to give an impression of beautiful and happy African American women having fun (55). Additionally, the impression of beautiful and happy African American women does not necessarily tell anything regarding the Coca Cola product but all the same, the impression is capable of relaying emotional transfers about the product and making someone to feel good through influence and manipulation. According to Pickton Masterson, the technical effects in the advertisement that are key to adding the intended effects to the commercial (20). For instance, the camera angles made sure that all the necessary details in the advertisement had been given the desired perspective. Emphasis was provided by ensuring that the images were taken from a close-up angle. The set and setting was preferably the kitchen to give a feminine impression to the targeted audience. This in turn serves to generate an emotional impression to the audience that the product being advertised is ideal for their normal environment whereby independence can also be exercised. Accessories are featured mainly in the advert to promote an element of beauty to the Coca Cola product being advertised. The African American women featured in this advert are nice dressed as evidenced from their hairstyle, to stylish and elegant clothes, and jewelry (necklace and earrings). These accessories truly give images of beautiful women, an element that the target audience can easily associate. In the ad, the poses and clothes by the second and fourth persons are similar. Their necks of their clothes are both v-shaped, the color being the only differentiating thing. Moreover, they both wear accessories (earrings and necklace) to complement their beautiful appearance. The first and the last women seem to share some similarity as evidenced from their poses. Finally, the third (middle) woman seems to share the same amusement with the other women thereby completing a happy moments that they seem to be sharing. The Coca Cola product completes the celebrating mood by relaying the intended message of happiness and beauty. The whole advert is sure to persuade the target audience that they can be happy, attractive, and beautiful. The use of color in the advertisement helps in giving life to the situation. The golden color that seems to be illuminated by the lighting of the room completes the delightful moment typical of celebrations such as birthday parties. The candles, the cake, the table, and most of the elements in the background are matched to draw emotional attention. Additionally, the color matches with the golden and/or chocolate complexion of the African American characters in the advert. The scenario looks beautiful to the eyes and is likely to be associated by the targeted audience. The contents of the product are sure to fit in to the situation for it matches with the hair of the characters giving a matching effect to the elements in the advert. Again, beauty and happiness is a sure thing to be associated by the targeted audience. The message promoted in the commercial is simple, beautiful women are always happy. The slogan-Coca Cola make it real gives the message that if happens to the characters in the audience, it can also happen to them. Age is a major factor in the advert given that the target audiences are African American women in their mid twenties to mid thirties. Usually, such women are coupled with identity issues to do with their ages, social status, and independence. They are often mirrored by the society and are expected to have achieved something under their name. Leading on the list is marriage or family responsibilities. Additionally, they can never do anything without their motive being questioned. This includes but not limited to having fun and enjoying themselves. This advert promises to give them reassurance through the do not care attitude that nobody is counting and therefore they should have uncontrolled fun. Instead, they should have it real as it is just as portrayed by those consuming the advertised product. Conversely, advertising has a lot to do with conveying the intended message. This is attained by use of words that are capable of generating straightforward meaning without having to struggle much. Tomlinson emphasizes, Coca cola advert uses a mixture of signs, texts, and gestures to drive the desired meaning to the audience (65). Images of those featured in the Coca cola commercial contains some iconic qualities that the audience can easily associate. Those images belong to normal, average African American women enjoying themselves in a normal setting and it provides resemblance effects to the audience. Symbolic gestures and facial expressions give illusions of some people who are happy and it is clear that they are consuming the advertised product and happy altogether. Finally, the presentation of the Coca Cola advert can be categorized as being simple and compound. It is simple in the sense that most of the intended information is relayed on a neutral background (Tomlinson 71). The target audience is not only easily identified but also the product being advertised. Alternatively, it is characterized as being compound in the sense that it employs realistic pictures of African American women in straightforward situations. For instance, drinking is common during birthday celebrations and therefore Coca cola comes in handy. Additionally, it unusual of people in a celebration party to be sad and thusly, the women in this advert are portrayed as being happy. Strategy is also evident in the Coca cola avert. Firstly, the brand image takes the lead in the advert for the only evident brand in the picture is that of coca cola. The brand is fore grounded so that everyone can see. Goddard asserts, Generic and pre-emptive messages are included to persuade provide the audience with the necessary personalities (122). For instance, the messages whos counting and make it real are included in the advert add meaning to the brand image. The Coca cola commercial is sure to provide the targeted audience with the promise of improving their personalities by connecting concrete features of the product and the driving force.

Mon Amour

Caught in the persistence of unpleasant memories, love and death intertwined with the vestiges of war, the city Hiroshima transforms from a site of horrendous tragedy to a symbol of the blossoming of love despite the iniquities of trauma brought by the war. In Hiroshima, Mon Amour, a French actress developed an intense affair with a Japanese architect. Her lover seems to have to be someone unexpectedly her type, for she fell previously for a German soldier during the World War II in Nevers, France. The actress was going to Hiroshima to play a part in a film â€Å"about peace†.   Her intention of going there was to erase her tragic memories of the war, only to find out that her memories magnified by the greater collective memory of atomic destruction. The film Hiroshima, Mon Amour does not place a fixed point where emotion, morality and ethics meet, it lets the viewer decide for themselves on how they interpret how the scenes and the place unites to weave the sublimity of their love story: The magnificent Emmanuelle Riva is less the â€Å"star† of the film than its primary â€Å"soloist,† to extend the musical metaphor––in comparison, Eiji Okada’s architect-lover is more of a first violin type. There is a dominant motif, which is the sense of being overpowered, ravished, taken––a French woman who wants to be overpowered by her Japanese lover (â€Å"Take me. Deform me, make me ugly†), an Asian man who is consumed by his Western lover’s beauty and unknowability, a fictional peace rally overwhelmed by its real-life antecedent, everyday reality drowned out by a flood of memories, a city devastated by nuclear force (Jones, 1959). Although classified as an art film that developed in the French New Wave movement in the early 1960s, the movie seems to transform into somewhat a docu-drama that serves to remind the viewers about the extent of damage of the atomic bomb dropped in Hiroshima. In the opening of the film alone, the movie bursts with symbolic close-ups of entwined human limbs covered in ash, summoning to memory the greatness of the catastrophe that cost millions of human lives. Using a series of dissolves, the viewers are introduced to the sweaty limbs of the film's lovers, as they are making love. A viewer may conceive the shots differently as they are led to think if it is really sweat, or mutations that resulted from the atomic bomb blasting that occurred. These shots convey in seconds the weird tension between the personal and the global at the film's core. They're also an indication of the visual density of Resnais' work: nothing on screen is throw-away. Those opening shots are followed by a 10-minute tour de force segment in which the director, Alan Resnais, seamlessly combines newly shot footage of the macabre artifacts (hair, teeth, pieces of human flesh in plastic display cases) at Hiroshima's museum remembering the nuclear attack, footage from Children of Hiroshima (Gembaku no ko), Japanese director Kaneto Shindà ´'s 1952 feature about the attack and its effects on the city's population, and gruesome newsreel footage of the injured and dying shot days after the bomb was dropped (Mancini, 2003). Scripted by the novelist Marguerite Duras, both protagonists are indeed ‘possessed’ by memories of the traumatic events they have respectively endured, and it is only thanks to a passionate love affair that their captivation by images from the past is converted into speech. It is as if their eroticized body triggers the release of traumatic memories and the experiencing for the first time of how war affected them, although no words were verbally expressed. This opening montage is accompanied by the lyrical voice-over of the lovers, the French woman's insistence she's seen Hiroshima and the effects of the bomb, the Japanese man's denial she ever could. The elliptical, artificial, and literary nature of the voice-over, its load of subtext could summon a certain sadness they both are hiding as a result of their traumas. Transmogrifying the social atmosphere at a certain point of history and the universal quality of love regardless of the national origin, the relationship establishes this by uniting traumatic memories and eroticized bodies routed through another level of signification, which has proved to be the film's most ambiguous dimension. For most spectators, it is the film's recourse to analogy that generates the greatest unease. It is not simply that the film properly arranges memories in a series of historical events that movie attempts to destabilize the enlightening narratives of the end of the Second World War, but the excesses associated with France's Liberation on the one hand, and the atomic annihilation of Hiroshima and Nagasaki on the other, gathers the over all feel of what the movie is all about. The discomfort that the film is still capable of provoking arises from the kinds of analogy it constructs between the personal memories and the collective commemoration of an atomic bomb that nearly annihilated the place – the milieu where the characters are trapped. Is Hiroshima Mon Amour the story of a woman? Or is it the story of a place where a tragedy has occurred? Or of two places, housing two separate tragedies, one massive and the other private? In a sense, these questions belong to the film itself. The fact that Hiroshima continues to resist a comforting sense of definition almost fifty years after its release may help to account for Resnais’ nervousness when he set off for the shoot in Japan. He was convinced that his film was going to fall apart, but the irony is that he and Duras had never meant for it to come together in the first place. What they created, with the greatest delicacy and emotional and physical precision, was an anxious aesthetic object, as unsettled over its own identity and sense of direction as the world was unsettled over how to go about its business after the cataclysmic horror of World War II (Jones, 1959). As Damian Cannon (1997) expounded, Hiroshima is the very place where the conservation of the event in memory and its refutation in forgetting become simultaneously possible. Elle chooses to tell her story because she is in a place where things can be remembered, and then, ultimately, forgotten. It is important to note that the dropping of the bomb on Hiroshima signaled the end of the war in Europe. Elle arrives in Paris (a new place) that very day, consecrating by her displacement her forgetting of Nevers.   The writer Duras explains in her synopsis that because of the very place it evolves from, and in order for Hiroshima to maintain its ties to history, the love story has to precede and subsume the story of Hiroshima. On the other hand, the function of the Nevers story serves to introduce the nitty-gritty understanding of the character of the female lead, Elle. Ropars Wuilleumier (1992) shared that the ‘unrepresentability’ of Hiroshima's catastrophe is transferred onto the ‘narratability’ of Elle's story of a doomed love affair in Nevers. As Ropars-Wuilleumier points out, Lui, the Japanese lover, assumes exactly the position of the analyst in relation to Elle's narration of her Nevers past at the moment when he accepts being addressed as her dead German lover, when he demands of Elle: â€Å"When you are in the cellar, am I dead?† But, consistently with Ropars-Wuilleumier reading of Hiroshima, Mon Amour's analogical strategy, she insists that we should not see this ‘psychoanalytic simulacrum’ as operating primarily on behalf of the ‘working-through’ of the traumatic memory of Elle. Rather, the elaboration of the Nevers story in this symbolism implicitly poses the question of what it means to meander through the legacy of the atomic catastrophe (p. 179-180). In early sequences, when Elle relates the evidence of destruction she has seen on her visits to hospitals and museums, Lui tells her: â€Å"You saw nothing in Hiroshima. You know nothing†. Elle in turn insists that she has seen ‘everything’, knows ‘everything’ and has thus become convinced that she will never forget Hiroshima. But it is only after the transmission of her story of Nevers in three flashback sequences that the film's viewers will realize that Elle has been seeking to inscribe in her memory images of Hiroshima's destruction and its aftermath in order to do battle with the forces of forgetting that overwhelm even the strongest compulsion to remember. Early in the film, Elle tells Lui that they both share the desire to resist to forget the memories that bind them to their respective traumatic pasts: â€Å"Like you, I know what it is to forget†¦ like you, I'm over-endowed with memory†¦ like you, I too have tried with all my might not to forget. Like you, I forgot. Like you, I wanted to have an inconsolable memory, a memory of shadows and stones†. The first intrusion of another memory that also once seemed unforgettable, a flashing image of the hand of her dead German soldier, makes her realize that her conviction that she will preserve an unforgettable memory of what she has seen in Hiroshima, must also be an illusion (Turim, 1989). Through telling to Lui the story of Nevers, of her previous love affair love with a German soldier, his assassination by the Resistance and her punishment as a femme tondue, a woman whose head was shaven for (literally) ‘sleeping with the enemy’. With this, Elle undertakes her long-belated labor of mourning. Only as her narration nears completion does this traumatic memory of her German lover lying dead on the Quai de la Loire, which has made Elle captive to her past, achieve full representation (Ropars-Wuilleumier 1992, p. 182). It is only when it achieves representation does the memory in turn risk being subjected to the forces of forgetting. As the film suggests, this is the ambiguous fate awaiting memories of what has unfolded and about unfold in Hiroshima. Clearly, the passage in the final scene, when Elle cries out in anguish: â€Å"Til forget you! I'm forgetting you already!†, we are bound to vicariously feel that she is not only experiencing the pain of progressively forgetting the death of her ‘first love’, but that she suffers by anticipation the pain of forgetting Lui and Hiroshima. As the significance of this passage implies, the memory that possessed her is shown to be somewhat also her tool for her own â€Å"healing process† of forgetting, wherein forgetting is not simply the consequence of repression or social neglect, but something that cleanses you of your past pains and the realization of the necessity of ‘letting go’ of the traumatic memory itself. Thus, through the film's guides us to the process of an individual's compulsion to remember and need to forget. As Ropars-Wuilleumier (1992) explained, â€Å"the horror of Hiroshima is not eclipsed, but it becomes the object of a secret reflection upon the terms of both enunciation and expulsion of the historical event† (p. 291). . In this process, writer Duras sacrifices her agency within the narrative, giving the narration over to setting and story. This is mirrored at the end of Hiroshima, Mon Amour where the final lines of dialogue identify the two characters of the film with the cities they are from, Hiroshima, Japan, and Nevers, France (Sample, 2004). The overall tone of Hiroshima Mon Amour substantiates the thought that these painful memories at hand could whip us terribly with unrelenting repercussions in the future. Eventually, making all of us realize that these shared moments will somehow be forgotten. As a particularly depressing thought, there are at least a few moments of illumination in the darkness of what had caused us pain. To wit, Sample (2004) averred that the two protagonists’ love, free from spousal recrimination, is fulfilling and unweighed by ulterior motives proposes a viable meeting of souls that could help process and heal the pains of their past experiences. Works Cited Cannon, Damian. Hiroshima, Mon Amour: A Review. Movie Reviews UK, 1997. Jones, Kent. Life Indefinite. Criterion Collection Website.   Acquired online last December 10, 2005 at http://www.criterionco.com/asp/release.asp?id=196;eid=317;section=essay Mancini, Dan. Hiroshima, Mon Amour. DVD Verdict Review Website. Acquired online last December 10, 2005 at http://www.dvdverdict.com/reviews/hiroshimamonamour.php Ropars-Wuilleumier, Marie Claire. How History Begets Meaning. In Saul Friedlander (ed.), Probing the Limits of Representation: Nazism and the â€Å"Final Solution†Ã¢â‚¬â„¢ (London: Harvard University Press, 1992). Sample, C.K. Life and Text as Spectacle: Sacrificial Repetitions in Duras's The North China Lover, Literature/Film Quarterly. Salisbury: 2004, (32)4: 279-288. Turim, Maureen. Flashbacks in Fiction and Film: Memory and History. New York: Routledge, 1989.      

Power Flow Control Using Facts Devices Engineering Essay

With the increased capableness of power system web, increased complex tonss and with the interstate power transportation, the control of power in both transmittal and distribution lines has gained premier importance. The conventional method of power control utilizing power sloughing is no more cost effectual and causes power perturbations in the system. Alternatively a smooth control of power is the alternate solution to get the better of the above job. Fast response existent power control will be necessary to take transients, maintain rotor angle stableness and supply equal post-contingency control of the web. Reactive power flow capableness on the other manus will function to minimise line VARs flow under normal runing conditions while maximising flows necessary to keep voltage stableness during the undermentioned eventualities. Power flow control may besides be strategically used to minimise or cut down the demand for transmittal enlargement. In general, the control action in power systems can be categorized as on/off of uninterrupted ( including measure wise uninterrupted ) . The uninterrupted controls for illustration can besides be categorized as either coevals based or web electric resistance based. The web electric resistances used for uninterrupted control can be either physical or practical ( non-physical ) reactive or resistive constituents. Virtual constituents are presented to the web via interpolation of controlled synchronal electromotive force beginnings shunt connected to the coach and/or connected in series with transmittal lines. Development of high power and high exchanging power electronic devices has made it possible to command big power flows utilizing FACTS devices.Structure of the power system ( Kundur )Electric power systems vary in size and structural constituents. However, they all have the same basic features. Are comprised of three-phase ac systems runing basically at changeless electromotive force. Generation and transmittal installations use three-phase equipment. Industrial tonss are constantly three-phase. Single stage residential and commercial tonss are distributed every bit among the stages so as to efficaciously organize a balanced three-phase system. Use synchronal machines for coevals of electricity. Prime movers convert the primary beginnings of energy ( fossil, atomic, and hydraulic ) to mechanical energy that is, in bend converted to electrical energy by synchronal generators. Transmit power over important distances to consumers spread over a broad country. This requires a transmittal system consisting subsystems runing at different electromotive force degrees.Power flow in an a.c. systemIn ac power system, given the in important electrical storage, the electrical coevals and burden must equilibrate at all times. To some extent the electrical system is self modulating. If coevals is less than burden, the electromotive force and frequence bead and at that place by burden goes down to be the coevals minus the transmittal losingss. However, there is merely a few per centum border for such self-regulation. If electromotive force is propped up with reactive power support so the burden will travel up, and accordingly frequence will maintain dropping and the system will fall in. Alternatively, if there is in equal reactive power, the system can hold electromotive force prostration. Demand for electrical energy uninterrupted to travel steadily ( F19 )Reactive power demand ( text book diabetes mellitus tagare )The reactive power demand of big public-service corporations like the province electricity boards in India can be divided into two groups. Fixed KVAR required by the public-service corporations to: maintain their transformers energized and to cover their KVAR for the distribution system to transport a minimal base burden. Variable KVAR to cover load reactive power demands non covered by the consumer reactive power demands by the public-service corporations transformers and distribution system to transport variable consumer burden.Ripples and power system transeunt analysis [ T 11 ]Ripples are utile for transeunt analysis. Much of power system analysis is steady province analysis. However in the country of electric power quality analysis, transients may presume an of import function. For illustration, it is sometimes necessary to cipher the extension of a lightning shot urge in a radial distribution system or a networked transmittal system. The transient created by a communicating failure of an electronic convertor might hold to be analyzed in some instances. The computation of the extension of transformer inpouring and shunt capacitance exchanging currents is besides transeunt jobs. A choice of power system transients appear in tabular array. Type Location Duration Lightning Overhead circuits  µs – MS Line exchanging Transmission and stand in transmittal system  µs – MS Capacitor exchanging Transmission and Distribution systems  µs – MS Communication failure Converters MS Transformer inpouring currents Transformers in transmittal and distribution systems. ms – s Analysis of these transients might be done in the clip sphere, in the frequence sphere or parallel simulation. These methods have their advantages and disadvantages. But all are stressed in the analysis of short clip transients assorted with low frequence signals. Ripples offer certain clip frequence advantages over strictly frequence sphere methods. The window of a ripple ( and besides a transform based on the ripples ) is automatically adjusted in breadth in the presence of long or short term signals. The female parent ripple in a ripple transform employs clip compaction or dilation instead than frequence transition as might be used in Fourier analysis. Besides it may be possible to choose the female parent ripple to fit the expected response- there by contracting ripple spectrum as compared to the frequence spectrum. Rebeiro is by and large credited with proposing ripple analysis for power system/power quality analysis. Rebeiro chief part apart from the cardinal suggestion of ripples on power technology is in the country of signal Reconstruction. Robertson, Camps, Mayer and Gish have late proposed the usage of ripples in power technology to: Capture power system transients for event recording equipment applications. Report power system perturbations Detect inchoate failure of equipment. Resolve power quality struggles. ( Hingorani )Series CompensationWhen a generator accelerates and angle ? additions /?t & A ; gt ; 0, the electric power transmitted must be increased to counterbalance for the extra mechanical input power. When the generator decelerates and angle ? decreases /?t & A ; lt ; 0, the electric power must be decreased to equilibrate the deficient mechanical input power. K = grade of series compensation = Xc/X 0 ? K ?1 Ninety is the reactance of the series capacitance. Ten is the entire reactance of the line at the cardinal power system frequence degree Fahrenheit. K = upper limit when /?t & A ; gt ; 0 K = 0 /?t & A ; lt ; 0 with maximal k the effectual line electric resistance lower limit. i.e the electromotive force across the existent line electric resistance is maximal. i.e the electric power transmitted over the line is maximal. With minimal K i.e K = 0. The effectual line electric resistance is minimal. i.e the electromotive force across the existent line electric resistance is minimal. i.e power transmitted is minimal. This means K is controlled in bang-bang operation. ( the end product of the series compensator is varied between the lower limit and upper limit ) This type of control is the most effectual for muffling big oscillations. Sustained oscillation below the cardinal system frequence can be caused by series capacitive compensation. It is called sub synchronal resonance ( SSR ) . Degree of series compensation is in the scope of 25 to 75 % . A capacitance in series with the entire circuit induction of the transmittal line ( including the appropriate generator and transformer escape induction ) forms a series resonant circuit with natural frequence fc = 1/2?vLC = fv Xc/X. If the electric circuit is brought into oscillation ( by some web perturbation ) so the bomber harmonic constituent of the line current consequences in a corresponding bomber harmonic field in the machine which as it rotates backwards comparative to the magnetic field produces an jumping torsion on the rotor at the difference frequence of f – iron. if this difference frequence coincides with one of the torsional resonance of the turbine generator set, mechanical torsional oscillation is excited, which in bend farther excites the electrical resonance. This status is defined as bomber synchronal resonance. Large generators with multi phase steam turbines which have multiple torsional manners with frequences below the power frequence are most susceptible to stand in synchronal resonance with series capacitance compensated transmittal lines. The series compensator is chiefly applied to work out power flow jobs. Fixed or controlled series capacitive compensation can besides be used to minimise to stop electromotive force fluctuation of radial lines and prevent electromotive force prostration. Series compensation is used to command to antagonize prevalent machine swings important transeunt stableness betterment for station mistake systems Highly effectual in power oscillation damping. However the operating and public presentation features of the two types of series compensator are well different.Approachs to governable series compensationTwo basic attacks: Thyristor switched capacitances and thyristor controlled reactors to recognize a variable reactive entree. Switch overing power convertor to recognize a governable synchronal electromotive force beginning. The series compensator is a reciprocal of the shunt compensator. The shunt compensator is functionally a controlled reactive current beginning which is connected in analogue with the transmittal line to command its electromotive force. The series compensator is functionally a controlled electromotive force beginning which is connected in series with the transmittal line to command its current. The map of the series capacitance is merely to bring forth an appropriate electromotive force at the cardinal Ac system frequence in quadrature with the transmittal line current in order to increase the electromotive force across the inductive line electric resistance and thereby increase the line current and the familial power. By doing the end product electromotive force of the synchronal electromotive force beginning a map of line current the same compensation as provided by the series capacitance is accomplished. However in contrast to the existent series capacitance the SVS is able to keep a changeless compensating electromotive force in the presence of variable line current or controlled the amplitude of the injected compensating electromotive force independent of the amplitude of the line current. The series reactive compensation strategy utilizing a exchanging power convertor ( voltage beginning convertor ) as a synchronal electromotive force beginning to bring forth a governable electromotive force in quadrature with the line current as per IEEE and CIGRE definition termed the Static Synchronous Series Compensator ( SSSC ) . The SSSC can diminish every bit good as addition power flow to the same grade merely by change by reversaling the mutual opposition of the injected Ac electromotive force. The rearward electromotive force adds straight to the reactive electromotive force bead of the line as if the reactive line electric resistance was increased. If the injected electromotive force is made larger than the electromotive force impressed across the unsalaried line by the sending and having terminal systems that is if Vq & A ; gt ; |Vs -Vr| so the power flow will change by reversal with the line current I = ( Vq & A ; gt ; |Vs -Vr| ) /Xc The SSSC can supply capacitive or inductive compensating electromotive force independent of the line current up to its specified current evaluation. The VA evaluation of the SSSC ( solid province convertor and matching transformer ) is merely the merchandise of the maximal line current ( at which compensation is still desired ) and the maximal series counterbalancing electromotive force. VA = Imax * Vmax. The control scope is uninterrupted from -1.0 p.u ( capacitive ) to +1.0 p.u ( inductive ) volt-amperes. In many practical applications merely capacitive series line compensation is required. One of import application is the coincident compensation of both the reactive and resistive constituents of the series line electric resistance in order to maintain the X/R ratio is high. At transmittal electromotive force degrees of 115,230 and even 340KV where the X/R ratio is normally low ( in the scope of normally 3 to 10 ) , a high grade of series capacitive compensation could farther cut down the effectual reactive to resistive line electric resistance ratio to such low values at which the increasingly increasing power demand of the line and associated line losingss and possible electromotive force depression would get down to restrict the catching active power. The SSSC with an appropriate District of Columbia power supply ( which could be powered from an accessible coach or from the Tertiary of handily located transformer ) would be able to shoot in add-on to the reactive compensating electromotive force, a constituent of electromotive force in anti-phase with that developed across the line opposition to antagonize the consequence of the opposition electromotive force bead on the power transmittal. In this manner by supplying coincident and independently governable compensation of both the reactive and existent electric resistance of the line in consequence an ideal reactive line can be created for maximal power transmittal. The line losingss I2R is still be dissipated by the physical line. However this debauched power would be replenished by the SSSC from the subsidiary power supply. The existent power compensation capableness could besides be used efficaciously in minimising loop power flows by equilibrating both the existent and reactive power flows of parallel lines. From the point of dynamic system stableness reactive line compensation combined with coincident active power exchange can besides heighten power oscillation damping. During the period of angular acceleration, the SSSC with suited energy storage can use maximal capacitive line compensation to increase the familial active power and at the same time absorb active power to supply the consequence of a muffling resistance in series with the line. During the period of angular slowing, the SSSC can put to death opposite compensating actions, that is, apply maximal inductive compensation to diminish the familial active power and at the same time supply the consequence of negative opposition ( i.e. a generator ) to provide extra active power for the line ( negative damping ) . In practical SSSC the electromotive force sourced convertor on the dc side is terminated by a finite ( and comparatively little ) energy storage capacitance to keep the coveted District of Columbia runing electromotive force. ( Remember that this District of Columbia capacitance is kept changed by the energy absorbed from the system by the convertor itself ) therefore the District of Columbia capacitance in consequence interacts with the Ac system via operating switch ( valve ) array of the convertor. This interaction may conceivably act upon the bomber synchronal behavior of a practical SSSC. The SSSC is based on the synchronal electromotive force beginning construct which is implemented by a electromotive force beginning convertor. WAVELETS ( A18 ) Ripples theory is the mathematical associated with constructing a theoretical account for a non-stationary signal, with a set of constituents that are little moving ridges, called ripples. ( A16 ) in the procedure of ripple transform the signal is non in footings of a trigonometric multinomial, but by ripple generated utilizing the interlingual rendition ( switch in clip ) and dilation ( compressed in clip ) of a fixed ripple map called the female parent ripple.

Question Of Freedom In The Awakening - Free Essay Example

Sample details Pages: 4 Words: 1273 Downloads: 4 Date added: 2019/10/30 Category Literature Essay Level High school Tags: The Awakening Essay Did you like this example? Early in the 19th century every person was expected to live up to societys expectations by following a certain norm, as opposed to the unorthodox society of today. For instance, men were the breadwinners and the ones who worked to earn an honest living for the family. Women, on the other hand were strictly only to keep the household in check and take care of the children. Don’t waste time! Our writers will create an original "Question Of Freedom In The Awakening" essay for you Create order With such specific responsibilities to uphold, no one really found the time to care for their own personal being in fear of becoming a social outcast and such. Responsibility was surely intact, but what about freedom? Individual freedoms werent valued very much then, especially for women. In The Awakening, the author Kate Chopin presents a light upon freedom and responsibility from a womans point of view. She illustrates certain symbols throughout the story that evoke the two notions.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Freedom is initiated in the novels symbolism shown primarily in the places that Edna Pontellier resides. Edna is in a difficult position in life at certain points in the story when she experiences pure freedom away from responsibility as something that she longed for. There is contrast between her normal summer house with her family and Madame Antoines house. At the time, responsibility for the children and the home was to be upheld by the wife at all times. . Home is the domain in which she is expected to live unhappily because of her constant duties and ignored by Mr. Pontellier. In the story the women were such an important part of society. With such responsibility at the time it was so unheard of to rebel against ones husband and defy orders. She does not receive the attention she needs from her husband and ends up spiraling in love with Robert Lebrun. He introduces her to a new world where she can be comfortable by showing her fun and also the way to Madame Antoines home. Her home serves only as an impermanent shelter of freedom, but it is not a home. Edna is clearly unhappy and wanting to be rebellious throughout the novel when she feels disrespected.   Ednas newfound world of liberty is not a place where she can remain; it belongs to someone else. It appears to her as a safe haven or a place to let her hair down and relax. When she fainted in church, this is the place where Robert rushed her to so that she could cool off. She discovered a whole new feeling. She had an epiphany and almost half an awakening.   Edna plans to move forward to the pigeon house where she becomes independent and also a shame to her husband. She becomes free in this house even though its not much and a home she can afford. This leads to freedom and less responsibility. She was free to be herself and do as she pleased without regard to societys take on her actions and choices for herself. In the end, however, the little house did not prove to be the solution Edna looked for. While the house does provide her with separation from everyone and independence, it allows her to progress in her awakening and to escape the cage that Là ©onces house made. Edna finds herself living differently than shed expected. Her house was named the pigeon house because it represented domesticated pigeons, which becomes evident in Ednas fate. Once she moves into the house she no longer has to look at the material objects that Là ©once has purchased   the items that she felt equal to because of the way her husband treated her. Edn as home is where shes not treated as a person with dreams, but merely an object. Mr. Pontellier objectifies his wife as he says You are burnt beyond recognition, he added, looking at his wife as one looks at a valuable piece of personal property which has suffered some damage.(5) While Edna viewed her new home as a sign of her independence, the pigeon house represents her inability to remove herself from her former life, as her move takes her just two steps away. Mademoiselle Reisz instructs Edna that she must have strong wings in order to survive the difficulties she will face if she plans to act on her love for Robert. She notifies: The bird that would soar above the level plain of tradition and prejudice must have strong wings. It is a sad spectacle to see the weaklings bruised, exhausted, fluttering back to earth. The wings that are being referred to are of the birds in The Awakening are symbolic of freedom and captivity, where caged birds serve as reminders of Edna and other women of that times entrapment. Madame Lebruns parrot and mockingbird signify Edna and Madame Reisz, respectively. Like the birds, the womens movements are limited, and they are unable to communicate with the world around them. The novels winged women may only use their wings to prot ect and shield, never to fly. This symbol for freedom points out the similar wording of the novels final example of bird imagery: A bird with a broken wing was beating the air above, reeling, fluttering, circling disabled down, down to the water. If, however, the bird is not a symbol of Edna herself, but rather of Victorian womanhood in general, then its fall represents the fall of convention achieved by Ednas suicide. The sea in The Awakening implies freedom and escape. It is a vast expanse that Edna can brave only when she is solitary and only after she has discovered her own strength. When in the water, Edna is reminded of the depth of the universe and of her own position as a human being within that depth. The sensuous sound of the surf constantly summons and seduces Edna throughout the novel. Waters associates with cleansing and rebirth, therefore freedom and lack of responsibility. The sea, thus, also serves as a reminder of the fact that Ednas awakening is a rebirth of sorts. Appropriately, Edna ends her life in the sea: a space of infinite potential becomes a blank and enveloping void that carries both a promise and a threat. In its transcendent vastness, the sea represents the strength, glory, and lonely horror of independence.When she makes her way down to the beach for the last time, she thinks of her earthly responsibilities. The children appeared before her like antagonists who had ove rcome her; who had overpowered and sought to drag her soul to slavery for the rest of her days . Her only way to elude them and the other responsibilities in her life was to drown herself in the ocean. In many senses, Ednas suicide is the result of her final awakening that she has been unable to balance a sense of self and freedom with the demands of life. Since she could not create a balance or allow herself to live one life over the other completely, her only choice was suicide. Her awakening happened almost too quickly and her actions as a result of it were too hasty. The only way for Edna to cleanse herself of both worlds was to enter the sea the site of her baptism into awakening. Towards the end, she felt alternately as an exile and a prisoner, she is at home nowhere. Only in death does she believe that she could hopefully find the things a home offers relief, solitude, and comfort. She finally discovers that freedom was in death. She would be set free from the chains and shackles from society. Freedom and responsibility coincide within the story constantly to frame a womans life during the Victorian period.