Machievelli Biography Essay Example for Free

Machievelli Biography Essay Machiavelli lived during the Renaissance era of the Medieval times. In this time period many concepts and ideas were being reborn, including the Christian faith. He lived during a time period in which the people of the time thought of the Black Plague as a symptom of judgment upon the sinfulness of the land. These same people began to scourge themselves in order to express their sorrow and therefore remove God’s judgment laid upon them. Although Machiavelli lived long after the fall of the Roman Empire, he lived in an Italy that had evolved into a war-torn battleground between the city state dynasties. There were conflicts between the French and Spanish for the control of land. Machiavelli lived in a time of growing political powers and a Christian community that was adapting and changing according to the claims of the Reformers. Machiavelli had a goal: he sought to create a dichotomy between ethical Christianity and the Ethical demands of political rule. The 15th and 16th century world focused on theologically reforming the Church. Many reformers of the time and before Machiavelli’s life, including the 14th century reformer John Wycliffe, wrote on how the papacy of the Church had grown far too powerful. During Machiavelli’s life St. Francis was teaching the commoners about Jesus, and the commoners began relating to Christ. The Church was not only effected by the reformers and the teachings of St. Francis, but it was also effected by itself; it was hurting itself. The church fought against the reformers, condemning them as heretics; the church was threatened by the words of reform. Machiavelli lived among the Christians and like many of the reformers he was seeking a reform between the Church and the State. Essentially, Machiavelli writes to prove that being a moral ruler and a person are two separate ideas, in the case of extreme circumstances and, like Luther, there are two kingdoms independent of each other. Machiavelli probably wouldve been considered a think tank of his time and he believed that a ruler, or anyone may publicly state that they are Christians yet exhibit no real conviction. In the eleventh chapter of The Prince Machiavelli argued that Ecclesiastical principalities were to be desired because the people who inhabited them were governed by their own religious laws. Machiavelli viewed these laws as tools, tools to prevent unruly citizens within the principalities rather than to enforce outside rules. Machiavelli idealizes an idea completely different from the church, that politics is something that deals with facts and not abstracts, that it is a challenge to the notion of both Pope Gregory VII and Pope Innocent III’s â€Å"Divine Right to rule.†3 Machiavelli realized that the divine right to rule theory is nothing but a religious idea that does not work with the present state of man. Machiavelli also understood that human corruption and sin is an unending prob lem that rulers need to deal with. Machiavelli continues by suggesting that being a moral leader does not mean that one is a good leader as good leadership leads to order, stability, and public good. He claimed that when order, stability, and public good are threatened a ruler cannot risk limiting their actions by piety or virtue. Machiavelli believed that morals stood in the way of success, that rulers need to learn how to not be good, and be willing to kill. While the religious leaders saw Machiavelli as non-Christian and destructive, Machiavelli states that leaders need to administer necessary evils in efforts to maintain order and stability within their rule, that humans can be predicted through reason. The Church saw his political agenda as lacking in Christian ethics; however, his political reform lines up with Christian thinkers and with Christian ethics of generosity, compassion, and even the golden rule as we see in Saint Augustine’s and St. Benedict’s writings. An initial consideration of Machiavellis thoughts on generosity, we notice that he believes it is good to be considered a generous person, but that it is dangerous to do so. Although sounding contradictory to Christianity, Machiavellis reasoning lies in the Christian idea of doing the most good for as many people as possible. Machiavelli argues that being generous requires that the ruler imposes new ways of revenue collection and therefore make his subjects hate him and lead to a guarantee that no one will think well of him.1 Machiavelli makes a similar case for compassion, in that it is better to be seen as cruel then it is to be viewed as loving, if necessary. He asserts that as the head of an army a ruler needs to â€Å"be prepared to be thought cruel.† The same Christian idea can be used to explain his argument as before. In the words of Star Trek’s Spock, â€Å"the needs of the many outweigh the needs of the few†. Machiavelli states that its more compassionate to impose harshness on a few rather than make use of compassion and risk chaos to take place.2 If we look back to St. Augustine’s The City of God 4 we learn that rulers and people are dominated by their own selfish lust for power, whereas in the City of God, which Luther also makes notions of in his Doctrine of The Two Kingdoms, people serve one another in charity. Under this assumption we see that men do not serve out of charity, but rather serve in a situation of do unto others as you would have done to yourself. Perhaps Machiavelli agreed with this view of Christianity. Machiavelli’s ruler never commits an act that they would not have done to themselves. I think the Machiavellian ruler loves their neighbor as much as themselves. Machiavelli sees the political field as a place for necessary evil. He believes, out of love, that some evil must take place in order to benefit the most people. Machiavelli saw the world he lived in as a two kingdom place, like Luther and St. Augustine did. He viewed human history for what it was, not what it could be; he saw people as evil and sick. Machiavelli’s picture of human history took into account the human equation, that we are sinful and therefore predictable, which he believes will lead to a better understanding of the future.

Essay --

Mankind has many health problems in life that cause discomfort. The nursing practice is very important for it seeks ways to relieve such problems. Solutions to health problems come after a lot of research that offers dependable results. The writer seeks to expound how complex nursing interventions are used to relieve health problems. Review of the Research Example in Chapter 10 and how QUAN Methods can enhance the Study The research was on constipation and its effects on the quality of life. The solution suggested is abdominal massage, which boosts bowel movements and with no side effects as in laxatives. The research was conducted because previous studies had proved to be methodologically flawed. The design used in the study was a randomized control trial. The participants were 60 individuals suffering from constipation put into 2 groups randomly. The intervention group got laxatives and abdominal massage while the control group only got laxatives. Bowel movement was measured using the Gastrointestinal Symptoms Rating Scale (GSRS) at the baseline, week 4 and week 8 after the interventions. Statistical methods were linear regression; Wilcoxon sign rank test, and Mann-Whitney U-test (Thorpe, 2009). Quantitative research design can be used to determine how an independent variable relates with a dependent variable in a sample. A descriptive study can be used where there are hundreds or thousands of participants. If the study is experimental, then only tens of participants can be used, but a higher number is better for accuracy. The effect of abdominal massage compared to laxatives can be better measured if the sample of participants is less heterogeneous in terms of age and lifestyle. If these measures are taken, they can accurately ... ...ribed since there is the databases from which data was to be extracted were stated. Ancestry searches were conducted. Hand searches of journals were done (Chang, 2010). The criteria for selecting primary studies were clearly explained as those that examined the effects of physical activity intervention on the quality of life. It is stated that it should be an English-language study, published after 1970, involves a sample of at least five participants, and includes measures to assess the quality of life. Various research designs were applied. Eligible published and unpublished reports were used. Adequate information was extracted about methodological and administrative aspects of the study since a formal protocol was created, pilot tested, and revised. Plenty of information regarding participants, interventions, and methods were gotten from the study (Bench, 2010). Essay -- Mankind has many health problems in life that cause discomfort. The nursing practice is very important for it seeks ways to relieve such problems. Solutions to health problems come after a lot of research that offers dependable results. The writer seeks to expound how complex nursing interventions are used to relieve health problems. Review of the Research Example in Chapter 10 and how QUAN Methods can enhance the Study The research was on constipation and its effects on the quality of life. The solution suggested is abdominal massage, which boosts bowel movements and with no side effects as in laxatives. The research was conducted because previous studies had proved to be methodologically flawed. The design used in the study was a randomized control trial. The participants were 60 individuals suffering from constipation put into 2 groups randomly. The intervention group got laxatives and abdominal massage while the control group only got laxatives. Bowel movement was measured using the Gastrointestinal Symptoms Rating Scale (GSRS) at the baseline, week 4 and week 8 after the interventions. Statistical methods were linear regression; Wilcoxon sign rank test, and Mann-Whitney U-test (Thorpe, 2009). Quantitative research design can be used to determine how an independent variable relates with a dependent variable in a sample. A descriptive study can be used where there are hundreds or thousands of participants. If the study is experimental, then only tens of participants can be used, but a higher number is better for accuracy. The effect of abdominal massage compared to laxatives can be better measured if the sample of participants is less heterogeneous in terms of age and lifestyle. If these measures are taken, they can accurately ... ...ribed since there is the databases from which data was to be extracted were stated. Ancestry searches were conducted. Hand searches of journals were done (Chang, 2010). The criteria for selecting primary studies were clearly explained as those that examined the effects of physical activity intervention on the quality of life. It is stated that it should be an English-language study, published after 1970, involves a sample of at least five participants, and includes measures to assess the quality of life. Various research designs were applied. Eligible published and unpublished reports were used. Adequate information was extracted about methodological and administrative aspects of the study since a formal protocol was created, pilot tested, and revised. Plenty of information regarding participants, interventions, and methods were gotten from the study (Bench, 2010).

Michelangelo buonarroti

Michelangelo Buonarroti lived in the Renaissance period an epoch which spanned between the 15th and sixteenth century and saw the metempsychosis or resurgence of the Greek and Roman style.This manner had been generated back in the fourteenth century by the Italian poet Petrarch who had divided history into three ages: from the â€Å" the aureate age of classical antiquity, the dark age after the Roman imperium collapsed and his ain modern age when the values of antiquity were reborn † . Artists began to near pictures and sculptures with a more scientific oculus, turning their dorsums towards the traditional, mediaeval manner of picturing infinites in a religious manner.The resurgence sees its beginning in Italy, in peculiar in Florence where rich bankers and merchandisers who took pride in their part to society, began to committee plants of art from pictures, frescos and sculptures for churches, castles and even for their ain homes.The Renaissance besides saw the birth of new pictures techniques, the evolvement of oil pigment meant creative persons were no longer committed to utilizing egg poster paint and therefore free to research the layering of colorss. The find of the Torahs of position, based on mathematical computations, alternatively brought deepness and proportion to a space.Linear one point position in fact became an built-in portion of all pictures throughout the fifteenth century.Artists like Raphael relied entirely on the simple on-point position tool to expose his forms in infinite and give them a three dimensional experience a manner clearly seeable in his ‘School of Athens ‘ . During the full fifteenth century Florence was the Centre of humanistic disciplines in Italy which saw many creative persons like Massaccio for picture, Donatello in sculpture and Brunelleschi for architecture taking the alteration in style.Rome alternatively at this clip was confronting political jobs ; in fact the pontificate had been transferred to France from 1309 boulder clay 1377 and merely was it subsequently, in the sixteenth century, to reflect gloriously thanks to the attempts of Pope Julius II, known as the warrior male monarch but besides one of the most celebrated frequenters of the humanistic disciplines. Together with his designer Bramante and creative persons like Michelangelo, Raphael and Leonardo Da Vinci, he contributed to the rise of the High Renaissance Style which was to convey Rome as the taking Centre of the humanistic disciplines projecting a shadow over its rival Florence.He in fact laid the foundation rock for St. Peter ‘s Basilica, had painted the Ra phael Rooms, and had the Sistine chapel ceilings painted by Michelangelo. Towards the in-between sixteenth century, the High Renaissance period saw creative persons like Michelangelo desiring to interrupt free from the cardinal position manner, animating three dimensional infinites simply with shading and foreshortening. Rich and streamlined curtain would embroider the scene and architectural position, if any, would be represented with little hints of perspective therefore arousing a two point position without though the usage of a additive, geometric grid. Michelangelo Buonarroti was born in 1475 at Caprese in Italy.Second of four kids was descendant from the Counts of Canossa, a baronial and celebrated household of Reggio.His male parent, Ludovico di Leonardo Buonarroti Simoni was the magistrate of Caprese and Chiusi, whilst his female parent Francesca di Neri di ser Miniato del Sera is non mentioned by Condivi or Vassari, Michelangelo ‘s biographers, if non to go through up that she had died whilst Michelangelo was a immature kid. In fact Michelangelo was given to a wet nurse who non merely was the girl of a rock Carver but besides had married one.This must hold greatly influenced Michelangelo to the huge creative activities he was to gestate subsequently when merely merely a adolescent. In fact harmonizing to Vasari, Michelangelo one time quoted â€Å" I sucked in chisels and cocks with my nurse ‘s milk † . His male parent tried to take Michelangelo towards the universe of letters, directing him to the celebrated school of Francesco da Urbino in Florence, but Michelangelo ‘s artistic nature was to pull him towards painting.His friend, Franceso Granacci seeing his artistic gift, enticed him to abandon his surveies by exciting him with other artistic sights. He showed him the plants of Domenico Ghirlandaio, considered one of the leasing Masterss at the clip, whose workshops he attended.This led Michelangelo to abandon his class making mayhem in his household who were really distressed at his pick. In 1488 Michelangelo began his three twelvemonth apprenticeship in Domenico Ghirlandaio ‘s workshop.Here he learnt to pull, pigment and was introduced to the art of frescoing. For a long period he copied the plants of past celebrated creative persons. He shortly began to outshine his fellow bookmans and even his maestro who became more and more covetous of his accomplishments. After a twelvemonth, likely due to their frequent struggles and because he wished to go a sculpture, that Michelangelo left the apprenticeship and began to work for Lorenzo De Medici, frequenter of the humanistic disciplines and swayer of Florence at the clip. Here he began to develop his accomplishments as a sculpture. Unlike Ghiberti and Donatello, who sculptured their figures on really typical analogue planes, Michelangelo was able to put his figures so that they merged effortlessly into eternity making a sense of existent infinite. He was besides able to make motion, such as with â€Å" the Battle of Centaurs, where limbs â€Å" bit by bit extended themselves and no longer belonged to different planes. â€Å" His mastermind was being able to visualize within a piece of marble a finished three dimensional object, without the usage of drawings. With the â€Å" Bacchus † the musculuss lost the rigidness of ancient theoretical accounts, and became softer and more rounded†¦ ..the strength that can be detected in the muscular structure, which is suppressed in some points and relaxed in others, † He acquired an unbelievable cognition of human anatomy thanks to his visits to the Hospital of Santo Spirito where he would dissect and analyze corpses.Unlike his predecessors who created stiff and unreal word pictures of the human organic structure, he was able to reproduce accurately and harmoniously the articulation of the limbs and articulations. Both pieces reflect his mastermind in portraying the human organic structure in its fullest, stressing musculus tone, ligaments and articulations. We besides can look up to his accomplishment in making curtain that was so full of motion, like in the Pieta ‘ . It was n't though until 1508 that he was to confront his greatest challenge, one that he was n't passionate about and was practically forced to set about by the Papacy of the clip, to paint the Sistine Chapel Ceiling. The Sistine Chapel is a rectangular shaped edifice, mensurating 41 m by 13,5 m built by Pope Sixtus VI between 1475 and 1483 and is said to reflect the dimensions of the temple of Salomon. The sides were painted in 1481 by Botticelli, Ghirlandaio and Rosselli and subsequently by Signorelli. The ceiling alternatively is thought to hold been painted originally by the creative person Pier Matteo D'Amelia who depicted the ceiling with a starry sky, a method used by creative persons in the thirteenth and 14th century for Gothic ceilings. In 1508 Pope Julius II summoned Michelangelo to paint the ceiling of the chapel.He reluctantly began to work on the ceiling with the aid of a few of his sure Florentine friends who really able in the art of frescoing.It must be remembered that Michelangelo for the last 20 old ages had been restricted to sculpturing and his lone preparation in frescoing went back to his childhood old ages in the Ghirlandaio workshop. Not merely did Michelangelo hold to larn the fresco technique but besides some really impressive position technique sing his figures had to be painted on a barrel vaulted ceiling at 60 pess from the ground.The Fresco technique consists of the creative person painting straight on freshly laid plaster, â€Å" intonaco † , so that one time the plaster is dry, the pigment becomes an built-in portion of the wall.The creative person transportations his paper drawings to the walls and pricks the surface along the lineations of the images. Such holes are so dusted with a b ag of carbon black ( spolvero ) to reproduce points on the walls ‘ surface. The creative person so joins the lines to reproduce the drawing accurately. Pope Julius expected him to picture the 12 apostles but alternatively Michelangelo was able to convert him that such an huge ceiling deserved an impressive work of art, worthy of its grandeur.Here he portrayed the narrative of human sort before the reaching of Jesus Christ. He began painting from the entryway of the chapel towards the communion table completing with the below lunettes picturing inactive figures in speculation. The cardinal portion of the domed ceiling characteristics nine squares in assorted sizes, exemplifying the journey of human sort from the creative activity of the universe to the beginning of wickedness and its effects. He focused his work wholly on the human figure and hence landscapes and architecture were practically omitted. It can be noticed how he left plentifulness of infinite around his figures, making a tract for the human oculus to inquire mediate and around his figures, making necessarily motion in the spectator. He conceived false architectonic squa res called â€Å" quadri riportati † which resemble framed easel images, inhabited by existent figures traveling about their different activities.Here Michelangelo reminds us of his sculpturing mastermind, where the figures he depicts move towards the spectator as if to jump out of the two-dimensionality of the painted surface. Michelangelo used the â€Å" cangiante † technique to make this, where he applied profoundly contrasting colorss next to each other and applied shots of white pigment, therefore pulling the visible radiation and reflecting it so as to make extraordinary pragmatism and sense of physical presence within space.These strongly contrasting colorss besides increase the volumes and underpin the strength and motion of the figures. The foreground figures have typical and clear lineations whereas the background figures are less clear or â€Å" sfumato, a technique where the image lineations are blurred into the background † as if merely the foregrou nd images were in focus.One notices that this is non evident in all the sketchs, as some show no position at all, like the creative activity of Adam, or that of the words. In fact Michelangelo turns his dorsum to the stiff Torahs of position and by the usage of coloring material and the manner he denotes human emotions though the motion of the limbs and facial look he manages to convey these figures to life and make a existent sense of infinite and activity. This is clearly seeable in the inundation, where the discharge sits in the background and is less emphatic, unlike the foreground figures that are traveling, easy and distressingly towards the shore to happen deliverance. He besides brings motion merely by picturing garments in a flowing and traveling province, sometimes as if the air current was blowing beneath them, as in â€Å" the creative activity of Adam † where the green scarf is clearly being moved by the air current. Here the usage of white is apparent, which when used in the green and ruddy scarf add excess motion to the scene. Michelangelo created motion besides through the placement of the appendages of his figures, puting pess and custodies in opposite waies. Movement is once more clearly represented in Michelangelo ‘s initial drawings of the the Lybian Sibyl where her organic structure is twisted or in â€Å" contrapposto † in the act of keeping a book. Here the muscular structure is rather overdone for a adult female, but is accountable to the fact that his original drawings were made utilizing a male theoretical account. This strong masculine figure AIDSs in making an semblance of motion as these musculuss are depic ted under tenseness, as if on the brink of set abouting a task.The usage of â€Å" chiaroscuro † , shadows is besides an built-in portion of his work adding deepness and stressing the three dimensional infinite. Michelangelo is depicted as the greatest painter of the Renaissance period but you could reason that his illustriousness was in how he applied the techniques of others. You could besides oppugn if he was the conceiver of any of the techniques he adopted as it would look that the merely radical interruption attributed to him, was the complete rejection of the Torahs of position which were normally used by others at the clip. He was n't the first to accomplish motion in art. Before him creative persons like Da Vinci and Botticelli had achieved this. In Leonardo ‘s â€Å" Last supper † dated 1447 one can detect in the word picture of the apostles how motion is suggested thanks to the carefully placed custodies indicating in assorted waies. With Botticelli ‘s â€Å" Primavera † dated 1482 the fluxing garments and the placement of the really expressive custodies clearly denote minute throughout the scene. Although his work was clearly that of a mastermind, his glare for me lies in the manner he portrayed the figures in the Sistine chapel. He managed to carve them out of the level surface, as if making a sculpture in every piece he painted. His manner though was non wholly alone as it is was really much reminiscent of other great Masterss of the clip, like Ghirlandaio and Luca Signorelli but still brilliant as unlike these Masterss he brought great look to the human figures together with great and baronial musculus tone. The Guildhall Carpet shall be given three dimensionality thorough the usage of techniques which Michelangelo himself adopted on the Sistine Chapel when he created sculptures in his picture. Michelangelo ‘s usage of coloring material, which was inspired by Leonardo ‘s â€Å" chiaroscuro † , will animate me besides to add shadows to my objects, making deepness and strength. Through Giotto ‘s usage of â€Å" cangianti † adopted greatly in the ceiling by Michelangelo, I will add motion and flow to the forms. The purpose is to make a three dimensional piece through usage of coloring material and shadows.

The Physics Of Electric Force - 1011 Words

Theory Electric force can be defined as an attraction or repulsion between two particles that is directly related to the charge of the two particles. So when a different voltage is applied to two metal plates the opposite charges that are applied produce an attraction. To be able to figure out the magnitude of the field on these plates one must know the charges, surface area, and the vacuum dielectric constant. With knowing the value of the electric field one can then calculate the value of the electric force that is being experienced between the two plates. Experimental Description This experiment consisted of four separate parts. The first part was to adjust the balance to make sure it was working properly, and to measure its†¦show more content†¦That value was .0161m^2. Next we had to check the check the voltage for deflection by turning on the power supply and adjusting the voltage. Once everything checked out properly we were able to move onto the next section. In part 2 of the experiment we had to measure the deflection of the plates with the laser. First we turned on the laser and measured the initial ho value of .52m, then we touched the two plates together for the ht value and that number was .44m. Next we measured the distance from the mirror to the ruler and it was 1.67m. With all of these values from the first two parts we could plug them into the formula yo=(ho-ht)(X/2D). This will give us the distance between our plates so when we plugged those values into that equation we got yo to equal .00515m which is a very cl ose value to our original y estimate of .005m. In part three of the experiment we had measure deflection using mass, so we started by placing .0001 kg in the center of the pan and then plugging it into the formula F=mg to find out the force it was exerting on the top pan. This force was .00098N and it pushed the pans about half of the way closer together from the original spot. Then the h1 value was obtained by reading the spot of the laser on the ruler. This was repeated three times and we got h1 values of .475m, .473m, and .475m. These values were then plugged into formula y1=(h1-ht)(x/2D). The three-y1 values were .00225m, .00212m,