The Enduring Appeal of the Horror Genre

The Enduring Appeal of the Horror Genre What is your topic? Question? Sub-questions? (Not too many!) Hypothesis? What specific issues associated with your topic do you want to investigate (making sure they are capable of being investigated within the constraints of the MA calendar)? What sorts of data will you need to adequately address each of these issues? Why will this data help you in particular? From what sources (places, human subjects, texts, cultural phenomena?) will you obtain this data? How will you obtain the data? (Documentary search? Interviewing? Questionnaire? Observation? Media production? Reflection on practice?) How do you intend (in general terms) to record, manage and analyze this data? What analytical models and theories will you draw on? What will your timetable be month by month? Introduction: answers the ‘so what? question, convince reader you need to do this Literature Review: Contextualises your research. Answers the question:  Where do I fit? Research questions determined. Methodology: Determines the nature of your study design and the  methods you will use. Include how you approach the subject, methods, why, ethics, how you analysed data. Results, discussion, analysis: combined or separate, can be guided by questions Conclusion: Draws everything together and answers your research  questions. Discusses limitation and future work. HORRORS ENDLESS CYCLE: AN INVESTIGATION INTO THE ENDURING APPEAL OF THE HORROR GENRE IN THE NEW MILLENNIUM. INTRODUCTION: The horror genre has deep roots in the classical studio era. Yet in important ways it also looks ahead to the post-classical period, a period of reduced levels of film production and correspondingly weakened genre identities. As a fantasy genre, horror departs in significant ways from the prevailing canons of representation in the classical Hollywood style, whether one takes that mode to be a form of realism or of melodrama. Horror has an identity as an unrespectable genre for an undiscriminating juvenile audience (or an audience that has its mind on other things), with strong roots in exploitation cinema, that has only fairly recently emerged as an attractive genre for large scale production at major studios. Finally, it has attracted significant critical attention in recent years, and in each case theories of postmodernism and – which is not always the same thing – currents in postmodern theory have played an important part in reconceiving the genre for audiences and film-makers alike. This critical interest is, I argue, related to the relative weakness in both cases of traditional semantic/syntactic matrices of generic identity, leading to a protean aspect that is well suited to exploiting marketplace currents and trends. That horror takes its core generic material from the body, both engines of contemporary critical enquiry and popular cultural debate has confirmed its relevance. (Barry Langford, Film Genre: Hollywood and Beyond, 2005) Why choose to live in fear? Today we get up, go to work, come home, watch TV and go to sleep. To combat the monotony we chase the death rush by other means, as perilous as base or bungee jumping, or as sanitised as roller coasters and theme parks, while for most the simple thrills of the horror movie are more than enough to satisfy and provide a little taste of fear. Thats just one theory. Another is that we watch horror movies because they offer us a challenge – to look fear and death in the face and survive the ordeal. The ascendance and growing popularity of horror cinema since the new millennium is certainly a fascinating trend in contemporary society, and one which is long overdue an in-depth and objective analysis. Through researching the appeal of the horror genre I shall look into the social and political climate into which these movies fell over the last ten years, and discuss the merits of the movies themselves or, in some cases, lack of them. (Marshall in Carolyn, 2008). The horror film, throughout its shady, rebellious history has earned more money than respect. Though these days there are film festivals, websites, books, magazines, Masters theses, and even film distributors devoted entirely to the consumption of the dark side of entertainment, the mainstream media and self-appointed intelligentsia of pontificators cluck their tongues and blame the fall of society on these nasty little gutter-dwellers we call our own. In truth, the horror film may be the best mirror of the worlds zeitgeist we have, reflecting, rather than creating, the ills and crises of the planets collective psychology. Its been said before and it bears repeating that horror is to cinema what rock and roll is to music: rude, abrasive, pushy and anti-establishment. No wonder, then, that it is so embraced by the young. What better way to break away from parental chains than to blast distorted guitars on the stereo, and revel in disemboweled damsels in distress on the widescreen plasma? The young are immortal, right? And who can blame them for gathering tribally in front of the Cineplex screens to cheer on the latest adventures of the newest teen-gutting horror franchise star? They know its not real, that they are thumbing their noses at mortality. Yes, deep-seated fears are faced on the screen, from a safe distance, allowing the audience to safely play tag with what scares them. A good horror movie has all the elements of a good drama: creative storytelling: compelling characters placed in relatable plots, an artists point of view. But a really good horror movie, the best horror movie, can take you far beyond: it can take you to a place youve never been, a shadowy chamber of the mind outside of your worldly experience, with story twists and turns that will make you squirm until the lights come on and you emerge victoriously from your two hours in the dark. A great horror movie can be a revelatory experience. A great way to take societys pulse is through the arts and entertainment of the time. And the horror film makes a great thermometer. As I intend to examine in this study, a national or global health is particularly well represented by its fright films. At times of political upheaval, war, depression and recession, the horror cycle runs to a particular high. Adam Simons remarkable documentary, The American Nightmare, about the horror boom of the 1970s arising out of the international upheaval that surrounded the war in Vietnam. Is a terrific examination of how one relates to the other. But as we close in on the end of the new millenniums first decade, we find ourselves in another long-lasting terror boom in a post 9/11 world. Obviously, most of these films are not artistic reflections of social strife, or the primal screams of the mad artist who paints in blood. As they have, with everything else that makes money, the corporate kings have co-opted the popular cycle on their own terms. Where brilliant artists contribute excellent and exciting new ventures, the screens are also littered with the latest iterations of franchises nobody asks for, but are easy to market. In recent years, its been far easier for an industry that isnt interested in or has any understanding of the horror genre to take familiar titles, and remake and sequelise them until the law of diminishing returns proves itself, and they move on to the next title. There are great horror films being made today amidst the dross. But its not quality thats being discussed here, though it obviously plays a part. Its that there is a new and ravening audience for the spilling of blood. Again, theres nothing new about this: filmgoers filled the cinemas during the Depression to see the Frankenstein monster toss an innocent little girl into the pond, to see Count Dracula sup on the blood of lovely blondes; during World War II, Frankensteins monster met everyone from the Wolf Man to Abbott and Costello, and Universal cranked out one monster fest after another, while a quiet, well-real producer named Val Lewton churned out intelligent, atmospheric shockers for RKO; in the 1950s, when the Cold War and Air Raid duck-and-cover drills were the order of the day, nuclear tests gave birth to the giant ants of Them, the humungous grasshoppers of The Beginning of the End, and the radioactivity-breathing Japanese dragon beast of Godzilla; the early sixties turned i nternal, with human monsters like Norman Bates infesting our souls and killing on behalf of the sexual battle within the newly blossoming psychological terror train; the Vietnamese apocalypses were brutal, fed as they were by nightly news imagery of burning bodies and human torture, in a toe-in-the-water test of loosening censorship that led to a free-for-all; the eighties were all about cheap: no stars, gore effects and creative kills being the entire raison dà ªtre for a horror films existence; the complacent, Wall Street frivolous 1990s were mostly in a horror lull, but ended with a bang of excellence with films like Stir of Echoes, The Sixth Sense and The Blair Witch Project. In the new millennium, a new generation of filmmakers is finding its voice, raised on ubiquitous film courses in high school and beyond, computers that provide in-home editing and sound mixing, mobile, high definition cameras that lead everyone to believe they can be the next John Carpenter. But it is ingenuity that best raises the profile among hordes of wannabes, as well as a point of view. The world, under the shroud of George W Bush, Tony Blair and their brethren, is dangerous, complicated and nervous. And the boom of horrific storytelling, even when controlled by the mass-media collective out to squeeze every last buck out of it, will reflect a world on edge in its unforgiving mirror†¦ at least until the next cycle. (Garris in Carolyn, 2008) In the first section, Configuring the Monster, I will explore the key themes of the genre; the main issues and the debates raised, and engage with approaches and theories that have been applied to horror texts. This theoretical background will be presented via the modernist context within which early horror texts evolved. This brief description of the generic development of the horror film will thus provide a review of its fundamental preoccupations, especially through a discussion of a variety of psychoanalytic and gendered readings. This first part also includes a case study that reviews indicative patterns of readings of horror texts across different age groups that are interesting in terms of the progression of spectator involvement with horror film. In the second section, Consensus and Constraint 1919-1960, and the final section, Chaos and Collapse 1960-2000, I will further address the chronological evolution of the horror film, looking upon particular historical periods. This analysis will consider the role of both traditional myth and gothic literature in early cinematic representations of horror. Post-war developments are then viewed in terms of the revisiting of these generic formulae. The more contemporary transgression of boundaries of permissible gore and pathological states are then considered through a discussion of the work of postmodern auteurs reworking the genres field of operation and its consistent cycling. Inevitably in a work of this length, many complex arguments will be rendered briefly and simplistically, and many important observations reduced to description and generalistion. This is not a disclaimer; rather it is an encouragement for other researchers to pursue further lines of enquiry and to address the genre anew from a personal, informed perspective. (Wells, 2000)

The Way and Life of General Carl A. Spaatz Essay -- essays research pa

The Way and Life of General Carl A. Spaatz The name General Carl ‘Tooey’ Andrew Spaatz has become synonymous with the phrase air power and strategist. Air power has come along way since Wilbur and Orville launched the first airplane in 1902 in the city of Kitty Hawk. Famous engineers have taken the Wright-Brothers design and made great improvements to them while slowly integrating these new powerful means of transportation, weaponry and communication aids into the military. Since the onset of World War I there has been a debate on how to most effectively use these new airplanes in the Army’s collection. Most individuals believed that airplanes should be under control of the Army theater commander, while very few felt that these airplanes should be a separate entity from the Army. One of these few people who believed that the Air Force should be separate is General Spaatz. General Spaatz possessed perseverance, leadership attributes and military knowledge; all factors leading him becoming a substantial proponent of a separate Air Force. Spaatz legacy continues to live on; his leadership skills continue to influence people today as General Spaatz is still able to impact air power in the 21st century. It is no accident that General Spaatz is a proponent of a separate Air Force. Spaatz’s perseverance, leadership attributes and military knowledge would lead him to be a proponent of a separate Air Force were all being shaped, tweaked and instilled upon him during his early plebe years at the United States Military Academy (USMA) beginning in 1900. Looking back on Spaatz’s career at the USMA, one would not predict Spaatz to become the first Chief of Staff of the newly independent United States Air Force. However, these four years spent at the USMA were very influential, particularly in Spaatz’s development as a leader and his ability to persevere. While at the USMA Spaatz was very much a rebel and was constantly breaking the rules. Nevertheless, Spaatz knew he was smart, he demonstrated this by being ranked in the top half of his class. Although, as Spaatz entered his senior year, he felt he had nothing else to prove and began to slack off. Eventually Spaatz ended up being ranked near the bottom of his class. He went from the rank of 39th to 98th of 107 within a year. With the possibility of getting kicked-out Spaatz used his perseve... ...orce is grateful for a man like General Spaatz and the events that occurred in his lifetime. He may have been subject to coincidence, or even fate, but either way Spaatz’s leadership, perseverance and military knowledge is no accident. Works Cited Davis, Richard G. "Carl A. Spaatz and the Development of the Royal Air Force-U.S. Army Air Corps Relationship, 1939-1940." The Journal of Military History. Oct. 1990: EBSCOhost. 9 Nov. 2003 Davis, Richard G. "Gen Carl Spaatz and D Day." Airpower Journal. Winter 1997: Military & Government Collection. 10 Nov. 2003 Doughty, Robert A., and Ira D. Gruber. Warfare in the Western World. Vol. II. Boston, MA: Houghton Mifflin Company, 2001. 797. Glines, C.V.. "Air Power Strategist Carl A. Spaatz." Aviation History. Vol. 12, Issue 4. Mar. 2002: Military & Government Collection. 8 Nov. 2003 McNeely, Gina. "Legacy of Flight." Aviation History. Mar. 1998: Academic Search Premier. 8 Nov. 2003. Maj. Carl A. Spaatz. 7 June 2002. The Evolution of Aeronautical Development at the Aeronautical Systems Center . 8 Nov. 2003 . Mets, David R. Master of Airpower. Novato, California: Presido, 1988. The Way and Life of General Carl A. Spaatz Essay -- essays research pa The Way and Life of General Carl A. Spaatz The name General Carl ‘Tooey’ Andrew Spaatz has become synonymous with the phrase air power and strategist. Air power has come along way since Wilbur and Orville launched the first airplane in 1902 in the city of Kitty Hawk. Famous engineers have taken the Wright-Brothers design and made great improvements to them while slowly integrating these new powerful means of transportation, weaponry and communication aids into the military. Since the onset of World War I there has been a debate on how to most effectively use these new airplanes in the Army’s collection. Most individuals believed that airplanes should be under control of the Army theater commander, while very few felt that these airplanes should be a separate entity from the Army. One of these few people who believed that the Air Force should be separate is General Spaatz. General Spaatz possessed perseverance, leadership attributes and military knowledge; all factors leading him becoming a substantial proponent of a separate Air Force. Spaatz legacy continues to live on; his leadership skills continue to influence people today as General Spaatz is still able to impact air power in the 21st century. It is no accident that General Spaatz is a proponent of a separate Air Force. Spaatz’s perseverance, leadership attributes and military knowledge would lead him to be a proponent of a separate Air Force were all being shaped, tweaked and instilled upon him during his early plebe years at the United States Military Academy (USMA) beginning in 1900. Looking back on Spaatz’s career at the USMA, one would not predict Spaatz to become the first Chief of Staff of the newly independent United States Air Force. However, these four years spent at the USMA were very influential, particularly in Spaatz’s development as a leader and his ability to persevere. While at the USMA Spaatz was very much a rebel and was constantly breaking the rules. Nevertheless, Spaatz knew he was smart, he demonstrated this by being ranked in the top half of his class. Although, as Spaatz entered his senior year, he felt he had nothing else to prove and began to slack off. Eventually Spaatz ended up being ranked near the bottom of his class. He went from the rank of 39th to 98th of 107 within a year. With the possibility of getting kicked-out Spaatz used his perseve... ...orce is grateful for a man like General Spaatz and the events that occurred in his lifetime. He may have been subject to coincidence, or even fate, but either way Spaatz’s leadership, perseverance and military knowledge is no accident. Works Cited Davis, Richard G. "Carl A. Spaatz and the Development of the Royal Air Force-U.S. Army Air Corps Relationship, 1939-1940." The Journal of Military History. Oct. 1990: EBSCOhost. 9 Nov. 2003 Davis, Richard G. "Gen Carl Spaatz and D Day." Airpower Journal. Winter 1997: Military & Government Collection. 10 Nov. 2003 Doughty, Robert A., and Ira D. Gruber. Warfare in the Western World. Vol. II. Boston, MA: Houghton Mifflin Company, 2001. 797. Glines, C.V.. "Air Power Strategist Carl A. Spaatz." Aviation History. Vol. 12, Issue 4. Mar. 2002: Military & Government Collection. 8 Nov. 2003 McNeely, Gina. "Legacy of Flight." Aviation History. Mar. 1998: Academic Search Premier. 8 Nov. 2003. Maj. Carl A. Spaatz. 7 June 2002. The Evolution of Aeronautical Development at the Aeronautical Systems Center . 8 Nov. 2003 . Mets, David R. Master of Airpower. Novato, California: Presido, 1988.

The Anatomy and Physiology of Lipids Essay -- Anatomy Physiology Lipid

The Anatomy and Physiology of Lipids Abstract When you get up each morning and look outside your window looking out at the beautiful plants and adorable little animals, have you ever wondered what makes all living things? Lipids are what help create all the living things we see everyday. Lipids are found in all membranes, mainly plasma membranes, meaning animals and plants contain lipids. In this paper I will display and explain the formation of micelles and bi-layers from lipid amphiphilicity. A variety of books were used to study different types of lipids; the three major components, glycerophospholipids, sphingolipids, and sterols, and their affects in the cellular and multicultural systems. 3 Lipids are structural components found in living cells that are either soluble in organic solvents or insoluble in water.1 These lipid membranes are demonstrated in Singer and Nicolson’s 1972 fluid mosaic model. Lipids are commonly recognized as fats, oils, wax, etc. There are three major different types of lipids that exist: glycerophospholipids, sphingolipids, and sterols.2 Within each type there are a variety of subtypes. Glycerophospholipids are commonly referred to as plain phospholipids. Within itself it contains three components. First it is constructed with a phosphorylated head group, then a three carbon glycerol backbone, and finally a two hydrocarbon fatty acid chains. The phosphorylated head group is attached to one of the glycerol hydroxyls with addition to the two hydrocarbon fatty acid chains bonded to the other two glycerol hydroxyls.3 The purpose for glycerophospholipids is to construct and or maintain the cell membrane. In a microscopic view of the cell membrane we can observe that the glyceropho... ... Guardiola, Francesc, ed. Cholesterol and Phytosterol Oxidation Products : Analysis, Occurrence, and Biological Effects. New York: AOCS P, 2002. Hooper, Nigel, and David Hames. Instant Notes in Biochemistry. New York: Taylor & Francis Group, 2005. Kreuzer, F. and J.F.G. Slegers. Biomembranes Vol. 3 : Passive Permeability of Cell Membranes. New York; Plenum Press, 1972. "Lipid bilayer." Wikipedia. 24 July 2008 . "Micelle." Wikipedia. 26 July 2008 . Mukherjee, Kumar D. CRC Handbook of Chromotography Vol. 3 : Analysis of Lipidsseries. New York: CRC P, 1993. Perkins, Edward G. Analyses if Fats, Oils and Lipoproteins. Illinois: American Oil Chemists’ Society, 1991. Vance, Deenis E, and Jean E. Vance. Biochemistry of Lipids, Lipoproteins and Membranes. Amesterdam: Elsevier, 1991.

The Current Status of the Australian Economy :: AustralianEconomics Trade Cycle Essays

The Current Status of the Australian Economy Assignment 3 A Collect, organize, present and analyse a range of data which describes the current state of the Australian economy(with respect to the trade cycle). B Describe and analyse the monetary policy stance which has been adopted by the RBA over the past 2 years. How effective is monetary policy in achieving the policy objectives of the government? Introduction Part A =================== This report contains an informed and balanced analysis of a range of data which assists in depicting the current state of the Australian economy in relation to the trade cycle. Relevant Data For various reasons, economic activity fluctuates from year to year. Periods of rising activity, output and income are called booms and periods of slower activity are called a trough. Generally when real GDP is above 4 per cent p.a. it would be considered a boom year and when there are technically, two consecutive quarters of negative economic growth it would be considered a trough or a recession. In the short term the level of economic activity fluctuates. In some years, growth is fast and business conditions are booming. In other years, the level of activity is slow, so growth in output, income and employment is also less than average. These fluctuations are called the trade cycle. There are a number of economic indicators which are useful for determining what stage of the trade cycle the Australian economy is currently in, such as Gross domestic product, unemployment, inflation, interest rates, building approvals and home loan approval, just to name a few. Changes in Aggregate Demand Changes in the level of Aggregate Demand (AD) are critical determinants of trade cycle fluctuations. GDP is the sum of consumption, investment, government purchases and net exports. Y = C + I + G + NX The following table outlines these elements and influencing factors. Elements of GDP Major factors affecting this component Consumption (C) Disposable income (Yd); interest rates (r); expectations about the future; stock of wealth. Investment (I) Past levels of profit; expectations about the futre business conditions; interest rates (r) Government expenditure Determined in accordance with government policy Net exports Determined by the interplay of C & I conditions in other countries and Australia. Output and Unemployment As Gans, King and Stonecash state, â€Å"Changes in the economy’s output of goods and services are strongly correlated with changes in the economy’s utilization of its labour forces†. Generally as Gross Domestic Product declines then the rate of unemployment rises, basically as companies produce less goods and services, they require less staff or are not employing new members, thus the number of people

Does Dickens create a rrealistic figure in the character of Scrooge? :: English Literature

Does Dickens create a rrealistic figure in the character of Scrooge? A Christmas Carol When people read or watch a ghost story, they have certain expectations of it. People would usually expect the story to be scary, have an eerie feel, and have appropriate, creepy settings such as a graveyard or derelict house. Most ghost stories use darkness to create the right atmosphere. There is usually a wide range of characters such as a hero/heroin, a damsel in distress or someone in danger, a victim, horrible and creepy characters that maybe outcasts and most obviously a ghost. People expect the story to have a scary opening, that draws them in into the story making them want to read on, but that doesn't give anything away. The opening often gives some background information on the characters. There is quite often a murder or disappearance to be investigated. Most ghost stories have a closed ending where the mystery is solved or the ghost is disposed of. Fear, suspense and foreshadowing are important features in the plot of a ghost story. All of these factors usually crop up in a typical ghost story. Older ghost stories tend to be text based where as newer ones can be found in other media, such as films. Many films and television series of ghost stories have been produced. The more recent ones tend to drift away from the criteria of a typical ghost story by combining with other genres; where as the older stories seem to follow the expected features of a ghost story much more closely. The more modern ghost story films have mixed with the horror genre because it adds to the atmosphere of the story and makes it scarier. Ghost story films and TV programmers usually drift away from the typical ghost story line because they don't stick just to the ghost story genre; they tend to mix in other genre such as romance, murder mystery and especially horror! This is because the aspect of horror in the ghost story creates a scarier atmosphere that keeps the viewer interested. Films and TV mix other genres such as romance and mystery to keep the viewer interested and to make the storyline different, unique, so it's not similar to other films and programmers. It also enables the ghost story to have a twist in the storyline making it much less predictable there for drawing the viewer into the story and making them want to keep watching. Some examples of these are 'What lies beneath' and 'The Sixth Sense'. Both these ghost stories have a major twist in the plot very near the end and both keep the viewer in

The Lost Duke of Wyndham Chapter Eleven

What Jack saw took his breath away. â€Å"No one comes here but me,† Grace said softly. â€Å"I don't know why.† The light, the ripple through the air as the sun slid through the uneven glass of the ancient windows†¦ â€Å"In the winter especially,† she continued, her voice just a little hesitant, â€Å"it's magic. I can't explain it. I think the sun dips lower. And with the snow†¦Ã¢â‚¬  It was the light. It had to be. It was the way the light trembled, and fell on her. His heart clenched. Like a fist it hit him – this need, this overwhelming urge†¦He could not speak. He could not even begin to articulate it, but – â€Å"Jack?† she whispered, and it was just enough to break his trance. â€Å"Grace.† It was just one word, but it was a benediction. This went beyond desire, it was need. It was an indefinable, inexplicable, living, pulsing thing within him that could only be tamed by her. If he didn't hold her, didn't touch her in that very moment, something within him would die. To a man who tried to treat life as an endless series of ironies and witticisms, nothing could have been more terrifying. He reached out and roughly pulled her to him. He was not delicate, nor was he gentle. He couldn't be. He couldn't manage it, not now, not when he needed her so desperately. â€Å"Grace,† he said again, because that's what she was to him. It was impossible that he'd known her but a day. She was his grace, his Grace, and it was like she had always been there within him, waiting for him to finally open his eyes and find her. His hands cupped her face. She was a priceless treasure, and yet he could not force himself to touch her with the reverence she deserved. Instead, his fingers were clumsy, his body rough and pounding. Her eyes – so clear, so blue – he thought he might drown in them. He wanted to drown in them, to lose himself within her and never leave. His lips touched hers, and then – of this he was certain – he was lost. There was nothing more for him but this woman, in this moment, maybe even for all his moments thereafter. â€Å"Jack,† she sighed. It was the first time all morning she'd used his name, and it sent waves of desire pulsing through his already taut body. â€Å"Grace,† he said in return, because he was afraid to say anything else, afraid that for the first time in his life his glib tongue would fail him, and his words would come out wrong. He'd say something and it would mean too little, or perhaps he'd say something and it would mean too much. And then she would know, if by some miracle she did not already, that she had bewitched him. He kissed her hungrily, passionately, with all the fire within him. His hands slid down her back, memorizing the gentle slope of her spine, and when he reached the more lush curves of her bottom, he could not help it – he pressed her more firmly against him. He was aroused, and wound more tightly than he'd ever imagined possible, and all he could think – if he was thinking at all – was that he needed her close, closer. Whatever he could get, whatever he could have – right now he would take it. â€Å"Grace,† he said again, one of his hands moving to the spot where her dress touched her skin, just at her collarbone. She flinched at his touch, and he stilled, barely able to imagine how he would tear himself away. But her hand covered his, and she whispered, â€Å"I was surprised.† It was only then that he once again breathed. Fingers shaking, he traced the delicately scalloped edge of her bodice. Her pulse seemed to leap beneath his touch, and never in his life had he been so aware of a single sound – the quiet rasp of air, brushing across her lips. â€Å"You are so beautiful,† he whispered, and the amazing thing was that he was not even looking at her face. It was merely her skin, the pale, milky hue of it, the soft blush of pink that followed his fingers. Softly, gently, he bowed his head and brushed his lips along the hollow at the base of her throat. She gasped then, or maybe it was a moan, and her head slowly fell back in silent agreement. Her arms were around him and her hands in his hair, and then, without even considering what it meant, he swept her into his arms and carried her across the room, to the low, wide settee that sat near the window, bathed in the magical sunlight that had seduced them both. For a moment, kneeling at her side, he could do nothing but look at her, then one of his trembling hands reached forth to stroke her cheek. She was staring up at him, and in her eyes there was wonder, and anticipation, and yes, a little nervousness. But there was also trust. She wanted him. Him. No one else. She had never been kissed before, of that he was certain. She could have done. Of that he was even more certain. A woman of Grace's beauty did not reach her age without having refused (or rebuffed) multiple advances. She had waited. She had waited for him. Still kneeling beside her, he bent to kiss her, his hand moving down the side of her face to her shoulder, then to her hip. His passion grew deeper, and hers, too; she was returning his kiss with an unschooled eagerness that left him breathless with desire. â€Å"Grace, Grace,† he moaned, his voice lost in the warmth of her mouth. His hand found the hem of her dress and then slid under, grasping the slender circle of her ankle. And then up†¦up†¦to her knee. And higher. Until he could bear it no longer, and he moved to the settee himself, partially covering her with his own body. His lips had moved to her neck, and he felt her sharply indrawn breath on his cheek. But she did not say no. She did not cover his hand with hers and bring him to a stop. She did nothing but whisper his name and arch her hips beneath him. She couldn't have known what the movement had meant, could never have known what it would do to him, but that ever-so-slight pressure beneath him, rising up against his own desire, brought him to the very peak of need. He kissed his way down her neck, to the gentle swell of her breast, his lips finding the very spot at the edge of her bodice that his fingers had so recently traveled. He lifted himself away from her, just a bit, just enough so he could slide his finger under the hem and slide it down, or maybe push her up – whichever was needed to free her to his devotion. But just when his hand had moved toward his destination, just when he'd had one glorious second to cup the fullness of her, skin to skin, the stiff edge peaking in his palm, she cried out. Softly, with surprise. And dismay. â€Å"No, I can't.† With jerky movements she scrambled to her feet, righting her dress. Her hands were shaking. More than shaking. They seemed filled with a foreign, nervous energy, and when he looked in her eyes, it was as if a knife had pierced him. It was not revulsion, it was not fear. What he saw was anguish. â€Å"Grace,† he said, moving toward her. â€Å"What is wrong?† â€Å"I'm sorry,† she said, stepping back. â€Å"I – I shouldn't have. Not now. Not until – † One of her hands flew up to cover her mouth. â€Å"Not until†¦? Grace? Not until what?† â€Å"I'm sorry,† she said again, confirming his belief that those were the worst two words in the English language. She bobbed a quick, perfunctory curtsy. â€Å"I must go.† And then she ran from the room, leaving him quite alone. He stared at the empty doorway for a full minute, trying to figure out just what had happened. And it was only when he finally stepped into the hall that he realized he hadn't a clue how to get back to his bedchamber. Grace dashed through Belgrave, half walking, half skipping†¦running†¦whatever it was she needed to do to reach her room with the most equal balance of dignity and speed. If the servants saw her – and she couldn't imagine they didn't; they seemed positively everywhere this morning – they must have wondered at her distress. The dowager would not expect her. Surely she would think she was still showing Mr. Audley the house. Grace had at least an hour before she might need to show her face. Dear God, what had she done? If she had not finally remembered herself, remembered who he was, and who he might be, she would have let him continue. She'd wanted it. She'd wanted it with a fervor that had shocked her. When he'd taken her hand, when he'd pulled her to him, he awakened something within her. No. It had been awakened two nights earlier. On that moonlit night, standing outside the carriage, something had been born within her. And now†¦ She sat upon her bed, wanting to bury herself in the covers but instead just sitting there, staring at the wall. There was no going back. One couldn't ever not have been kissed once the deed was done. With a nervous breath, maybe even a frantic laugh, she covered her face with her hands. Could she possibly have chosen anyone less suitable with whom to fall in love? Not that this was the measure of her feelings, she hastened to reassure herself, but she was not so much of a fool that she could not recognize her leanings. If she let herself†¦If she let him†¦ She would fall in love. Good heavens. Either he was a highwayman, and now she was destined to be the consort of an outlaw, or he was the true Duke of Wyndham, which meant – She laughed because really, this was funny. It had to be funny. If it wasn't funny, then it could only be tragic, and she didn't think she could manage that just now. Wonderful. Perhaps she was falling in love with the Duke of Wyndham. Now that was appropriate. Let's see, how many ways was this a disaster? He was her employer, for one, he owned the house in which she lived, and his rank was so far above hers as to be nearly immeasurable. And then there was Amelia. She and Thomas certainly did not suit, but she had every right to expect that she would be the Duchess of Wyndham upon her marriage. Grace could not imagine how crass and overreaching she would appear to the Willoughbys – her good friends – if she were seen to be throwing herself at the new duke. Grace closed her eyes and touched the tips of her fingers to her lips. If she breathed deeply enough she almost relaxed. And she could almost still feel his presence, his touch, the warmth of his skin. It was awful. It was wonderful. She was a fool. She lay down, let out a long, weary breath. Funny how she'd hoped for change, for something to break the monotony of her days attending to the dowager. Life was a mocking sort of thing, wasn't it? And love†¦ Love was the cruelest joke of all. â€Å"Lady Amelia is here to see you, Miss Eversleigh.† Grace jolted upright, blinking furiously. She must have fallen asleep. She could not recall the last time she had done so at midday. â€Å"Lady Amelia?† she echoed, surprised. â€Å"With Lady Elizabeth?† â€Å"No, miss,† the maid informed her. â€Å"She is alone.† â€Å"How curious.† Grace sat up, flexing her feet and hands to awaken her body. â€Å"Please tell her I shall be right there.† She waited for the maid to depart, then went to her small mirror to straighten her hair. It was worse than she'd feared, although she could not be certain whether it had been mussed in sleep or by Mr. Audley. She felt her skin flush at the memory, and she groaned at that. Gathering her determination, she repinned her hair and left the room, walking as briskly as she could, as if speed and a set of squared shoulders could keep all of her worries at bay. Or at the very least, make her look as if she did not care. It did seem odd that Amelia would come to Belgrave without Elizabeth. Grace did not know that she had ever done so before. Certainly not to see her. Grace wondered if her original intention had been to call upon Thomas, who was, as far as she knew, still out. She hurried down the stairs, then turned to make for the front drawing room. But she'd not taken more than a dozen steps before someone grabbed her arm and yanked her into a side room. â€Å"Thomas!† she exclaimed. It was indeed he, somewhat haggard and sporting a nasty bruise under his left eye. His appearance was a shock; she had never seen him looking so rumpled before. His shirt was wrinkled, his cravat missing, and his hair had most definitely not been styled a la Brutus. Or even a la human. And then there were his eyes, which were most uncharacteristically red-rimmed. â€Å"What happened to you?† He put a finger to his lips and shut the door. â€Å"Were you expecting someone else?† he asked, and her cheeks grew warm. Indeed, when she'd felt a strong male hand close around her arm and pull, she had assumed it was Mr. Audley, trying to steal a kiss. Her flush grew deeper as she realized she had been disappointed to realize that it was not. â€Å"No, of course not,† she said quickly, even though she suspected he knew she was lying. She quickly glanced around the room to see if they were alone. â€Å"What is wrong?† â€Å"I needed to speak with you before you see Lady Amelia.† â€Å"Oh, then you know she is here?† â€Å"I brought her,† he confirmed. Her eyes widened. That was news. He had been out all night and was considerably worse for the wear. She glanced at a nearby clock. It was not yet even noon. When could he have collected Amelia? And where? And why? â€Å"It is a long story,† he said, clearly to cut her off before she could ask any questions. â€Å"But suffice it to say, she will inform you that you were in Stamford this morning, and you invited her back to Belgrave.† Her brows rose. If he was asking her to lie, it was very serious, indeed. â€Å"Thomas, any number of people know quite well that I was not in Stamford this morning.† â€Å"Yes, but her mother is not among that number.† Grace wasn't sure if she should be shocked or delighted. Had he compromised Amelia? Why else would they need to lie to her mother? â€Å"Er, Thomas†¦Ã¢â‚¬  she began, unsure of how to proceed. â€Å"I feel I must tell you, given the number of delays thus far, I would imagine that Lady Crowland would be delighted to know – â€Å" â€Å"Oh for God's sake, it is nothing like that,† he muttered. â€Å"Amelia assisted me home when I was† – he blushed then. Blushed! Thomas! – â€Å"impaired.† Grace bit her lip to keep from smiling. It was quite remarkable what a pleasant image that was – Thomas allowing himself to be anything less than perfectly composed. â€Å"That was most charitable of her,† she said, perhaps a little too primly. But really, it couldn't be helped. He glared at her, which only made it more difficult to maintain an even face. She cleared her throat. â€Å"Have you, er, considered tidying up?† â€Å"No,† he snapped, â€Å"I rather enjoy looking like a slovenly fool.† Grace winced at that. â€Å"Now listen,† he continued, looking terribly determined. â€Å"Amelia will repeat what I have told you, but it is imperative that you not tell her about Mr. Audley.† â€Å"I would never do that,† Grace said quickly. â€Å"It is not my place.† â€Å"Good.† â€Å"But she will want to know why you were, er†¦Ã¢â‚¬  Oh, dear, how to put it politely? â€Å"You don't know why,† he said firmly. â€Å"Just tell her that. Why would she suspect that you would know more?† â€Å"She knows that I consider you a friend,† Grace said. â€Å"And furthermore, I live here. Servants always know everything. She knows that.† â€Å"You're not a servant,† he muttered. â€Å"I am and you know it,† she replied, almost amused. â€Å"The only difference is that I am allowed to wear finer clothing and occasionally converse with the guests. But I assure you, I am privy to all of the household gossip.† For several seconds he did nothing but stare, as if waiting for her to laugh and say, Only joking! Finally he muttered something under his breath that she was quite certain she was not meant to understand (and indeed she did not; servants' gossip was occasionally risque, but it was never profane). â€Å"For me, Grace,† he said, his eyes boring into hers, â€Å"will you please just tell her you don't know?† It was the closest she had ever heard him come to begging, and it left her disoriented and acutely uncomfortable. â€Å"Of course,† she said quickly. â€Å"You have my word.† He nodded briskly. â€Å"Amelia will be expecting you.† â€Å"Yes. Yes, of course.† Grace hurried to the door, but when her hand touched the knob, she found she was not quite ready to go. She turned around, taking one last look at his face. He was not himself. No one could blame him; it had been a most extraordinary two days. But still, it worried her. â€Å"Will you be all right?† she asked. And immediately regretted that she had done so. His face seemed to move, and twist, and she could not be sure if he was going to laugh or cry. But she did know that she did not want to be witness to either. â€Å"No, don't answer that,† she mumbled, and she ran from the room.

Expansion and contraction of matter Essay

Thermal Expansion and Contraction Most of the matters, without some exceptions, expand with the increasing temperature. When you give heat to matters; speed of its particles increase and distance between them also increase which results in the increase of the volumes of matters. All expansions occurs in volume of the substance however, sometimes some of the dimensions of them expand more with respect to others. In this case we neglect the less expanded ones and assume expansion like linear expansion in long materials. Moreover, we take the expansion of plate as area expansion and finally we take the expansion in three dimensions as volume expansion. thermal expansion Inverse of the expansion is called contraction, generally when matters lost heat and their temperatures decrease they contract. Now we will learn which factors effect expansion. If the initial volumes, areas or lengths of the matters are big enough their expansions with the same temperature are also big. In other words, expansion or contraction is linearly proportional to the initial volume of the matter. Different matters have different atomic structure, thus distances between the atoms are also different. They give different reactions to the same amount of temperature changes. So, another factor effecting expansion is type of matter. Final factor that affects expansion is the amount of change in temperature. Larger the change in temperature results in larger the change in the volume of matter. We get following formula from the explanations given above; ∆V=V0.ÃŽ ±. ∆T Where; ∆V is the change in the volume, ÃŽ ± is the coefficient of thermal expansion and ∆T is the change in the temperature of the matter. ÃŽ ±= Coefficient of thermal expansion is equal to the change in the volume of a unit of mass under 10C change in temperature. Expansion in Solid Matters We will examine this subject under three title, linear expansion, area expansion and volume expansion. Linear Expansion: Picture given below shows the linear expansion of metal rod. When it is heated, its length increases. linear expansion Our formula for linear expansion is; ∆L=L0.ÃŽ ±. ∆T Where; ∆L is the amount of change in the length of the rod, L0 is the initial length of the road, ÃŽ ± is the coefficient of linear expansion and ∆T is the change in the temperature of the matter. Example: There are three same metal rods having same length and thickness. If the temperatures of them are given like; T, 2T and 3T find the relations of final lengths of the rods. (Rods are in contact) We find the final temperatures of the system by the formula; Tfinal=T1+T2+T3/3=6T/3=2T Since the temperature of the first rod increase, its final length also increases. Temperature of the second rod stays same, thus there won’t be change in the length of this rod. Finally, temperature of the third rod decreases, thus its contract and final length of it decreases with respect to initial length. As a result relation of the final lengths of the rods; L1>L2>L3 Area Expansion: When plate given below is heated, it expands in two dimensions X and Y. We find the area expansion with the given formula; ∆S=S0.2ÃŽ ±. ∆T  Where; ∆S is the amount of change in the area of the plate, S0 is the initial area of the plate, 2ÃŽ ± is the coefficient of area expansion and ∆T is the change in the temperature of the matter. area expansion Example: We cut a circular piece from the rectangular plate. Which ones of the processes given below can help us in passing through the circular piece from the hole? expansion example I. Increasing the temperatures of rectangular plate and circular piece II. Decreasing the temperature of the circular piece III. Decreasing the temperatures of the rectangular plate and circular piece I. If we increase the temperatures of the plate and circular piece, expansion of the hole and the circular piece will be the same. Thus, this  option can help us. II. If we decrease the temperature of the circular piece, it contracts and hole becomes larger than the piece. This option can also help us. III. If we decrease the temperatures of the plate and circular piece, hole and circular piece contract in same size. This process can also help us. Volume Expansion: If the objects expand in volume with the gained heat, we call this volume expansion and find it with the following formula; ∆V=V0.3ÃŽ ±. ∆T  Where; ∆V is the amount of change in the volume of the cube, V0 is the initial volume of the cube, 3ÃŽ ± is the coefficient of volume expansion and ∆T is the change in the temperature of the matter. volume expansion Heat Temperature and Thermal Expansion Exams and Solutions  Phase Transition of Water< Prev Next > Heat Temperature and Expansion Cheat Sheet Tags:area expansioncalculations of thermal expansionlinear expansionsamples of thermal expansionthermal contractionthermal expansion and contractionvolume expansion