William Blake’s Songs of Innocence and Songs of Experience

Trace how Flake's thought develops from his poem ‘The Lamb' and ‘The Tiger' together- â€Å"l have no name: I am but two days old. † What shall I call thee? â€Å"l happy am, Joy is my name. † Sweet Joy befall thee! † ‘ The good character as well as the bad abstractions such as virtues and vices is framed up in symbols to elaborate their suggestiveness and implications. Flake's cosmology is too large and complex to be given in brief. His symbols help to express his visions which may be obscure to a common reader.Blake says: â€Å"Allegory is addressed to the intellectual powers, while it is altogether hidden from the corporeal. Understanding is my definition of the Most Sublime Poetry. † From this it is clear that in his view poetry is concerned with something else than the phenomenal world and that the only meaner of expressing it is through what he calls ‘allegory. For Blake allegory is a system of symbols which presents events in a spiritual world. The modest Rose puts forth a thorn, The humble Sheep a threatening horn; White the Lily white shall in love delight, Nor a thorn nor a threat stain her beauty bright. † Blake imagined himself under spiritual influences. He saw various forms and heard he voices of angels, fairies, kings of the past and even God; the past and future were before him and he heard in imagination, even the awful voice which called on Adam amongst the trees of the garden. In this kind of dreaming abstraction, he lived much of his life; all his s works are stamped with it.Though this visionary aspect explains much of the mysticism and obscurity of his work, it is also the element that makes his poems singular in loveliness and beauty. It is amazing that he could thus, month after month and year after year, lay down his engraver after it had earned him his lily wages, and retire from s the battle, to his imagination where he could experience scenes of more than-earthly splendor and c reatures pure as unfasten dew. Like Sweeteners, Blake narrates things unheard and unseen; more purely a mystic than Sweeteners, he does not condescend to dialectics and scholastic divinity.Those who fancy that a dozen stony syllogisms seal up the perennial fountain of our deepest questions, will affirm that Flake's belief was an illusion, constant and self-consistent and harmonious with the world throughout the whole of a man's life, cannot differ from much reality. However, it is also important to note hat he was unlike common atheists. â€Å"Selfish Father of Men! Cruel, Jealous, selfish Fear! Can delight, Chained in night, The virgins of youth and morning bear? In the clash of creeds, it is always a comfort to remember that sects with their sectaries, orthodox or otherwise, could not intersect all, if they were not in the same plane. [My spiritual intelligence is certainly becoming confused by your words of conflicting conclusions, therefore ascending one of them; please reveal definitely that by which I may obtain the greatest benefit. ] We find in Flake's poetry many of the elements characterizing Romantic poetry. The world of imagination is the world of Eternity', says Blake.In his championship of liberty, his mysticism, naturalism, idealization of childhood, and simplicity Blake could be called a precursor of Romantic poetry in nineteenth century England. â€Å"Now enjoy†¦. Dip him in the river who loves water†¦.. The busy bee has no time for sorrow†¦.. The most sublime act is to set another before you†¦ The cistern contains: the fountain overflow†¦. † In explaining these lines we waver in interpreting the drops of tears that water the heaven as the outcome of the rage of the defeated rebelling angels or as tears of Eric.If this wrath is one of the two aspects of God, the tiger's cruelty and wildness is only superficially fearful. It can otherwise be construed as a prophetic rage. But after, all wrath and mercy unite at the same point where the ultimate reality of God is felt. There are two meaner for the achievement of the goal, the first being through the ‘innocence' of the lamb and other being through the ‘experience' of the tiger. The close of the poem gives us the clue: the daring of the creator whether God or man is the cleansing wrath of the tiger. Blake is first and foremost a poet of visions and mysticism.But of, his visions are not confined to a narrow streamline of thought about futurity alone; they take the present into consideration and unfold those aspects of contemporary society detrimental to free growth of the mental powers of man. He ridicules the artificial ethos of religion that professes a complete negation of man's sensual life and vehemently argues for a more complete life which combines the senses and the spirit. He probes beneath the surface of things and exposes the roots of social vices, the hidden sores and scars of a tradition-bound society. â€Å"Can a mot her sit and hear An infant groan, and infant fear? No, no! Ever can it be! Never, never can it be! † Flake's maxim that the human soul is made of contrary elements can be applied here also. Indistinct and imagination or the beastly and divine nature of man is necessary for a fuller life of the soul and for its progress. It is a grievous mistake to sanctify the lamb and turn an eye of defiance towards the tiger. Blake opposes such a view and gives equal prominence to sense and soul, the wild and meek aspects of human beings. â€Å"Does spring hide its Joy When buds and blossoms grow? † What holds our attention is not merely the brute's beauty but the mystery and repose behind its creation.In ‘The Lamb' the poet visualizes the holiness of the lamb and child and unifies them with Jesus Christ. It is obvious that the link that connects these figures is ‘innocence'. The harmlessness of the lamb and the purity of the heart of a child are nothing but the manifestat ion of heart nor does he act premeditatedly. The air of innocence is clearly visible on the face of all the three of them. â€Å"How sweet is the Shepherd's sweet lot! From the morn to the evening he strays; He shall follow his sheep all the day, And his tongue shall be filled with praise. †More than this element of innocence there is another thread of connection between the lamb and Christ. Christ refers to himself as the Lamb of God: â€Å"The lamb of God that take away the sin of the world. † In the Bible Christ is referred to both as a lamb and as a shepherd. In this aspect the lamb has a religious significance too. (â€Å"The whole universe is a symbol, and God is the essence behind. † ? Swami Vegetarian ?) ‘The Tiger' displays the poet's excellence in craftsmanship and descriptive skill. In the forest of experience Blake finds the bright- eyed tiger which appears to involve all the cosmic forces.The tiger has made its appearances in the ‘Prophe tic books' of Blake. The poet's reliance in the cosmic and preternatural forces is increasingly exemplified and asserted when he describes the creation and the creator of the tiger. The creator is a supernatural being and not necessarily the Christian God. The creation, according to another elucidation takes place in an extraordinary cosmic commotion. When the constellations turn round in their course there is a move from light to darkness. The pattern and method of asking questions here are quite different from those employed in ‘The Lamb'.In ‘The Tiger' the questions are put in a terrified and awe-inspired tone. It is also held that ‘The Tiger' deals with the colossal problem of evil, but in Blake evil does not exist as an abstract quality. Instead, the evil is embodied in the wrath of God. Christ, like all other Gods, has a dual duty. He punishes the sinners and offenders and loves the followers. Thus Christ or God becomes the God of both love and unkindness. Th e fire is a popular symbol of wrath. Milton and Spencer have described wrath as fire, but we are not to misapprehend Flake's use of wrath as one of the ‘deadly sins' by the miracle and morality plays.Blake finds virtue in wrath and what he describes in the righteous indignation or the wrath of a pious soul. In addition to this, if we also construe the symbolic meaning of the forest, then we can substantiate the meaning of the lines. â€Å"Tiger Tiger burning bright In the forests of the night. † The poet is struck with surprise and awe to behold the wild animal's majestic elegance and grandeur. Its symmetry is fearful and the glow of its eyes is unearthly. When the process of creation is over, â€Å"a terrible beauty is born. † The strength of the animal and its moves/ are its peculiar features.The tiger beyond its superficial tatty is a prototype of God whose harsher aspect is present n the wildness of the creature. It is a contrast and counterpart to the innoce nce of the lamb. The poet wonders: â€Å"Did he who made the Lamb make thee? † In the poem ‘The Tiger' a description of the process of creation is given, but no clarification is given about who the creator is. In the first stanza the creator is described as having wings by which he may have reached the skies to bring the fire for the luster of the wild beast.The creation of the tiger is conveyed in words and phrases which, though meaningful in their totality, do not yield any explicit elucidation of the creator. We sense the strong shoulders thrusting forward in the process of forging the body of the carnivore. The dexterity of the strokes is further conveyed in the ‘dread hand' which is gifted with unprecedented craftsmanship. If the ‘dread feet' and ‘dread hand' are applied to those of the busily engaged creator we can elicit the fact that those limbs are busy in working diligently.At the moment of achieving the perfection of his sublime creation the poem grows tense, the questions are broken in midway and the speaker's hindered gasps let out incomplete harass of exclamation. â€Å"The star floor. The watery shore. Is given thee till the break of day. † In the world of innocence even the meanest creature such as a lamb (which is low only in the eyes of human beings) is treated as having unbound divinity. Here is an exclusive unification of the three characters- Christ, child and the Lamb who constitute the Christian concept of ‘Trinity in the world of innocence. Flake's concept of God is closely aligned to his mysticism.He conceives of God as the very epitome of characteristics which man is capable of developing. If he nurtures these qualities, an can attain godliness-it merely depends on what set of qualities a man develops. A child asks a lamb if it knows its merciful creator, its feeder or the giver of its delightful and coos clothing of fleece. He also asks the lamb whether it knows who gave it its tender voice that fills the valleys with pleasant Joy and music. Quite childlike, the lines â€Å"Little lamb who made thee? Dost thou know who made thee? † are repeated, presumable with wonder in the eyes of the child. The speaker does not wait for any answer.He tells the lamb that its creator is one who is called after the name of the lamb itself. He is one who calls Himself a lamb. He is meek and mild and came on earth as a little child. The poem comes to have a meaningful pause at this juncture. The questions are asked, answers done and the child (or the poet) turns to conclude the lines in a wise hymnal vein or spiritual implication. He says: â€Å"l a child, and thou a lamb, We are called by His name:† Blake intends to suggest that the great purpose of wrath is to consume error, to annihilate those stubborn beliefs which cannot be removed by the tame â€Å"horses of instruction. It is typical of Blake to ask questions when he is overpowered by wonder ND amazement and it is effective especially in the case of this poem, where it results in an â€Å"intense improvisation†. The phrase fearful symmetry- whatever is possible in symbolic suggestions- is clearly the initial puzzle† the ‘symmetry implies an ordering hand or intelligence, the fearful' throws doubt about the benevolence of the creator. The forest of the night' is the darkness out of which the tiger looms brilliant by contrast: They also embody the doubt or confusion that surrounds the origins of the tiger.In the case of the lamb the creator â€Å"is meek and he is mild†:†He became a little hill†. In the case of the tiger creator is again like what he creates. The form that must be supplied Him is now that of the Promethean Smith working violently at the forge. The tiger is an image of the Creator: its dreaded terror must be His. â€Å"In what distant deeps or skies Burnt the fire of thin eyes? On what wings dare he aspire? What the hand dare seize the fire ? † There is scarcely any poem in Songs of Innocence and of Experience which does not have a symbolic or allegorical or allusive implication.Though these poems are rendered in the simplest possible poems is somewhat scriptural- simple and rebound at the same time. The Biblical allusions add prodigious significance to his poems when foe example, we read the ‘The Shepherd' it commemorates Christ as the Good Shepherd and reminds us that the parables are clad in pastoral elements. Without reference to the Bible the poem, ‘The Shepherd' is meaningless and insignificant. Furthermore, Blake makes use of Biblical phrases too, as we see in the poem ‘The Lamb'. Gave thee life, and bid thee feed, By the stream and o'er the mead; Gave thee clothing of delight, Softest clothing, woolly, bright: Gave thee such a tender voice, Making all the vales rejoice? † In Songs of Innocence and of Experience, Flake's symbols are not as obscure or abstruse as we find them in his other poems. In his later poems (Prophetic Books) they are rather incomprehensible. The principal symbols used by Blake have been classified by critics as innocence symbols. Many of these, of course, overlap, and among themselves weave richness into Flake's poetry. Then come home, my children, the sun is gone down, And the dews of night arise†¦ † In the first, the word ‘dews' evokes an image of harmlessness but in the second context it evokes a feeling of chill and damp. In the first there is a feeling that the eight will pass, but in the second poem the word â€Å"dew' assumes further ramifications of meaning. It implies materialism, the philosophy of experience, the indifference to spiritual truth. Knowledge of these symbolic meanings enriches our understanding of the poem. Blake gives his own interpretation to traditional symbols.The rose traditionally associated with love and modesty assumes the aura of ‘sicknesses and disease in Blake for he considered l ove to be free and honest and open in order to be good. The lily's purity assumes added depth in Flake's poetry, not because it is chaste but because it feels honestly. The sun flower's movement with the sun has deep meaning: on the one hand it represents a search for spirituality: on the other, it expresses regret for being attached to the ground. The simple vocabulary and movement of Flake's verse should not lull us into a feeling that the thought too is childish.Indeed there is a complex thread of syllogism in his poetry that gives multiple layers of meaning to his words. Sometimes this syllogism even lends obscurity to his poems because it evolves out of Flake's own system of symbols. The manner in a particular mood is a remarkable illustrated in the ‘Nurse's Songs' in Songs of Innocence and Songs of Experience occur in both poems: yet the feelings evoked because of the accompanying words are in sharp contrast. â€Å"To this day they dwell In a lonely dell. Nor fear the w olfish howl Nor the lion's growl. The world of ‘Experience' welcomes a child of sorrow, who rather than being a fiend himself is also born into a monstrous world of totems and taboos. Strange to notice, it is not actually upon the growing boy that the shadows of prison house close; on the other hand, the shadows spread on the infant at the moment of birth itself. Predictably enough, there is no scope of a ‘heaven' lying about its infancy. Its struggle begins from the very moment of its birth, it is choked from the very start of its life and it finds its only rest on its mother's breast.As a contrast to ‘Infant Joy here the child is not a ‘Joy but a fiend' and neither its mother nor the father, though it is not explicit from Flake's poem, accords a warm s welcome to him. The child hides behind the cloud. The speaker is evidently the child himself who laments against life. â€Å"But to go to school in a summer morn, Oh! It drives all Joy away Under a cruel eye outworn The little ones spend the day In sighing and dismay. † Admittedly, the poem brings out Flake's ideas on love and hints at his well-known belief that sex is not sinful.For Blake nakedness is a symbol of pure innocence and he lauds uninhabited love. The Golden Age is that in which the people have love for their fellowmen and mingle with one another freely. In the Golden Age love is not a crime but a grace and beauty signaling unbridled innocence, but in the present age the most tender sentiments are frozen by the trembling fear' coming from the cruel eyes of experience. â€Å"In every cry of every Man In every Infant's cry of fear In every voice, in every ban The mind-forged manacles I hear. Flake's vision of man in Songs of Experience, especially with reference to ‘A Divine Image' can be summed up as, The human dress is forge iron The human form is a fiery forge, The human face a furnace sealed, The human heart its hungry gorge. † The poem ‘A Divine Image' is a contrast to ‘The Divine Image' in its very title. In ‘The Divine Image', the definite article ‘The' shows the real, one and only Divine Image. In ‘A Divine Image' the indefinite article ‘A' points at a particular divine image which has a unique growth.The contrast is also visible in the two stanzas of these two poems. â€Å"For Mercy has a human heart, Pity a human face, And Love the human form divine. Love, Mercy, Pity, Peace†¦ † Can be seen as a stark contrast to the lines of ‘A Divine Image' that run as: â€Å"Cruelty has a human heart And Jealousy a human face; Terror the human form divine And Secrecy the human dress. † This is truly terrifying. His soul (the human form) is burning with frightfulness within the iron body of secrecy (the condition of deceit; his face is a furnace sealed up wherein Jealousy rages; his heart is recklessly cruel.The imagery is similar to that of ‘The Tiger', but where the Tiger had broken all bounds as a symbol of regeneration, man is here imprisoned in a ‘dress' of an iron suit, of his own forging; and all his energies burn within it, consuming him. â€Å"For I dance, And strength and breadth, And the want Of thought is death;† Blake is not merely a revolutionary thinker on man's physical or corporeal freedom; he is also one who broods over the spiritual freedom or spiritual salvation of mankind.The former point, showing Blake as a humanitarian, cans be well understood from poems such as ‘The Chimney-sweeper', ‘Holy Thursday and ‘A little Girl Lost'. In all these cases Flake's fury makes him lash out at the hypocrisy of man and the society that enslaves children to utter lifelessness. In ‘Holy Thursday Flake's sympathetic and compassionate heart shares the agony of the children and his pent up feelings are let out through an ironical comment: â€Å"Beneath them sit the aged men wise guardians of the poor, Then cheris h pity, lest you drive an angel from your door. William Blake is considered a precursor of Romantic Movement in English Literature. Romanticism laid considerable stress on the elements of imagination, tauter worship, humanitarianism, liberty, mysticism and symbolism. It differed from the outlook expounded by the preceding age of Neo classicism which promoted the notion of reason, balance and logic with regard to prose and poetry. The Romantic creed of poetry rests on recording the simple emotions of humanity in a simple diction. Recollections of childhood (nostalgia) are also a common subject of Romanticism. When the voice of children are heard on the green And whisperings are in the dale, The days of my youth rise fresh in my mind, My face turns green and pale. † But of, the flood of feelings gains more fury in the poem of the same title in Songs of Experience: â€Å"Is this a holy thing to see In a rich and fruitful land. Babes reduced to misery, Fed with cold and usurious hand? † With vehemence Blake argues for the freedom of human energy too. He deplores any religion that denies sexual and emotional life of man. Virility and vigor are divine and its free play should never be hindered. He is called by thy name, For he calls Himself a Lamb. He is meek, and He is mild; He became a little child. † Many of Flake's poems celebrate the divinity and innocence of not merely the child UT also the least harmless of creatures on earth, namely the lamb. The child asks the lamb if it knows who has created out. The child does not wait but answers his questions himself. He does so, we feel, not because the lamb cannot communicate, but because the child is so enthusiastic and eager to mention the creator and his virtues.He refers to the meekness of Christ, his glorious infancy as well as his reference to himself as a lamb. He concludes with a reference to his own and the lamb's affinity to God and thus establishes their oneness. Qualities of simplicity, innocence and divinity are extended even to the world of animals and the innocent creatures like the lamb are raised from their level of lowness in the human eye. Both the child and Christ are unified with the lamb and the three forms the Trinity on earth. â€Å"Tiger! Tiger! Burning bright In the forest of the night, What immortal hand or eye Dare frame thy fearful symmetry? In ‘The Shepherd' the Shepherd is depicted as enjoying vast freedom, and his fortune is praised. He is so fortunate that he can wander about in carefree way wherever he chooses and sing in praise of God. Not only is he always near his lambs, listening to heir innocent cries, bleats and answering bleats ,but he is never exposed to the world of ‘Experience' where he may be startled by roars of cruelty and fierceness. This is a simple pastoral poem in which liberty and freedom are praised. We are again brought to realize the affinity of lamb and innocence. Frowning, frowning night, O'er this desert br ight Let the moon arise, While I close my eyes. † The pastoral convention, which represents the occupations of shepherds in an idealized way, against an idealized country background had to face severe criticism in the eighteenth century because of its unreality. It was held that men and women were neither so Joyful nor carefree, nor so innocent, as they were represented; but according to Blake, young children do have these qualities, they live in a golden world of their own. This convention is used by Blake to give us an insight into childhood, and one ‘state of human soul'.In the poem, the poet tells us about the valley along which he goes piping and about his sudden meeting with a child. The child bids him pipe a song about a lamb- another pastoral element. The ‘pipe' is a conventional pastoral musical organ on which the shepherds play melodiously as the sheep graze. It is also worth nothing that when the child appeals to him to write down the song, the poet says â€Å"And I plucked a hollow reed, And I made a rural pen And I stained the water clear, And I wrote my happy songs Every child may Joy to hear. The phrase ‘reed', ‘rural pen' and Water clear' contributes much to the elements of pastorals or rustic innocence. In the so-called world of experience, callousness, tyranny and insincerity await the blithe new-comer and subject him to an entire transformation. The child -turned-youth experiences a curb on his spontaneous instincts, by the repelling codes of social moralities and etiquette. There is hypocrisy in full swing and there is cruelty. In this unsanitary forge, he is reshaped and bestowed with an altered outlook. He is no more the rollicking child.His fertile imagination yields to the aged atrophied intellect and mature reason. He is in fact fallen' or ‘lapsed'- fallen from his primordial abode of life. â€Å"What the hammer? What the chain? The two diverse natures- Innocence and Experience are essential for th e ultimate salvation of his soul. From experience man moves to a world of higher innocence. Blake seems to argue that Joy and peace, which man had experienced in his holding, can have solid foundations only if man has experienced and overcome the impediments and unpleasant realities which day to-day life presents.That is to say, to attain a higher innocence man must be tested by suffering and misery, physical as well as emotional; he must go through the actual experience of life. Through the state of childhood innocence is charming; it is not prefect and cannot last long. For spiritual elevation, lessons from both experience and innocence are essential. â€Å"And it bears the fruit of Deceit, Ruddy and sweet to eat: And the raven his nest has made In its thickest shade. † Flake's The Tiger blends child-like innocence with adult wisdom.The child-like innocence is revealed in the volley of questions and exclamations about the fearful symmetry of the tiger's body and the reactio ns of the stars and God to the tiger's creation. Like the innocent child the poet wonders to know who framed the tiger's body, fearful but well-proportioned: â€Å"What immortal hand or eye Could frame thy fearful symmetry? † The following volley of questions bears the stamp of child-like innocence: â€Å"Shades of the prison-house begin to close Upon the growing boy. †Like a child not contaminated by the evils of experience the poet is curious to know what instruments were used to frame the tiger's â€Å"fearful symmetry'. With the innocence of the child the poet thinks that the angels were so amazed to see the fearful tiger created that they threw down their spears and wept. He also wonders if God smiled with satisfaction to see his new creation (I. E. The tiger) – the wondering that becomes a child. Uniform spring and your day are wasted in play, And your winter and night in disguise. † With this child-like innocence is blended adult wisdom. The Tiger expresses the sadism (I. . Experience) that comes of age that becomes a man who has gone through his life. The wisdom sought to be conveyed is as follows. Man passes from innocence to experience. And for experience man has to pay a bitter price not merely in such unimportant things as comfort and peace of mind, but in the highest spiritual values. Experience debases and perverts noble desire. It destroys the state of childlike innocence and puts destructive forces in its place. It breaks the free life of imagination and substitutes a dark, cold, imprisoning fear, and the result is a deadly low to blithe human spirit.The fear and denial of life which come with experience breed hypocrisy which is as grave a sin as cruelty. To destroy these forces of experiences the benign creator assumes the role of a malignant creator. In the scheme of things the tiger is as much a necessity as the lamb. So the God who created the lamb also created tiger. In other words, is not only a God of mercy, b ut also a God of wrath, the creator of Satan and social and political cataclysms. Flake's conception of God here betrays a striking similarity with the Hondo hydrological Avatar theory. Round the laps of their mothers Many sisters and brothers, Like birds in their nest, Are ready for rest; And sport no more seen On the darkening Green. † It is indispensable that the boy who enjoyed full freedom and liberty in innocence ought to pass into experience. This is because the design of human life gives prominence to the contrariety of human nature without which there is no ‘progression'. A complete life on earth meaner the life of innocence and experience. Without experience or innocence the life cycle is incomplete and imperfect.The memos of Songs of Innocence and of Experience are based on this viewpoint of contrariety. â€Å"Why of the sheep do you not learn peace Because I don't want you to shear my fleece. † ‘The Tiger' is typically representative of the most characteristic features of ‘experience' which in the poetic context of Blake involves deep meaning. From this powerful symbol we construe that Blake was a devotee of energy which, for him, was an aspect of true divinity. In this poem the poet's irrepressible curiosity at the extraordinarily exquisite creation of God finds its vent in small broken questions.After wondering at the symmetry of its body and stripes, the luster of its eyes, the strong muscles, elegant paws and its powerful strides, the poet turns to the reaction of the creator when he beholds his own creation. The poet says that God may have smiled at the surrender of the rebelling angels at his own master craftsmanship in the creation of the tiger. The ‘stars' are the rebellious angels under Satan. When they failed to defeat God and were beaten they threw down their spears as in surrender and moaned for their defeat. It is after this event that God started creating inhabitants for the earth.So, at the time o f the defeat of the rebelling angels, God might have Just finished the creation of the awesome tiger and smiled on his hidden purpose behind all his acts. â€Å"Because I was happy upon the heath, And smiled among the winter's snow, They clothed me in the clothed of death, And taught me to sing the notes of woe. † ‘The Lamb' is the most significant poem in the section of Innocence not merely because it propounds the idea of innocence in the simplest way, but also because here we notice the poet extending the world of innocence even to the animals that re insignificant and base in the human eye.In this poem we see a child patting a lamb and asking if it knows who the giver of its life and brad is. He asks it whether it knows who has given it the silken fleece immaculate white and thin voice of its bleat. The child himself answers his questions. He defines the Almighty God as who is known after the name of his lamb who is meek and gentle. Since God descended to the earth as infant Jesus he is also called a child. The child, lamb and God are all brought to unite to form a single divine entity. The essence of the poem lies in these

The Turn of the Screw by Henry James

Henry James is well-known for crafting fine literature. One special short piece, The Turn of the Screw, taps into a topic that received great acclaim in the era it was published: ghosts. It was initially released at the tail-end of the 19th century, and followed up with 20th century critical essays regarding this saga. Turn of the Screw was first released when actual ghost-sighting incidents were so common that they became coffee-table discussion. My focus is, in fact, on the subject of ghosts. After reading James’s work, I believe that the governess and her ghost incidents were actually a figment of her imagination, based largely on her unstable mental health. I will offer my reflections as to why our governess was tripped-up and tricked into believing she saw phantoms. The main thrust of her disillusionment came from her mental illness. The history behind The Turn of the Screw is woven to the argument between the apparition-believers and the non-apparition traditionalists. The phenomenological spirit-hunter controversy has been wide spread, even in this day and age of the 21st century. In order to stay true to Henry James, it is important to define what I mean by apparition and non-apparition. According to James’s time period—which I will be true to in my assessment—I will clarify that an apparition refers to explanations in which ghosts are seen to be very real figures or a manifestation of paranormal activity existing in a person’s field of vision. Non-apparition, instead, infers that the explanations in which ghosts are viewed are actually hallucinations of the mind. This is the standard terminology used in The Turn of the Screw. From the beginning, although James has a captive means of expressing himself through story-telling, one major criticism is that the stories he creates are too far-fetched. He misses out on incorporating the essence of reality into his story, which immediately sends reads on a downward spiral away from realism. The story does not tell about life and the journals of the governess. Instead the governess and the supporting characters (which includes ghost figments) are not people we’d easily associate with in life. James has a focus in his novella, but the thematic structure is too narrow in the sense that he ignores incorporating daily-life experience and background structure—both in characterization and scenery. Readers cannot truly take his account as a subject of realism. When we look at his characters and plot-structure, it becomes clear that James excluded huge segments of society. He was not concerned with low-class families or even the middle class. He wrote of nothing in regards to the common man. Instead, his interest lie solely in envisioning a class of people devoted to the luxuries of high class status. So, in order to follow along with Henry James, we must pay a ticket, so-to-speak, to enter his special world of an elite cast from another planet of thinking. First, we must agree to the boundaries of his world. Then, and only then, can we consider him to be a realist. However, it’s important to point out that James is true to his characters. He never violates the laws of his reality. His is, in effect, a faithful storyteller and his characters are always understandable. Robert Lee Wolff, for instance, in his published piece, The Genesis of The Turn of the Screw, points out that there were many skeptics who felt that readers who believed in this supernatural tale were, in effect, caught in the trap of Henry James. It was viewed as a â€Å"cold artistic calculation† on the part of its highly entertained author (Wolff p. 125). As we look at the governess in the first few turns of the story, we see how James very deliberately and carefully sets up the machinery where the governess first witnesses the ghosts. The governess believes in these ghost-incidents but refuses to investigate the situation. It’s difficult to believe our governess would not be shaken by curiosity in hopes of validating her visions. It’s also apparent that the governess takes a liking to her employer and she wants him to go on these walks with her, in hopes of them both seeing the ghosts. But she does not. This is very uncharacteristic of a mentally stable person. James leaves room for the reader to decide whether or not it’s her infatuation or psychotic visions that has a hold of her. It seems, to me, that her imagination, along with her mental fragility, are the keys that lead her to imagine the ghosts, instead of actually seeing them. To back up my claim, Francis Roellinger cites the following, If James emphasized the artistic limitations of the â€Å"recorded and arrested† ghosts, it is chiefly to make clear to the reader his reasons for ignoring these limitations in the construction of his own phantoms† (Roellinger 135). With working with children during the day, the governess discovers the magic within the children—and their own individual gravity toward curiosity and uncovering the truth of situations. Yet, her state of mind seems to cloud her vision. This further strengthens my plea that these ghosts were actually figments of her imagination. The governess does spend time discussing these apparition sightings with Mrs. Grose. They learn that the man died after falling on the ice after a drunken evening at a tavern. The history of recent dead individuals includes the previous governess who died last year. Are these dead the ghosts she sees? We then discover that the children know of these ghosts, but are hiding this information from the adults. James has a spine-tingling means of crafting his story, yet the believability fall short with his lack of realism and superficial details. Later, other critics saw his work lacking realistic integrity. Robert Lee Wolff added that Henry James created a governess that certainly suffered from mental illness. Wolff wrote, â€Å"the tortured forms and expressions, are proof positive that he regards the governess, who sees the ghosts and tells the story, as a neurotic, suffering from sex repression (Wolff p. 126). Another critic, in the same published essay by Wolff, was cited as locating several situations that carried Freudian significance, which integrated our governess’s final pedophile passion for the young boy. The governess, in the end, scares him out-of-his-mind, frightening him to death. In reading a story so heavily laced with ghost appearances, how is it that the governess is such a stoic in regards to keeping her fear-factor at bay? This question brings to mind the notion that our governess might have some secret desire for fear or even pain. How else could she perpetuate her relations with the young boy child to the point of utter contempt regarding sexual desire? The situation weighs too heavily in favor of the governess’s mental instability being a driving force that leads her to imagine that she sees these ghosts. As we consider it deeper, her illness can be paralleled to imagining some of the scenes where children—according to her—are chatting with an apparition. On top of this, her solitude and lack of having a lover or partner in her life further distresses her situation. In essence, we can view this entire tale as a battle of good versus evil—not paranormal reality. The governess could also be considered a person who created this ghost scenario upon innocent children, which would be an extremely neurotic tendency on her part. She feels so alone and, when the children are in confidence with the ghosts, she creates a scenario, through her excessive imagination that holds little remorse for the repercussions that might occur to the children or other characters in the story. In conclusion, it’s clear that this is a story of a mentally unstable woman who uses her neuroses to create this universe of ghosts. It’s her means of communicating with others, after her younger years did not lead her to love. She is a deeply unstable individual, flawed with ruin. She is not the type of person who would be able to deal with these spine-tingling events with the conviction she displayed. This character trait in the governess along with other unrealistic situations in the story, offer no other solution than to consider it as a purely fabricated and imaginary chain of events.

The Career of a Manager Essay Example | Topics and Well Written Essays - 1000 words - 8

The Career of a Manager - Essay Example At present, I possess certain skills that would be helpful in pursuing my career as a manager. For example, I am quite proficient in the field of accounting and statistics. These skills are vital for becoming a manager as accounting would help me in managing the financial resources in a better way and statistics would aid in forecasting demands efficiently. However, as a manager, my prime concern would be generating profits for an organization. Creation of sufficient profits is concerned with the better management of risk and proper investment (Saville Consulting, 2008; Pollak, 2011). However, I do possess certain limitations that can hinder my career progression. In this similar context, it is to be mentioned that managing a big organization would be a quite challenging task for me. The significant amount of time and effort must be devoted to the proper management of a business linked with such organizations (Amtek Engineering Ltd, 2010). Thus, according to my viewpoint, I need a st rong and capable team, which can assist me to undertake various duties and fulfill the organizational objectives. I will require developing team management skill and other vital managerial skills in order to become a manager. At present, I did not decide to which field of management I would prefer to pursue my career. Among various fields, I am planning to become a marketing or financial manager. This career has attractive potentialities and opportunities in the modern era. Thus, an effective plan has been made in the following based on which I could successfully pursue my career and at the end become a potent marketing or financial manager. In order to pursue my career, I would like to understand regarding the world of business and administration. Thus, I will enroll in Foundation degree in business from Warwickshire College. Furthermore, I will learn about the nature of business organizations and the environment wherein they operate.

The link between poverty and teenage gang culture Essay

The link between poverty and teenage gang culture - Essay Example This group of young people are engaged in various criminal activities like graffiti, drug dealings, violence etc. The teenagers of the gang are having ethnic and socioeconomic background. The teenage gang culture started from 17th century in Britain. There are many factors involved in motivating and influencing the poor teenager in get involved in these criminal activities. The aim of doing research on this topic is to discuss and find the link between poverty and teenage gang culture. Research is mainly of two types. One is primary and another one is secondary. This research on this topic of teenage gang culture and poverty is done on the basis of secondary data. Both quantitative and qualitative research work has been done here. Relevant information is derived from different books and journals. Study of various websites is done for gathering secondary data. Primary research is done on the basis of raw data which are directly extracted from people by conducting interviews, filling up questioners, observations etc. here primary research is not done because it is very much time consuming. Moreover the target market of this topic is vast and located in different places. Therefore it becomes difficult to extract data from individuals in many cases. The main filter applied for this research paper is based on the countries. Secondary data from different westernized countries are used in this paper. I have got nine relevant sources for this topic which had described the link between poverty and teenage gang culture. The youth crime is a social problem which has become an important part of the gang culture. The young people who are not employed and do not have proper education provokes the antisocial activities. Poverty is one of the important reasons of influencing the teenager in getting involved in criminal activities. Young people in the gangs encounter dangerous situations, fear and distrust. It increases their criminal activities. According to the

Management of change Research Paper Example | Topics and Well Written Essays - 1750 words

Management of change - Research Paper Example In line with this, the process through which an organization will manage its change process determines the success or the failure of the organization. Bringing the human resources together to work for one common objective, during the process of change, requires the incorporation of various change management theories and other approaches. In effect, this sets different business organizations apart from others and ensures that they remained competitive in the global business environment. In view of the importance of change in the contemporary business society, this essay elucidates on various important factors using the presented case study. First, it is important to identify the drivers of change in any business organization and identify the agents responsible for change. Consequently, using the available evidence in this case, it is important to investigate the perspectives of managed change applicable to this particular case. Conversely, managers face dilemmas while confronting vari ous situations in the organization. Therefore, it is crucial to identify the dilemmas of change faced my managers in this case while also accessing strategic thinking in this business organization regarding the process of change. Finally, it is crucial to investigate the causes, processes and consequences of change as presented in this case while focusing on the prescriptive model. Drivers and Agents of Change It is important to point out that change in an organization does not occur without drivers and agents that push for the change to occur. Therefore, it is important to point out that different change drivers and agents of change require managers to operate in approaches that helped an organization withstand the change process. Drivers of change are crucial in identifying what causes the change in an organization. In effect, drivers of change can be classified under two categories with these drivers being in either external or internal. Internal drivers of change include the cul ture of the organization, organizational behavior, and the mindset in an organization (D. Anderson & L. Anderson 2010). Based on the foregoing, it should be noted that the change process in this case is driven by factors within the organization that

Historical Systems of Power, Governance, and Authority Essay

Historical Systems of Power, Governance, and Authority - Essay Example The attitude of British rulers towards Indians fostered Hindu Muslim hatred. Indian nationalism was damaged by the discriminatory policy of British rulers. Undue favor to the Hindus at the start of British rule created lot of doubts and suspicions in Muslims’ mind. The situation changed when the British policy started favoring Muslims at the start of 20th Century. It resulted in fury and anger by Hindu population. Thus policy of British colonist helped them in extending their rule as the focus of Indian population was never on outside rulers instead they were focusing on each other. British rule also introduced political parties, which gave the impression of power and governance to the local population. This was a good tool to fool Indian population. The reality of political parties became evident when the proposed reforms by Indian political parties were hardly entertained by British parliament. Indian legislative assembly was not independent and could not make rules for itse lf. In fact all the legislation for India was done by British parliament. British rulers were aware of the fact that it would be difficult for them to rule a huge Indian population therefore they introduced some projects to indulge Indian population in those projects and made them subordinate.

Number 3 Essay Example | Topics and Well Written Essays - 750 words

Number 3 - Essay Example here are some of the world’s most powerful religions that have embodied individual as well as collective eschatology as the part of their teaching such as Zoroastrianism, Judaism, Hinduism, Islam and Christianity with some of the fundamental similarities. The goal of this paper is discuss the extent to which Zoroastrianism has influenced some of the claims made by monotheism. The faith in the events after death on this earth has also been confirmed by religion like Zoroastrianism. The faith in the life hereafter developed and turns out to be the basis of the later Zoroastrianism covering almost all the other aspects of religious life. This belief in life hereafter that developed in Zoroastrianism imposed a deep impact on the other religions as well, especially on Christianity, Islam and Judaism. Zoroastrianism has exercised great influence on the development of eschatological aspects in the Second Temple Judaism. Whereas Christianity is considered to be the offshoot of Judaism, it has also developed its eschatological notions from the Apocrypha of Old Testament, which is written by the Jews in the period before the initiation of Christianity. Not all the scholars accepted the idea which considers Persia as the origin of most of the Christian and Jewish eschatological beliefs. The major problem lies with the fact that some of the basic ideas related to th e Zoroastrian eschatology are only known to us in developed form that were extracted from the Pahlavi source, which are more recent than the first Jewish writings and contain some eschatological ideas (Antia). There are several arguments presented by the religious scholars that links the Jewish developments made till date in the field of eschatology with the influence of Zoroastrianism. There is no doctrine of the Jewish eschatology found in Old Testament till the end of the period about the individual or universal judgment. Judaism not till the end presents any idea of heaven, hell or the reconstitution of the

Faces of Power Essay Example | Topics and Well Written Essays - 1500 words

Faces of Power - Essay Example the destructive power – a structure involving threats and this is clearly depicted by how the defensive forces of any country act, Productive power – structure that entails making and creating e.g. exchange and trade, and the integrative power that involves creating of new relationships that encourage togetherness (Dahl, 1961, 7). Significantly, any face or form of power has its advantages and disadvantages and it is up to the people in power to identify them and weigh on both sides to ensure that negativity does not have a greater impact more than the positive side. The social structures connection with power is seen when for instance; in an organisation the power is distributed among the different employees or in a state where power is divided from the head of state down to the governors or senators (Ball,1992, 5). In such situations, communication and the decision making processes are the core factors required since everything is done through a hierarchical structure . Many political scientists have come up or rather tried to elaborate the different faces of power on the verge of making people comprehend the power structure more and thus due to the different notions and theories sometimes there is a lot of confusion. However, the most common structures of power include; institution of property, nation-state, knowledge structure, financial structure, production structure (Productive power) and the security structure (Susan, 2004, 64). With these many structures, some of which are not related or similar in any way, it is quite hard for most people to lean upon two or three forms/faces of power alone. However, out of all the faces of power established, Lukes’ seem to have had a great impact and they still are today; reflectively, between January 1975 and June 2006, more than 1200 journal articles cited his article, an impressive figure by any standard and surprisingly after this Lukes was asked to do a second edition. It has been over thirty years since the publications and scholars agree that he wrote the articles on other bases and not to make money; concurrently, analysis of both editions provides readers with both recent literature and original insights on power. Basically, in the second edition (2005), the 1974 (1st Edition) essay was not altered but instead a substantive introduction and other two new chapters were added (Power, Freedom and Reason and Three-Dimensional Power); moreover, a little bit more attention was given to some writers like James Scott and Michel Foucault, all of which are also in the social context of power. Power is typically a concept where a ‘first’ person (entity A) exercises power over the ‘second’ person (entity B) when A affects B in a way that is divergent to what the second person wants or would like (Lukes, 2005, 19). In the final edition Lukes discusses three dimensions of power and terms the third one to be as a personal view based on the shortcomings of other people’s views but and a more apposite way on how to evaluate power. First Face of Power (One Dimensional Power) This face of power focuses on behavior when making decisions, particularly on the core issues and fundamentally only in transparently in situations where can make observations; these often take the structure of prejudiced interests like policy preferences that are mainly demonstrated through political power. Through the concept of power individuals are able to modify or change the behavior of others when it comes to the process of making decisions, which is why it is considered to be a behavioral aspect; however, the person in power in different situations prevails in the decision making process. Principally, this first face of power, which is one-dimensional, focuses on behavi

Ethics Essay Example | Topics and Well Written Essays - 500 words - 24

Ethics - Essay Example However, the exact grounds that justify connection between the mind and the body along with the energy associated by which the mental impact upon such physical entity, lies beyond the prevailing reach of human knowledge. Despite this such problem with causation that has hardly found resolution in his philosophy, Hume recognizes that the ultimate basis of all value is desire and emotion while the presence of rational judgment is only assumes the role of determining what makes a person satisfy basic desires toward happiness. On the contrary, the ethics proposed by Kant perceives good will as the sole absolute good wherein moral act does not constitute the will to gratify self-interests and that one’s act can only be considered to possess moral worth if it is done out of duty. Kant further supposes that purity of thoughts are a basis of moral obligation which is generally attached to a universal principle every human deed ought to abide by in order to be labeled moral in nature. Through his metaphysical critique of pure reason, nevertheless, Kant admits that the highest sensibility to knowledge is yet unreachable for even as mind is susceptible to dynamism, its capacity for operating within conf ines of reason and morality is limited by the empirical realm of space and time. While Plato, on the other hand, metaphysically holds the theory of ‘dualism’ in consideration of reality on different levels being composed of ‘forms’ and ‘physical world’ where the latter contains images that are less real than physical objects, he establishes an amply similar argument with Kant’s ethical position. Based on virtue, Plato presents ‘well-being’ as the ultimate end of human’s rational thinking and conduct with which applied virtues form the character traits and pertinent skills that complete an individual. Being a student of Plato, Aristotle

Aural and spatial elements Essay Example for Free

Aural and spatial elements Essay Wertenbaker uses simple and minimalistic production design and uses her actors as her main resource to convey meaning and character especially as they are playing different gender or changing between convict and officer characters throughout. The few props are used to clarify meaning and are important in their own right along with costumes and set. She uses language and music to communicate with the audience and to create a specific atmosphere. Wertenbaker uses the movement or gestures of a character to emphasise a point or show character’s relationships. An example of this is Sideway in the first rehearsal, the stage direction â€Å"walking sideways, arms held high in a grandiose eighteenth century pose† this reinforces the idea of how uneducated the convicts are, as the audience can see Sideway has never seen a theatre production just has an idea of what it would be like. An example where gesture is used to communicate character’s relationships is in Act 1 scene 7 where Harry and Duckling are rowing, the stage directions for Duckling are â€Å"remains morose† and â€Å"doesn’t turn around† these are hostile actions as Harry is desperately trying to get her attention â€Å" Why don’t you look Duckling. † The audience can see that their relationship is unstable. The way Wertenbaker positions her characters on the stage is important in communicating status and character such as in Act 1 scene 11 when Major Ross and Captain Campbell enter, the convicts â€Å"slink away and sink down. † This shows that the convicts are afraid of the officers and they try and get as far away as possible from Robbie and become inconspicuous. The beginning scene has important use of positing, the convict are â€Å"huddled together in semi-darkness. † This gives an idea of how horrible the conditions were for the convicts during transportation. The officers are on deck above the convicts and in better conditions again showing status. This idea is kept throughout the play but gradually changes as the production of the convict’s play takes effect . Costume is used to communicate character, Governor Arthur Phillip’s costume would be grander and more decorative than the other officers and he has a higher status. The convicts would be wearing similar clothes but all slightly different such as Mary’s which would be covering her and suppressing her femininity because she feels guilty about what happened on the ship â€Å"I would have been less of a whore†. Sideway’s clothes would be over the top to show his flamboyant personality . All the costumes also have to be simple to allow quick costume changes as the actors multi-role. Wertenbaker’s set is very simple with only a few props. This is done to represent the bareness of Australia and how they have to create a new colony but have arrived with hardly anything. The set is also kept simple because there are 22 scenes and a complex set would take too long to change each time and therefore slow down the pace of the piece. Props are used sparsely but are very important in showing character’s situations. Example of this are the whipping equipment need in act 1 scene 1, they are used to clearly show the audience how the convicts were treated on the ships and the punishments. The play book is used throughout the play when the convicts are rehearing or talking about the play as this is one of the main themes of Our Country’s Good , however not many other books are used and this emphasises that the convict are uneducated and many can’t read. Ralph’s dairy and the picture of his wife are important props in showing his character. Ralph idolises his wife as something pure â€Å"I might kiss your picture as usual. † He uses his diary to write his thoughts showing he doesn’t feel he can talk to the other officers and is disturbed with the new land and behaviour of the convicts and officers. Food is mention throughout the play â€Å"if I was rich, I’d eat myself sick† but it is never used as a prop this highlights the lack of food in the colony. Wertenbaker uses gun shot sound effects at the beginning of the play in scene 3 Act 1, as the officers are shooting birds this reminds the audience that they have just arrived on a new land and are already destroying its nature and wildlife. The other sound effect Wertenbaker specifies in the play is drumming which occurs at the end In the last scene as the convicts go on stage, this symbolise a parade that a new colony might give as celebration. It also creates excitement for the play. The triumphant music of Beethoven’s fifth symphony is played at the very end as an introduction to The Recruiting Officer, this makes the audience happy and excited and reflects what the convicts would be feeling at that time. Other music Wertenbaker may want to be used during the play, especially the aboriginal scenes is didgeridoo music as this is a native instrument to Australia. The Language Wertenbaker uses shows character, an example of this is Liz’s monologue in Act 2 scene 2 where she use lots of slang â€Å"born under a ha’penny planet† this shows the audience she is uneducated. In contrast to Liz, Arthur is very educated and we can see this due to the literary and historical reverences he mentions when backing up an argument â€Å"In the Meno, one of Plato’s great dialogues. † This is a way that difference in education shows the split between convicts and officers. Language is also used to show change in characters, for example at the beginning Wisehammer is rough and has no hope for the future â€Å"alone, frightened, nameless in this sinking hole of hell†, however as the play progresses we actually see him as being one of the more educated convicts. â€Å"Abject: a man without hope. † In the last scene we see him thinking of the future and with restored hope â€Å"I’ll write a play about justice. † Our Country’s Good would be more suitable for a proscenium arch stage because it communicates the bareness of the new land as no-one is on the other side unlike a transverse stage. Wertenbaker wanted to use a cyclorama to symbolise Australia and this would need to be upstage and therefore would work best in proscenium as it has a back wall. The third reason is the convicts and officers could easily be separated and shown in their groups and more easily commutate status and power. The lighting is very important in staging the play. The lighting would of be harsh blues and yellows to represent the climate of Australia. This lighting is the most effective way of making the audience aware of the different climate and habitat of Australia and how hard it was for the convicts and officers to adapt to the change. The lighting would also be used to show night and day as some of the scenes are during the night, this would create an atmosphere for the piece. Wertenbaker chose to create an obviously theatrical piece of drama instead of a piece of realism because she wanted the audience to see the social message the play contained, how drama can reform and educate people. A theatrical piece is the most effective way to do this as it allows both the actors and audience to see the story from both sides of the colony due to the multi-rolling actors.

Overview Of Using Enzymes In Biocatalysis Green Chemistry Biology Essay

Overview Of Using Enzymes In Biocatalysis Green Chemistry Biology Essay ABSTRACT Aminotransaminases are a group of enzymes that play a key role in the amino acid metabolism catalysing the transfer of amino groups into keto acids resulting in the production of amino derivatives. It is PLP-dependent.they have many applications as biocatalysts because of their ability to introduce amino into ketone with good enantio- and regioselectivity. Aminotransaminases have been classified by three groups on the basis of substrate specifity, PLP-fold similarity and structural similarities. One of the important sub-groups of transaminases is omega transaminase (à Ã¢â‚¬ °-AT) which is capable of transferring amino group from a primary amine that does not contain a carboxyl group. There are many available à Ã¢â‚¬ °-ATs but the first crystal structure of this type of enzyme identified from Chromobacterium violaceum. Keywords: Aminotransaminase; PLP-dependent; regioselectivity; chromobacterium violaceum. INTRODUCTION Transaminases or aminotransferases are the group of the transferase enzymes which are involved in the reversible transfer of amino groups from amino acid to ÃŽÂ ±-keto acids. The enzyme uses pyridoxal-5-phosphate (PLP) in the reaction, therefore, it has been classified under PLP-dependent enzymes (Mehta et al., 1993). In current decades the importance of transaminases have significantly increased as a result of their tremendous potential for the production of both natural and unnatural amino acids and enantiomerically pure chiral amines which are important particularly for pharmaceutical industry (Shin et al., 2000). This review will mainly focus on the structure, mechanism and biotechnological application of omega transaminase (à Ã¢â‚¬ °-AT) enzymes from different sources. The first section will give a general overview of using enzyme in white biotechnology. The second part will give general overview of transaminases with different classes of transaminases. In the following part, general reaction mechanism of transaminase and structure of the chromobacterial omega transaminase will be explained in detail. Under the last subheading biotechnological application of omega transaminase will be discussed. Finally it will give the project aims and conclusion. Overview of using enzymes in biocatalysis/green chemistry Enzymes are fundamental catalysts which are capable of acting on a wide range of complex compounds as substrates. They are exquisitely selective catalysing reaction leading to production enantio- and regio-selective intermediates (Schmid et al., 2001). Isolated enzymes and whole cell biocatalysts are commonly used to produce optically pure compounds. Isolated enzymes are generally used for the aim of the catalysis of hydrolytic and isomerisation reactions; whereas; whole cells are typically used for synthetic reactions (Schmid et al., 2001). Both of them have some advantages and disadvantages. The disadvantages of using whole cells in the biocatalysis reactions are varied. For instance, substrate molecule might be toxic and results to death of cell; or the size of substrate molecule might be so huge that cannot pass through membrane; or there may be other enzymes in the cell that acts on the same substrate and cause to the production more than one compound (Wubbolts et al., 1994). In spite of these disadvantages, no requirement for recycling process of co-enzyme makes them good candidate to be used in biocatalysis because of the economic factors. The rapid increase in the development of research area of protein engineering, including molecular evolution, and enzyme engineering, has resulted in rapid growth of biocatalysis. The protein engineering yields molecule with modified structure, function and selectivity, in aqueous environment; whereas, the enzyme engineering leads to remarkable improvement particularly in organic solvent. Using organic solvent provides many advantages such as higher substrate solubility, modified enzyme specifity that results in the new and higher enzymatic activity that previously were only feasible using genetic modifications or complex reaction pathways inside the cell. As a consequence, applications of biocatalysis in organic environment vary from chiral resolution of pharmaceutical intermediates, chemical compounds to enantio- and regioselective polymerisation (Schmid et al., 2001). The use of biocatalysis in the industry for the synthesis of synthetic compounds has been significantly increased as the use of biocatalytic process for producing industrial intermediate has become easier. Biocatalytic reactions can be performed in the organic solvents and also water. This allows selective and efficient conversion of both water soluble and apolar organic molecules using biocatalytically active cells or molecules. The production of optically active substances is an area of growing demand in the fine chemical industry and biocatalysis has developed from a niche technology to a commonly used manufacturing method. The selectivity and cushy operational conditions of biocatalysists are increasingly applied in industry to modify complex target molecules. (Panke et al., 2004). General Overview of Transaminases Different classes of transaminases -classification Aminotransferases (EC 2.6.1.X) are the group of enzymes that take a significant role in the transamination reactions. They involve in the exchange of oxygen from alfa keto acid and amine from an amino acid, thus, they remove the amino group from the amino acid and transfer it to alfa keto acid and converting it into amino acid (Mehta et al., 1993). Using aminotransferases in the biocatalysis provides many advantages over other group enzymes for the production of chiral compounds. The reasons which make them so attractive are being able to act on wide range of substrate, having rapid reaction rates, no necessity for cofactor recycling (Taylor et al., 1998). Their relaxed substrate specificity, rapid reaction rates and no requirement for external cofactor regeneration makes transaminase enzymes attractive biocatalysts compared with chemical methods for the production of chiral amines A considerable number of à Ã¢â‚¬ °-transaminases have been identified until recently. Diamine-ketoglutaric TA is the first identified enzyme that converts the compounds bearing no carboxylic acid (Kim, 1964). It is classified as à Ã¢â‚¬ °-AT and is a member of sub-class 2 aminotransferases (Mehta et al., 1993). à Ã¢â‚¬ °-TA enzymes are known as ÃŽÂ ²-Ala:pyruvate TAs (EC 2.6.1.18) because they use pyruvate as the amine acceptor (Kaulmann et al., 2007). One of the best identified members of this group enzymes are isolated from V. fluvialis JS17. This enzyme does not show any activity towards ÃŽÂ ²-Ala but it shows broad substrate specifity towards particularly aromatic amines and (S)-enantiomers (Shin et al, 2002). It was purified and its enzymatic properties were characterised. Its molecular mass was determined to be 100 kDa and subunit mas determined to be 50 kDa. Its optiumum pH is 9.2 and optimum temperature is 37 oC. Its activity increased with pyruvate and PLP but it is inactivated with (S)-ÃŽÂ ±-methylbenzylamine. The result indicates that this is an amine: pyruvate transaminase (Shin et al., 2003). The à Ã¢â‚¬ °-AT isolated from Bacillus thuringiensis JS64 is highly enantioselective towards ÃŽÂ ±-methylbenzylamine (Shin and Kim, 1998). The à Ã¢â‚¬ °-AT Ä °isolated from Pseudomonas sp. F-126 is an isologous alpha 4 tetramer. The subunit is rich in secondary structure and consists of two domains. PLP is located in the large domain. It shows high homology with AspAT. This consequence reveals that these enzymes have common evolutionary features (Watanabe et al., 1989). In contrast to ÃŽÂ ±-transaminase catalysed reactions to produce ÃŽÂ ±-amino acids, à Ã¢â‚¬ °-transaminase reactions are not limited by a low equilibrium constant during the kinetic resolution (Shin and Kim, 1998). The enzymatic properties of three à Ã¢â‚¬ °-TAs from Klebsiella pneumonia JS2F, Bacillus thuringiensis JS64 and Vibrio fluvialis JS17 were compared to understand their mechanism and application towards production of chiral amines. All enzymes showed high enantioselectivity towards (S)-ÃŽÂ ±-MBA and broad specifity for arylic and aliphatic chiral amines. In addition to pyruvate, aldehydes showed high amino acceptor activities. All enzymes were inhibited by substrate, (S)-ÃŽÂ ±-MBA, above 200mM concentration. Only Vibrio fluvialis JS17 à Ã¢â‚¬ °-TA was inhibited by pyruvate above 10mM. The enzyme was not only inhibited by substrate but also inhibited by product. In the product inhibition case acetophenone and alanine are the main inhibitors but acetophenone is much more effective than alanine (Shin and Kim, 2001). Aminotransferases have been classified by Mehta and co-workers into four sub-groups according to their primary structure similarity (Table 1) (Mehta et al., 1993). Table 1. Classification of aminotransferases on the basis of structural similarities (Mehta et al., 1993) C:UsersadnanDesktopsub-groups of enzymes.png The members of subgroup 1 aminotransferases are Aspartate aminotransferase (AspAT), Alanin aminotransferase (AlaAT), aromatic amino acid transferase and histidine aminotransferase. Subgroup 1 aminotransferases are demonstrated to be the most versatile ones among the all subgroup hence they are able to react with alanine, dicarboxylic and aromatic amino acids. In one of the studies it was shown that the substrate specifity of AspAT and tyrosine aminotransferase overlap. This finding is based on the research which demonstrated the mitochondrial and cytosolic isoenzymes of aspartate aminotransferase from chicken heart accept L-phenylalanine, L-tyrosine and L-tryptophan as substrates (Mavrides and Christen, 1978). Group 2 aminotransferases include ornithine AT, à Ã¢â‚¬ °-AT, 4-aminobutyrate AT (GABA-AT,). They are all known as omega transaminase because of the location of the amine group. In these enzymes amino group is in a distal position from the carboxylic acid group on the amine donor substrate. (Sayer, 2009; PhD thesis). Both of the ornithine aminotransferase (Orn-AT) and 4-aminobutyrate aminotransferase (GABA-AT) are pyridoxal-phosphate (PLP)-dependent enzymes that have been identified in human, plants and animals until recently. Both enzymes catalyse a wide range of reactions on amino acids (Storici et al., 1999; Markova et al., 2005). Each enzyme catalyses the transamination reactions by a ping-pong bi-bi mechanism. The mechanism comprises two-half reactions. The half-reaction converting ketoglutarate to glutamate is the same for all transaminases. Therefore, the change in substrate specifity is resulted from the second half reaction in which an amino group is transferred distant from the ÃŽÂ ±-carbon. As a result of this, these enzymes have been identified as omega transaminases (Markova et al., 2005). GABA aminotransaminase is a PLP dependent and Fe-S cluster containing enzyme which involves in regulation of the concentration of major inhibitory neuro-transmitter GABA. This enzyme degrades GABA to succinic semialdehyde (Storici et al., 1999). Subgroup 3 aminotransaminases are BcaaAT and D-alanine aminotransferase (DaAT). The amino acid substrates of the two members of subgroup 3 enzymes have different chirality but they share the same oxo-acid as substrate. Subgroup 4 aminotransferases include SerAT and pSerAT. The two members of this group act on structurally and biosynthetically related substrates (Mehta et al., 1993). Grishin and co-workers further classified all PLP-dependent enzymes and aminotransferases categorizing them according to their PLP folds (Grishin et al., 1995). Similar outcomes were obtained with Mehtas classification. One of the classifications has been performed by John Ward in which he classified à Ã¢â‚¬ °-ATs in four groups according to their substrate specifity. 1. ÃŽÂ ²-alanine:ÃŽÂ ±-ketoglutarate aminotransferase, highly specific substrate activity. 2. MBA (ÃŽÂ ²-alanine):pyruvate aminotransferase, broad substrate specificity. 3. MBA:pyruvate aminotransferase, broad substrate specificity but inactive on ÃŽÂ ²-alanine. 4. ÃŽÂ ²-alanine (MBA):pyruvate aminotransferase, broad substrate specificity.(Sayer, 2009; PhD thesis). The à Ã¢â‚¬ °-AT from Chromobacterium violaceum belongs to the sub-group 3. The research which was conducted by Kaulmann and co-workers demonstrated that his enzyme does not show any activity towards ÃŽÂ ²-alanine where as it has comparatively broad substrate specifity against aromatic, aliphatic amines and amino-alcohols. It has a molecular weight of 51 kDa and shows 38% sequence identity to the à Ã¢â‚¬ °-AT from V. fluvialis JS17 (Kaulmann et al., 2007). PLP-DEPENDENT ENZYMES PLP is an important cofactor for amino acid metabolism. PLP-dependent enzymes catalyse a wide range of reactions such as transamination, decarboxylation, racemisation, aldol condensation, ÃŽÂ ±,ÃŽÂ ²-elimination and ÃŽÂ ²,ÃŽÂ ³-elimination of amino acids, and amine oxidation (Soda et al., 2001). PLP forms a covalent bound with the substrate molecule and performs as an electrophilic catalyst (Percudani and Peracchi, 2003). The mechanistic studies revealed two key chemical characteristics of the cofactor; an imine is formed between aldehyde group of PLP and amino group of substrates. The other basic characteristic of the cofactor is being able to perform as electron sink and withdrawing electron from substrate compounds (John, 1995). In 1974, it was hypothesised that the complete family of PLP-dependent enzymes had evolved from a common ancestor. They proposed this hypothesis the result of the investigating of the mechanism of the seven PLP-dependent enzymes. It was observed that protonation of the C4 carbon of the coenzyme proceeds stereospecifically with the same stereo-face in all different enzymes. This result is is explained as proof for the evolution of complete family of PLP-dependent enzymes from a common ancestorial protein (Dunathan and Voet, 1974). REACTION MECHANISM OF TRANSAMINASES The aminated form of PLP, pyridoxamine 5à ¢Ã¢â€š ¬Ã‚ ²-phosphate (PMP), appears only in the transamination reactions (Fig. 1). Transamination reactions basically comprise of two half reactions. In the first step, the aldimine is deprotonated to be converted into a quinoid intermediate, which in turn accepts a proton at a different position to form a ketimine. The resulting ketimine is hydrolysed leaving PMP behind which performs as an amine donor in the second half-reaction. PLP is subsequently recycled. PMP interacts with the apoenzyme via only non-covalent interactions, whereas, PLP is covalently bound to the active site lysine residue of the enzyme molecule. Apotransaminases have been identified to bind PMP about 100-fold less tightly than PLP. PMP can be displaced from the enzyme with high concentrations of sulphate or phosphate ions (Schell et al., 2009). C:UsersadnanDesktop.gif Scheme 1. The first half reaction mechanism of aminotransferases (Adapted from Schell et al., 2009). STRUCTURE OF the Chromobacterial OMEGA TRANSAMINASE The C. violaceum à Ã¢â‚¬ °-AT is the first enzyme among à Ã¢â‚¬ °-aminene pyruvate AT whose structure was investigated in detail using X-ray. The C. violaceum à Ã¢â‚¬ °-AT protomer is folded into two domains similar to other class II aminotransferases that were classified by Mehta and co-workers based on their primary structure similarity. The enzyme comprises of a large domain which includes residues 62-343 and a relatively small domain containing the N and C-terminal parts of the polypeptide chain residues between 6-61 and 344-456. The large domain has a typical ÃŽÂ ±/ÃŽÂ ²/ÃŽÂ ± sandwich fold constituted a central seven stranded ÃŽÂ ²-sheet and helix-loop-helix segment. The small domain is constituted largely of the C-terminus which is comprises of ÃŽÂ ²-sheet that is packed against helices. The overall protein fold is represented in figure 1 (Sayer, 2009; PhD thesis). Figure 1. The tertiary structure of the C. violaceum à Ã¢â‚¬ °-AT promoter. The ÃŽÂ ²-strands are tagged as S, ÃŽÂ ±-helices are marked as H (Sayer, 2009). As it was mentioned previously the aminotransferases require PLP as a cofactor. The enzyme was crystallised with PLP to investigate the binding interactions of PLP with active site residues. The cofactor is linked to the active site lysine residue through covalent bond forming lysine-pyridoxal-5-phosphate in all four sub-units. The PLP binding site is demonstrated to be situated between small and large domains at the interface of the two sub-units. The oxygen atoms of phosphate moiety interact with the main-chain amides of Gly120, Ser121 and the side chain of Ser121. The carboxyl group of Asp259 is located within hydrogen bond distance to the pyridine nitrogen of PLP. Aspartic acid is interacted with Val261 and Histidine154. The interactions are demonstrated in figure 2 (ibid). plp_contacts Figure 2. Stereo diagram of the C. violaceum haloenzyme active site. Stick model represents the lysine-PLP Schiff base. Yellow dot lines represent hydrogen bonds and the interacting residues are shown as lines. Neighbouring subunit residues are demonstrated by *. The structure of C. violaceum à Ã¢â‚¬ °-AT gabaculine complex is also solved. Gabaculine is a naturally occurring inhibitor and first isolated from Streptomyces toyacaensis as an inhibitor of GABA-AT (Kobayashi et al., 1977). Gabaculine interacts to the aminotransferase forming Schiff base with PLP as the m-carboxyphenylpyridoxamine phosphate (mCPP) ligand in the subunit A. The inhibitor molecule is interacted to the enzyme on the re face of the cofactor at the bottom of the active site. A salt bridge is formed between carboxyl group of gabaculine and side chain of Arg416. Despite the fact that à Ã¢â‚¬ °-AT act on the substrates that do not contain carboxyl groups, amine derivatives that bear a carboxyl group will be orientated by Arg416. The gabaculine is surrounded by Trp60, Ala231, Ile262, Leu59 and His318 from the neighbouring subunit to the bound cofactor. The hydrophobic pocked is formed through this interaction.. The interaction between active site residues and m CCP is in dicated in figure 3. gaba_lines_stereo Figure 3. Stereoview of the C. violaceum à Ã¢â‚¬ °-AT bound with gabaculine in the presence mCPP ligand (represented with stick) and amino acid residues within 4.5 Ã…. Residues from the neighbouring subunit to the bound cofactor are demonstrates as *. The structure of C. violaceum à Ã¢â‚¬ °-AT with pyruvate-PLP complex was solved to investigate active site pyruvate binding pocket (Figure 4). The carboxyl group of pyruvate forms a salt bridge with Arg416 and a hydrogen bond to the indole nitrogen of Trp60. The overall pocket is hydrophobic made up by the residues Tyr168, Phe22, Phe88, Leu59, Ala231 and Ile262. pyr_lines Figure 4. Stereoview of the binding interaction of the C. violaceum à Ã¢â‚¬ °-AT with pyruvate-PLP complex is demonstrated as stick model. Hydrogen bonds are represented in yellow colour, * shows residues from the adjacent subunit to the bound cofactor. BIOTECHNOLOGICAL APPLICATION OF OMEGA TRANSAMINASES A number of important parameter such as enantioselectivity, reaction equilibrium stability of enzyme, effect of inhibitors, and product separation must be taken into account in order to perform successful kinetic resolution and asymmetric synthesis for the synthesis of enantiomerically pure amines (Kim et al., 2003). Enantiomerically pure amines can be synthesized using two fundamental methods that employ à Ã¢â‚¬ °-ATs. One of them is kinetic resolution that performs on racemic amines; the other one is asymmetric synthesis starting with prochiral ketones that together correspond to the transamination reaction run forward and in reverse subsequently. Amines with opposite conformation are attainable if the same omega transaminase in kinetic resolution or asymmetric synthesis. For instance, if (S)-enantiomer is observed during asymmetric synthesis, the same enzyme will produce the (R)-enantiomer in the kinetic resolution (Koszelewski et al., 2010). Despite the fact that, asymmetric synthesis permits a 100% yield of demanded optically pure compound, it has been preferred less in recent time due to the difficulties related to reaction equilibrium and stereoselectivity. The stereoselectivity of the enzyme molecule to produce amines must be high with ee value of >99%, but it is almost impossible for the available à Ã¢â‚¬ °-transaminase (ibid). Kinetic Resolution In some reaction an enzymatic reaction is performed between a chiral molecule and a racemic acid mixture. In this case kinetic resolution occurs resulting to a kinetic preference, for one of the enantiomer over the other enantiomer (Novasep, 2010). The significance of kinetic resolution has remarkably increased as the importance of optically pure amines has increased. One group of enzymes that have resulted in the production of optically active compounds are transaminases. One of the simplest techniques for investigating kinetic resolution of chiral primary amines involves the employment of a stoichiometric equivalent of the amino acceptor. In this approach, the thermodynamic equilibrium is on the product side and comprises the enantiomerically rich amine, ketone and amino acids. The main positive side of this method is that it needs only à Ã¢â‚¬ °-AT (Koszelewski et al., 2010). As it is mentioned previously this method has been used commonly but it has two main drawbacks that ketone product and starting pyruvate molecule cause an inhibitory effect on the à Ã¢â‚¬ °-TAs enzymes (Yun et al., 2005). Different strategies have been developed to overcome these problems. The à Ã¢â‚¬ °-TA from Vibrio  ¬Ã¢â‚¬Å¡uvialis JS17 has been identified to show high enantioselectivity for the (S) enantiomers of various chiral amines, such as ÃŽÂ ±-MBA and sec-butylamine, with remarkable stability and a high reaction rate (Shin and Kim, 1998). Nevertheless, production of ketone may result in the inhibition of the enzyme preventing it to show its activity (Shin and Kim, 1997). A restricted solution to this issue was using an extractive biphasic reaction system that reduced the inhibitory acetophenone concentration in the aqueous phase (ibid). However, in this system the organic phase interacts with aqueous phase and acts as extractant of acetophenone. To keep the concentration of acetophenone in the aqueous phase at low levels, the aqua phase was unavoidable because the exchange the organic extractant need to control the aqueous pH with acid to neutralise basic ÃŽÂ ±-MBA diffused from the organic phase also made the process complex. An enzyme-membrane rea ctor (EMR) coupled with hollow-fiber membrane contractor was employed for the production of chiral amines and to get over the problems in a two-liquid phase reaction system. In the EMR system, to preserve the extraction capacity, a simple exchange of solvent in the organic reservoir and pH control are necessary to transfer only acetophenone through the contractor. Other advantage of this system over two-liquid phase reaction system is confining the enzyme in the reactor with ultrafiltration membrane eases reuse of enzyme. The main problem with this system could possibly be the economics of the availability of purified enzyme because a sufficiently high-circulation rate of sunstrate solution is desirable to residence time and minimize the product inhibition (Shin et al., 2001). An effective synthesis of enantiopure (S)-amino acids and chiral (R)-amines was carried out using ÃŽÂ ±/à Ã¢â‚¬ °-AT coupling reaction and à Ã¢â‚¬ °-AT was found to be inhibited by ketone product. To remove inhibitory reaction product a two-liquid phase reaction system in which dioctylpthalate was selected as solvent to achieve the best system. One of the most important advantages of ÃŽÂ ±/à Ã¢â‚¬ °-AT coupling reaction over aqueous phase is that; it can be carried out at high substrate concentrations to fulfil industrial large scale production of chiral amine and amino acid compounds (Cho et al., 2003). A concept has been developed to improve rate and enantioselectivity in à Ã¢â‚¬ °-AT-catalysed kinetic resolution using a protection group. For this purpose the kinetic resolution of 3-aminopyrrolidine and 3-aminopiperidine with à Ã¢â‚¬ °-AT was expedited using a protective group. 1-N-Cbz-protected group. Upon application of protective group the reaction rate was 50-fold higher. Enantioselectivity was also considerably increased upon carbamate protection in comparision with the unprotected compound (86 vs.99 ee%). However, benzyl protection of former substrate did not affect enantioselectivity because of the difference in the flexibility of the benzyl- or carbamate-protected 3-aminopyrrolidine. Despite of 50% yield limitation in kinetic resolution, this strategy is an efficient way to synthesise enantiopure 3-aminopyrrolidines (Hà ¶hne et al., 2008). The other approach to overcome product inhibition by aliphatic ketones is using an enrichment culture in combination with random mutagenesis for production and purification of mutant à Ã¢â‚¬ °-TA. This technique is mainly based on using 2-aminoheptane as amine donor and nitrogen source in minimal medium, and 2-butanone as an inhibitory ketone. Consequently, the higher growth rates of mutants resistant to inhibition allow them to be enriched in culture reducing the number of colonies that needs to be screened. A mutant enzyme, à Ã¢â‚¬ °-TAmla, which shows significantly reduced product inhibition by ketone, was determined. Using this mutant enzyme 2-aminoheptanone was resolved to (R)-2-aminoheptane with ee value>99, 53% conversion and enantioselectivity of >100 (Yun et al., 2005). b) Asymmetric synthesis Performing an asymmetric synthesis reaction is not as easy as kinetic resolution reactions because of unconvenient equilibrium and product inhibition. The main advantage of asymmetric synthesis over kinetic resolution is resulting 100% yield in the production of desired optically pure amine. However, side products may affect the enzyme catalysed reaction; therefore, these problems must be overcome to apply successful asymmetric synthesis (Koszelewski et al., 2010). One of the easiest methods for amination involves applying an excess of amine donor due to the necessity of only a single transaminase. Nevertheless, the issue here is the reaction equilibrium and potential inhibition by co-product and excess of starting an amine. In one of the studies, alanine was applied in 16-fold excess for the amination of 4-methoxyphenylacetone with 94% conversion (Nakamichi et al., 1990; Koszelewski et al., 2010). To overcome pyruvate inhibition problem two enzyme system has been used. One of the commonly used method involves Lactate Dehydrogenase (LDH)-reduction of pyruvate. One-pot, two-step dereacemisation cascade reaction was employed to lead to the production of optically pure pharmaceutical intermediates through kinetic resolution and following stereoselective amination. The main advantage of this cascade reaction is circumventing the restriction of kinetic resolution (50% conversion) leading high yield of optically pure amines. In the second step, side product pyruvate was removed using lactate dehydrogenase to shift the equilibrium to the product side. The disadvantage of this system is requirement for coenzyme recycling (Koszelewski et al., 2009). The use of whole cells is hindered by the reason that undesired side reaction such as the reduction of alcohol to ketone products. In one of the studies it was shown that the equilibrium can be shifted using pyruvate decarboxylase (PDC). Dec arboxylation of pyruvate to produce acetaldehyde and CO2 with PDC is more advantageous than LDH-catalysed reduction of pyruvate owing to no requirement for cofactor recycling (Hà ¶hne et al., 2008). One of the important examples of asymmetric synthesis is the amination reaction of acetophenone with alanine for the objective of producing (S)-ÃŽÂ ±-MBA. The equilibrium constant of the reaction is 8.8110-4 and (S)-ÃŽÂ ±-MBA and pyruvate are more reactive substrates than acetophenone and alanine (Shin and Kim, 1999). The stereoselectivity of C. violaceum TA-mediated amination of an ÃŽÂ ±,ÃŽÂ ±-dihydroxyketone, 1.3-dihydroxy-1-phenylpropane-2-one, was investigated. It was shown that the enzyme is not enantioselective towards the racemic 1.3-dihydroxy-1-phenylpropane-2-one, whereas; it is highly stereoselective for the (2S)-2-amino-1-phenyl-1,3-propanediols in 99% ee (Smithies et al., 2009). CONCLUSION AND AIMS OF PROJECT After drawing various analyses, the general overview, structure, mechanism and biotechnological applications of à Ã¢â‚¬ °-transaminases were reviewed in order to shed some lights on the characteristics of the à Ã¢â‚¬ °-transaminases. Transaminases have been used broadly owing to its capacity to produce amino acids and chiral compounds which are important for pharmaceutical industries. Transaminases have been divided to sub-groups according to their substrate specifities and structure. Transaminases, under sub-group 2 are known as à Ã¢â‚¬ °-AT because the distal amino group of the substrate undergoes the reaction and include OrnTA, GABA-TA and à Ã¢â‚¬ °-amino acid:pyruvate AT. Among them the most important one is à Ã¢â‚¬ °-amino acid:pyruvate AT due to the reason that only this enzyme shows catalytic activity towards primary and aliphatic amines bearing no carboxyl group. The other advantages of à Ã¢â‚¬ °-TAs are having broad substrate specifity, high enantioselectivity an d no requirement for the cofactor recycling. Two main biotechnological applications of à Ã¢â‚¬ °-ATs are asymmetric synthesis and kinetic resolution. They have both advantage and disadvantage over each other. The disadvantages of kinetic resolution are being subjected to pyruvate and ketone inhibition and having 50% yield. The asymmetric synthesis results in 100% yield for the manufacturing of desired optically pure amine. However, product may cause to the inhibition of the enzyme. To overcome these problems some approaches have been developed including biphasic reaction system, using enzyme-membrane reactor (EMR) coupled with hollow-fiber membrane contractor, using protective groups. The aim of this project is to purify and crystallise the à Ã¢â‚¬ °-AT enzymes and characterise their subsrate specifity.

Expressions of Fear in The Red Badge of Courage :: Stephen Crane, The Red Badge of Courage

  Ã‚  Ã‚  Ã‚   The important conflict in The Red Badge of Courage is Henry Fleming's fear about how he will perform in his first battle.   There are three people who expressed their ideas about their fears before the first skirmish.   They are Henry Fleming, Tom Wilson, and Jim Conklin.      Ã‚  Ã‚  Ã‚   Henry is worried about how he will do in this first battle.   He isn't sure if he will run or not, and he is scared that he might.   He doesn't want to look like a fool and run, but he is also scared of getting killed. Even though Henry never expressed his fears to Tom Wilson or Jim Conklin the audience could tell by the expressions on his face that he was scared. While he was writing a letter to his parents he writes about how he is going to fight for the first time and he wants to make the proud.   After Henry runs away from the first battle he feels embarrassed because he didn't have a wound.   No one knew he ran so he still had his pride and after that his attitude changed and he began fighting with no fear.      Ã‚  Ã‚  Ã‚   Tom Wilson is another young sodier in the 304th regiment who is called the loud soldier.   When he is in the tent talking to Henry and conklin he talks about how he will not run and take on the whole army on by himself. When he is in the first battle he tries to run but is caught by an officer and made to go back and fight.   His attitude changed from being confident to being scard of fighting.      Ã‚  Ã‚  Ã‚   Jim conklin is also a soldier in the 304th regiment who talks with Henry and tom.   When Conklin was talking to Henry and Wilson about how they felt about fighting their first battle, he says that he will run if he sees everyone else running.   He is the only one to admit to everyone that he is scared about fighting.   He is also the only one not to run away from the first battle even though other people were.   When Henry sees him walking in the road after the war he has been shot and is hurt bad.   Jim is afraid of lying in the road and being run ober by the artillery wagons.

The Dehumanization of Gregor in Kafkas Metamorphosis Essay -- Kafka M

The Dehumanization of Gregor in The Metamorphosis In the novella The Metamorphosis, by Franz Kafka, the main character Gregor undergoes a physical transformation from human to bug. Despite this change in appearance, he maintains his human brain as insect tendencies slowly take over his day to day behavior. He maintains his thoughtless state of mind, memories, and inner dialogue during his exterior transformation. Although he maintains his mental capacities, it is his change in appearance that causes his family to turn against him and eventually kill him. These events show how people can become dehumanized by society and the government only because of a difference in behavior or appearance. In Gregor's case, he is transformed in an extreme manner and only remains human in his thoughts and emotions. "He found himself transformed in his bed into a gigantic insect." This extreme form of physical transformation is used to show how even a person's own family can, under certain conditions, reject, mistreat, and eventually kill because of a change in outward appearance or behavior....

Theatre in the Community Essay examples -- Drama

Theatre in the Community Britain in 1979 was a place of great change and division. Although the country had united in the election of Margaret Thatcher as the first Conservative woman Prime minister by the early 1980’s one could say that the country was spiralling into a state of decline. This was largely due to the disarray of the previous Labour government and the implementation of the Conservative government’s robust style of economic management. All spheres of social and cultural life were to be judged on their economic terms and values. This is particularly true within the Arts. In ‘Politics of Performance’ Baz Kershaw describes how, â€Å"Private enterprise was to replace public dependency, so cuts in government, expenditure, including that on the arts, were inevitable.† This stems back largely to the ideological principals of conservatism. Conservatism believes in the self reliant role of the individual. It strongly allows for the expansion of public enterprise and thus frowns upon state intervention and avoids assistance towards public dependency. Therefore, where it was seen that some areas of public life, such as the arts, were â€Å"financially draining†, cuts were made where necessary to ensure that funds were spent more wisely, largely towards benefiting enterprise. A culmination of activities throughout the 1980’s meant that the arts were one of the key areas of public life that were disregarded in favour of prioritised events. This is effectively where the arts began to suffer. Although some mainstream theatre was funded by the GLC (Greater London Council), many alternative theatre groups were seen as unnecessary and as they often highlighted social issues, such as homosexuality, that were seen as taboo, they were generally avoided when it came to the distribution of funding. This can clearly be seen in Kershaw’s, ‘Politics of Performance’, where Kershaw states, â€Å"The divisions in British society were also reflected in the growing distance between the top and bottom of the theatrical pyramid during the 1980’s. In 1982 the Royal Shakespeare Company had moved into the huge concrete edifice of the Barbican in the City of London. The following year, a government- ordered investigation into the RSC (the Pristley report) concluded that counter to government suspicions- the company was efficient but under funded to the ... ...iece was heavily influenced by the needs of a local disability group. Community theatres range in size from small groups led by single individuals performing in borrowed spaces, to large year round companies with elaborate well equipped theatres of their own. Many community theatres are successful non-profit businesses with a large active membership and, in some cases, a full time professional staff. As the performers and other artists are also involved in other aspects of their community, non-professional theatre can develop a broad base of support and attendance among those who might not normally support the professional arts. Community theatre is in fact well documented as being the most widely attended venue for theatre in America and Australia. Community theatre is often seen as adding to the social capital of a community, in that it develops skills and community spirit for those involved. Furthermore, it can also create a place for debate, self-expression and interactivity that is important for the health of a community. When this can involve people with learning disabilities, for example, it can disarm prejudices that people encounter on a daily basis. Theatre in the Community Essay examples -- Drama Theatre in the Community Britain in 1979 was a place of great change and division. Although the country had united in the election of Margaret Thatcher as the first Conservative woman Prime minister by the early 1980’s one could say that the country was spiralling into a state of decline. This was largely due to the disarray of the previous Labour government and the implementation of the Conservative government’s robust style of economic management. All spheres of social and cultural life were to be judged on their economic terms and values. This is particularly true within the Arts. In ‘Politics of Performance’ Baz Kershaw describes how, â€Å"Private enterprise was to replace public dependency, so cuts in government, expenditure, including that on the arts, were inevitable.† This stems back largely to the ideological principals of conservatism. Conservatism believes in the self reliant role of the individual. It strongly allows for the expansion of public enterprise and thus frowns upon state intervention and avoids assistance towards public dependency. Therefore, where it was seen that some areas of public life, such as the arts, were â€Å"financially draining†, cuts were made where necessary to ensure that funds were spent more wisely, largely towards benefiting enterprise. A culmination of activities throughout the 1980’s meant that the arts were one of the key areas of public life that were disregarded in favour of prioritised events. This is effectively where the arts began to suffer. Although some mainstream theatre was funded by the GLC (Greater London Council), many alternative theatre groups were seen as unnecessary and as they often highlighted social issues, such as homosexuality, that were seen as taboo, they were generally avoided when it came to the distribution of funding. This can clearly be seen in Kershaw’s, ‘Politics of Performance’, where Kershaw states, â€Å"The divisions in British society were also reflected in the growing distance between the top and bottom of the theatrical pyramid during the 1980’s. In 1982 the Royal Shakespeare Company had moved into the huge concrete edifice of the Barbican in the City of London. The following year, a government- ordered investigation into the RSC (the Pristley report) concluded that counter to government suspicions- the company was efficient but under funded to the ... ...iece was heavily influenced by the needs of a local disability group. Community theatres range in size from small groups led by single individuals performing in borrowed spaces, to large year round companies with elaborate well equipped theatres of their own. Many community theatres are successful non-profit businesses with a large active membership and, in some cases, a full time professional staff. As the performers and other artists are also involved in other aspects of their community, non-professional theatre can develop a broad base of support and attendance among those who might not normally support the professional arts. Community theatre is in fact well documented as being the most widely attended venue for theatre in America and Australia. Community theatre is often seen as adding to the social capital of a community, in that it develops skills and community spirit for those involved. Furthermore, it can also create a place for debate, self-expression and interactivity that is important for the health of a community. When this can involve people with learning disabilities, for example, it can disarm prejudices that people encounter on a daily basis.