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    The Physics of Pole Vaulting

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    The Physics of Pole Vaulting The very idea of flying through the air at 15-19 feet just to clear a little bar scares some people to death. Maybe even more if the only thing that you have to hold onto is a little piece of plastic. The purpose of this paper is to help put some of these fears to rest from the point of view of physics. The way that pole vaulting started was during WWII. The men in the army used bamboo poles to jump over canals and ditches. After the war some people found the

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    Gothic Art

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    1090 onward, to invent a new type of ribbed groin-vaulted unit bay, using pointed arches to distribute thrust and improve the shape of the geometric surfaces. Fifty years of experimentation produced vaulting that was light, strong, open, versatile, and applicable everywhere--in short, Gothic vaulting. A whole new aesthetic, with a new decorative system--the Gothic--was being evolved as early as 1145. The spatial forms of the new buildings sometimes caused acoustic difficulties, which may help to

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    Pole Vaulting History

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    The level of athleticism and skill required for a successful vault is overwhelming. Pole-vaulting, a Track and Field event, was introduced to the Olympics in 1896 (The Physics of Pole Vaulting, 2009). The goal of this event is to get over a bar that is set at a certain height using a vaulting pole for a boost. The athlete has three attempts to get over each height; once they have failed the three attempts, they are out of the competition. Athletes that are able to get over the height within the three

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    Physics in Sports

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    COR, the faster the ball would shoot off from the “collision” – it would go further.” (Coefficient of Restitution 2,1) Lastly in the third article when the author stated, “Clearly, pole-vaulting is an example of a sport in which technology has been used to improve athletic performance.” (The Physics of pole-vaulting ) Without physics these technological advances could not be made. Although these technological advances dont come without some issues attached. With the new technology of the carbon and

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    so dead set against Odysseus" and Zeus replies; "what nonsense you let slip through your teeth. Now, how on earth could I forget Odysseus? Great Odysseus who exels all men in wisdom, excels in offerings too he gives the immortal gods who rule the vaulting skies? No, it's the earth-shaker, Poseidon, unappeased…." (Book 1 line 72-84). What Zeus is saying is that Odysseus isn't the man who everyone thinks he is and explains why Poseidon has put a curse on his trip back to Ithaca. Odysseus was a man

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    Mental Training-sports

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    gain in it for one. Presumably, one should convince ones self that there is something to gain for one in pole-vaulting. Motivating one self is, however, somewhat paradoxical — a “catch 22”. What if you have to motivate ones self to motivate ones self? So, it is worth talking it over with another person. A person who does not find physical pleasure in pole-vaulting will not continue pole-vaulting for long. What motivates a pole-vaulter? Money? No. Love of their sport, maybe? Feeling good about being good

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    The Art of Ancient Rome

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    and other civilizations were that every Roman arts whether were sculptures or architectures had served some purposes and played certain roles in the daily lives of Roman citizens. For example, Romans love to build small concrete building with the vaulting systems. The small building which was called the bay (Pg. 105). This unique system helps to construct much fine and greatest architecture for Romans such as the Sanctuary of Fortuna Primigenia, the Colosseum and the Basilica of Constantine. The

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    Civilization’s would-be Savior Starting with the publication of Sir Isaac Newton’s Principia Mathematica, Europe thought of itself as a supremely rational people who could ultimately conquer the world around them with nothing more than the vaulting powers of their own reason. Indeed, this attitude would dominate European thought for centuries. Working under this ethos, Europe built up a massive colonial empire and realized the dream that was global hegemony. In many tangible ways, the road

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    does not reveal her desire openly largely due to the authoritative patriarchal system,  Elisa's interior motive is directed toward the violent, bloody prizefights.  In other words, the imbalance between the relatively restricted setting and Elisa's vaulting desire to wander into the unknown territory is chiefly designed to strengthen the overall imagery of Elisa, whose drive to experience the violent outer world.  At the same time, it can be inferred that appearance (setting) and reality (Elisa's human

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    Analysis of Sonnet 73

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    against the cold like the jagged arches of the choir stand exposed to the cold'. Noted 18th-century scholar George Steevens commented that this image "was probably suggested to Shakespeare by our desolated monasteries. The resemblance between the vaulting of a Gothic isle [sic] and an avenue of trees whose upper branches meet and form an arch overhead, is too striking not to be acknowledged. When the roof of the one is shattered, and the boughs of the other leafless, the comparison becomes more solemn

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