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albert einstein's contributions to the world
albert einstein contribution to physics
albert einstein contribution to physics
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Albert Einstein
Of all the scientists to emerge from the nineteenth and twentieth
centuries there is one whose name is known by almost all living people.
While most of these do not understand this man's work, everyone knows that
its impact on the world of science is astonishing. Yes,many have heard of
Albert Einstein's General Theory of relativity, but few know about the
intriguing life that led this scientist to discover what some have called,
"The greatest single achievement of human thought."
Einstein was born in Ulm, Germany on March 14, 1874. Before his first
birthday, his family had moved to Munich where young Albert's father,
Hermann Einstein, and uncle set up a small electro-chemical business. He
was fortunate to have an excellent family with which he held a strong
relationship. Albert's mother, Pauline Einstein, had an intense passion for
music and literature, and it was she that first introduced her son to the
violin in which he found much joy and relaxation. Also, he was very close
with his younger sister, Maja, and they could often be found in the lakes
that were scattered about the countryside near Munich.
As a child, Einstein's sense of curiosity had already begun to stir. A
favorite toy of his was his father's compass, and he often marveled at his
uncle's explanations of algebra. Although young Albert was intrigued by
certain mysteries of science, he was considered a slow learner. His failure
to become fluent in German until the age of nine even led some teachers to
believe he was disabled.
Einstein's post-basic education began at the Luitpold Gymnasium when
he was ten. It was here that he first encountered the German spirit through
the school's strict disciplinary policy. His disapproval of this method of
teaching led to his reputation as a rebel. It was probably these
differences that caused Einstein to search for knowledge at home. He began
not with science, but with religion. He avidly studied the Bible seeking
truth, but this religious fervor soon died down when he discovered the
intrigue of science and math. To him, these seemed much more realistic than
ancient stories. With this new knowledge he disliked class even more, and
was eventually expelled from Luitpold Gymnasium being considered a
disruptive influence.
Feeling that he could no longer deal with the German mentality,
Einstein moved to Switzerland where he continued his education. At sixteen
he attempted to enroll at the Federal Institute of Technology but failed
Bertolt Brecht was a German playwright, theatre critic, and director. He created and developed epic theatre with the belief that theatre is not solely for entertainment but also tools for politics and social activism. Previous theatre performances offered a form of escapism. The audience would become emotionally invested in the performance. In contrast to the suspension of disbelief, Brecht never wanted the audience to fall into the performance. He wanted the audience to make judgments on the argument dealt in the play. The aim of epic theatre is to detach the audience from any emotional connection in order for them to critically review the story. The ultimate goal of this theatre is creating awareness of social surroundings and encouraging the audience to take initiative on changing the society.
In her essay on, “Athenian Women,” Sarah Ruden points out that Aristophanes in Lysistrata portray women as supportive of Athenian institutions and eager to save them. But she cautions, “To do this now they must flout law, religion, and every notion of public decency – and this is definitely no reflection on women’s attitudes, but mere satirical farce and fantasy” (Ruden 107). An important element of “satirical farce” in this spirit would be a heavy use of repetition to make people laugh at the weakness being satirized. One example would not be enough, and the audience might not be amused by less than three or four examples. So in important episodes that fill out the action of the play, we have 4 examples of women beating guards,
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Hill & Wang New York,
Aristophanes’ significant contributions in the development of the theater arts and his standing in the Athenian community are well documented. His hilarious comedy, Lysistrata, reflects the disgust with war prevalent at Athens after the disastrous expedition to Sicily. It is ripe with sexual innuendo and provides much insight into the timeliness of human sexuality, desire, and the war of the sexes, yet it was intended to make a political statement regarding the folly of Athenian military aggression. Aristophanes was not suggesting that a sex strike might be an effective means of ending the Peloponnesian War, more likely that the reasons for the war itself were suspect. Lysistrata’s scheme to force the men of Greece to the peace table could never have been successful. Property concerns, gender roles, and the sexuality of Athenian men prevented Athenian women from exerting the necessary political influence.
In Henrik Ibsen’s A Doll House, a drama written in the midst of an 1879, middle-class, suburban Europe, he boldly depicts a female protagonist. In a culture with concern for fulfilling, or more so portraying a socially acceptable image, Nora faces the restraints of being a doll in her own house and a little helpless bird. She has been said to be the most complex character of drama, and rightfully so, the pressure of strict Victorian values is the spark that ignites the play's central conflicts. Controversy is soon to arise when any social-norm is challenged, which Nora will eventually do. She evolves throughout the play, from submissive housewife to liberated woman. It seems as though what took women in America almost a century to accomplish, Nora does in a three-day drama. Ibsen challenges the stereotypical roles of men and women in a societally-pleasing marriage. He leads his readers through the journey of a woman with emerging strength and self-respect. Nora plays the typical housewife, but reveals many more dimensions that a typical woman would never portray in such a setting.
“Lysistrata” is a tale which is centered around an Athenian woman named Lysistrata and her comrades who have taken control of the Acropolis in Athens. Lysistrata explains to the old men how the women have seized the Acropolis to keep men from using the money to make war and to keep dishonest officials from stealing the money. The opening scene of “Lysistrata” enacts the stereotypical and traditional characterization of women in Greece and also distances Lysistrata from this overused expression, housewife character. The audience is met with a woman, Lysistrata, who is furious with the other women from her country because they have not come to discuss war with her. The basic premise of the play is, Lysistrata coming up with a plan to put an end to the Peloponnesian War which is currently being fought by the men. After rounding up the women, she encourages them to withhold sex until the men agree to stop fighting. The women are difficult to convince, although eventually they agree to the plan. Lysistrata also tells the women if they are beaten, they may give in, since sex which results from violence will not please the men. Finally, all the women join Lysistrata in taking an oath to withhold sex from their mates. As a result of the women refraining from pleasing their husbands until they stop fighting the war, the play revolves around a battle of the sexes. The battle between the women and men is the literal conflict of the play. The war being fought between the men is a figurative used to lure the reader to the actual conflict of the play which is the battle between men and women.
Thucydides recounts the events that took place during the civil war in Corcyra. In the year 427 tensions between the Democrats and Oligarchs exploded into civil war, both sides hailing allies from all over the world for aid. At first the Oligarchs received aid from large a Peloponnesian naval fleet, which gave the democrats a scare. However, the Democrats receive back up from an ever-larger Athenian fleet, sending the Democrats into a killing frenzy of all who supported the Oligarchy. Thucydides describes the situation during the civil war in Corcyra by saying that the citizens are sharply divided into two camps, consisting of Democrats on one side and Oligarchs on the other. There is a complete lack of trust on both sides and traditional values and social norms are being completely disregarded. As stated by Thucydides “In war, due to the availability of opportunity aggressiveness rises to the surface” (3.82),
Benjamin Franklin, one of the most important Americans in history, did scientific work before 1790. He had a large impact on America as well as the rest of the world. Europe played a big part of his career because the influences he felt from Europe help him develop and work in science.
The deconstruction of the conventions of the theatre in Anton Chekhov's The Cherry Orchard predicts the more radical obliteration presented later by Pirandello in Six Characters in Search of an Author. The seed of this attack on convention by Chekhov are the inherent flaws of all the characters in The Cherry Orchard. The lack of any character with which to identify or understand creates a portrait much closer to reality than the staged drama of Ibsen or other playwrights who came before. In recognizing the intrinsic flaws of its characters, we can see how Chekhov shows us that reality is subjective, reality is not simple, linear, or clean, and that the real benefit of theater is to show this inane, subjective reality.There are essentially three flaws that permeate over the characters of The Cherry Orchard. The obvious first flaw is nostalgia.
The enforcement of specific gender roles by societal standards in 19th century married life proved to be suffocating. Women were objects to perform those duties for which their gender was thought to have been created: to remain complacent, readily accept any chore and complete it “gracefully” (Ibsen 213). Contrarily, men were the absolute monarchs over their respective homes and all that dwelled within. In Henrik Ibsen’s play, A Doll’s House, Nora is subjected to moral degradation through her familial role, the consistent patronization of her husband and her own assumed subordinance. Ibsen belittles the role of the housewife through means of stage direction, diminutive pet names and through Nora’s interaction with her morally ultimate husband, Torvald. Nora parades the façade of being naïve and frivolous, deteriorating her character from being a seemingly ignorant child-wife to a desperate woman in order to preserve her illusion of the security of home and ironically her own sanity. A Doll’s House ‘s depiction of the entrapment of the average 19th century housewife and the societal pressures placed upon her displays a woman’s gradual descent into madness. Ibsen illustrates this descent through Torvald’s progressive infantilization of Nora and the pressure on Nora to adhere to societal norms. Nora is a woman pressured by 19th century societal standards and their oppressive nature result in the gradual degradation of her character that destroys all semblances of family and identity.Nora’s role in her family is initially portrayed as being background, often “laughing quietly and happily to herself” (Ibsen 148) because of her isolation in not only space, but also person. Ibsen’s character rarely ventures from the main set of the drawi...
Henrik Ibsen’s A Doll’s House, written in 1879, is set in late-19th century Norway. Upon publication, Ibsen’s biting commentary on 19th century marriage stereotypes created widespread uproar. In the play’s first act, the viewer is introduced to a young married couple by the names of Nora and Torvald. In tune with stereotypes of the time, the relationship is controlled almost dictatorially by the husband. Nora is often treated by Torvald the way one might expect a father to treat his daughter. For instance, Torvald incessantly refers to Nora by child-like nicknames such as “my little squirrel” and “skylark” and often speaks to her in a condescending manner. Nora, who acts as a symbol of all women of that time, initially fits in very well with the common perception of women in late-19th century Scandinavia. Torvald himself even extends this sentiment of male infallibility and female submissiveness to the whole female race, saying, “Almost everyone who has gone to the bad early in life has had a deceitful mother (Ibsen 27).” However, throughout the play Nora begins to break the mold of inferiority that was associ...
Anton Chekhov's The Cherry Orchard projects the cultural conflict of the turn of the twentieth century of Russia. With a historical allusion, Chekhov exhibited the changing Russia with "slice of life" in his play. The Cherry Orchard is not only a depiction of Russian life but also an understatement of changing traditional value. Cultural conflict itself is an abstraction. To explain it, it is the traditional culture that is unable to resist the invading one. In the play, each character has his or her own personality, which symbolizes their individual social levels of Russian society. But these characters distinguish themselves into two sides, which are conservators and investors; therefore, they conflict each other in opinion. The following developments will begin with an outlook of The Cherry Orchard to acknowledge the basic concept of the play. The second part is culture in change that explains historical background of modern Russia. Third by a contrasting method, the main idea of this part is an illustration of conflict. And, in the fourth section, explaining symbolic meaning of The Cherry Orchard is an approach to highlight the conflict. Finally, the prospective development of different groups of characters is another contrast that echoes their attitudes in the beginning.
King Lear is a play about a tragic hero, by the name of King Lear, whose flaws get the best of him. A tragic hero must possess three qualities. The first is they must have power, in other words, a leader. King Lear has the highest rank of any leader. He is a king. The next quality is they must have a tragic flaw, and King Lear has several of those. Finally, they must experience a downfall. Lear's realization of his mistakes is more than a downfall. It is a tragedy. Lear is a tragic hero because he has those three qualities. His flaws are his arrogance, his ignorance, and his misjudgments, each contributing to the other.
The plot structure in The Cherry Orchard is not as meaningful as the impact of events on the inner sensibilities of the characters. Chekhov divides his characters in The Cherry Orchard in a variety of ways so that the orchard and its sale take on different meaning for each of them. It is necessary then to examine the loss of the cherry through some of the major character; Yermolai Alexeyitch Lopakhin, Peter Trophimot, and Madame Ranevsky. When writing TCO he us...
In Aristophanes play Lysistrata, the women of Greece take on the men to stop the raging war between the Athenians and the Spartans. To stop the war, the women withhold sex from their male counterparts, and take over the Acropolis for themselves. The women are indeed triumphant in their goals to stop the war, and the Athenians and Spartans come to an understanding. What is blatantly ignored, however, is that Aristophanes creates a gender war that, although seemingly rejoices the actions of the women, instead mocks the women’s power-struggle in a male dominated society, focuses on the male-privilege seen throughout the entirety of the play, and should be disregarded in the fact that this play is not even from a women’s perspective.