Saturday, November 1, 2014

War Poetry / Dulce et Decorum est / The Soldier

Good morning members and welcome to The Movement’s 17th meeting. My name is Renee, founder and president of this association, and it is my pleasure to introduce our topic and two guest speakers. For those of you live streaming, welcome and we’d love to get your opinion on our presentation today – send us your very own poem if you like! You will be able to tweet us during the meeting using #TheMovementWar. Tag us in your post @TheMovementPoetry and we can favourite and retweet the best of your comments. Hopefully we can get some of the tweets coming through behind me on the screen here.

In light of the current unrest in Syria and Iraq dominating news coverage, today’s topic will explore the contrasting opinions of war throughout the 20th century as voiced by notable war poets. War poets from the 20th century were the first to write from experience and with uncompromising truth about the nature of modern warfare. What poetry can do, ladies and gentlemen, is encapsulate experiences, feelings and ideas with a depth, force and brevity that prose cannot equal. Today, our guest speakers and I will be carefully examining the opinions of respected war poets and drawing parallels between their words and our own ideologies. I ask that each member here today take part in an opinion poll so that we can know how this particular group of people view a number of issues.
Now, I’d like to introduce and formally welcome our speakers this morning, Dr. Sarah Prentice and Dr. James Williams, both lecturers at the university, experts in their respective fields and new members to our poetry society. I have asked each of them to present and analyse the many voices represented in war poetry.

James speaks.
Sarah speaks.

Thank you Dr. Prentice and Dr. Williams for you scholarly and in-depth analysis of those especially thought-provoking poems. Members, the survey will now be collected and I would encourage you to consider the poets that have been discussed already, their views on war and your own knowledge of the recent events in Iraq.
War seems to be the most destructive and horrific type of human interaction. No other setting allows people to kill each other in such massive numbers or to cause such incredible and widespread suffering. More than any other conflict, the Great War  inspired writers of all generations and classes, most notably among soldiers. Famous war poets Wilfred Owen and Rupert Brooke, whose poems I will be discussing this morning, wrote about their individual experiences of war, expressing their voices and representing the attitudes and values of their social context. Juxtaposing the poems of these two poets will provide insight into the concepts, identities and circumstance these poems were written to embody. Rupert Brooke, an English poet during the First World War, was known for his idealistic war sonnets, especially “The Soldier”. Brooke’s importance as a poet is partly due to the extraordinary success he enjoyed through representing the popular attitudes and beliefs in the opening months of the First World War. “The Soldier” was written during 1914 and was the conclusion to Brooke’s war sonnet series dealing with the death and accomplishments of a soldier. Interestingly, the inscription on Rupert Brooke’s headstone was written by fellow English poet and soldier, Wilfred Owen. Wilfred Owen, one of the leading poets of the First Wold War, provided a stark contrast to both the public perception of war at the time and to the patriotic verse written by earlier war poets including Brooke. His shocking, realistic war poetry, including “Dulce et Decorum est”, on the horrors of trenches and gas warfare is now studied extensively and has shaped our vision of the Western Front. Written in 1917, “Dulce et Decorum est” is known for its horrific imagery and condemnation of war. These poets and their poems portray vastly dissimilar ideologies considering their similarities in context, time and place.

In the very first line of the sonnet, “The Soldier”, there is an overwhelming feeling of self sacrifice – “If I should die, think only this of me”. Immediately, Brooke’s foreshadow of death encourages the reader to sympathise with the voice of the poem, imagining that this thought exists in every soldiers mind as he serves. Rupert Brooke manipulates and effectively applies poetic techniques to passively influence an audience to accept the idealised selflessness that Brooke encourages in his poem “The Soldier”. Using compelling imagery, symbols and figurative language, Brooke successfully portrays the themes of death, warfare, patriotism, love and the natural world. In the first stanza, Brooke creates an image full of pathos and patriotism through the line “There is some corner of a foreign field that is forever England”. The soft alliteration lends this line a subdued tone, disguising the reality of death. Further reinforcing this theme of death and sacrifice in the poem, in the subsequent lines “In that rich earth a richer dust concealed / A dust whom England bore, shaped, made aware”, Brooke exploits a religious discourse. ‘Dust’ is a common literary metaphor for the body coming from “Ashes to ashes, dust to dust,” a phrase from the Anglican Book of Common Prayer burial service. Incorporating this religious discourse here, and in the lines “Washed by the rivers, blest by suns of home” and “In hearts at peace, under an English heaven”, assures the reader that Brooke’s stance on war was honourable and moral.  The lines “Gave, once, her flowers to love, her ways to roam” and “Her sights and sounds; dreams happy as her day; / And laughter, learnt of friends” demonstrate to a reader the patriotic intensity of the poem through the overly upbeat and positive language used despite the dire circumstances. England’s abundance and pastoral beauty is emphasised as a gift in these lines. This is an important and recurrent metaphor in Brooke’s writing as it provides a way of giving meaning to death by placing it in the context of a normal, social exchange. “And gentleness, in hearts at peace / Under an English heaven”: the poem ends with a startling proposition: that Heaven is now “an English heaven” and the connection with England will remain forever unbroken. The sonnet’s turn from an idyllic vision of England to the idea of a transcendent and literally heavenly England is reminiscent of the entire poem and encompasses Brooke’s attitudes and ideologies concerning war. Brooke’s poem, “The Soldier”, is a highly persuasive poem that aimed to provide a guiding principle for the conduct of life in relation to warfare and enlistment during the First World War. “The Soldier” invites the audience to accept the act of war as honourable, righteous and necessary.  
Wilfred Owen’s poem “Dulce et Decorum Est”, also written during the First World War, presents a great contrast in discourse, intention and subject matter to “The Soldier” and this contrast shows a clear anti war propensity. The language, theme and imagery contribute to the influence that the poem has on an audience. Most noticeable to readers is the vividness of the imagery and Owen’s ability to bring the horrors of war to life. The first line, “Bent double, like old beggars under sacks,” shows us that the troops are so exhausted and lethargic they can be compared to old beggars. Reducing the foreign concept of soldiers at war to the familiar sight of beggars is effective in revealing the true horrors of war. Aiming to influence the ideologies of his readers and allow them an insight into the true horror of war, the images created by Owen’s words are graphic, disturbing but play an effective role in the development of the poem. Another tool in developing the effectiveness of the poem is the presence and use of diction. The use of words like “guttering”, “choking”, and “drowning”, when the troops are suffering exemplify the extreme pain and misery. These examples of cacophony, the harsh and discordant sounds these words produce, emulate the harsh nature of war and are effective in generating the tone of the poem. All these images are intended to contrast with the Latin maxim that appears in the poems title and the last line of the poem, “Dulce et Decorum Est” meaning it is “sweet and proper” to undergo die for one’s own country. The final line of the sonnet “The old Lie: Dulce et decorum est / Pro patria mori” summarises the entire purpose of Owen’s writing. Owen vehemently opposes this commonly used phrase and this resonates with readers who are familiar with it. Owen uses graphic imagery and exceptional diction to persuade the reader that war is terrible and horrific. This poem is extremely effective in showing the gruesome, heartless, and horrifying effects of war.
Though Brooke and Owen have used many of the same poetic techniques and themes in their poems, they are able to achieve conflicting arguments. “The Soldier” represents the perspectives of a pre-war society and is seen in the context of the early part of World War 1, a time when literature was characterised by a patriotic fervour and not eroded by the long years of trench warfare. Through the fact that “The Soldier” was accepted during 1914, you can make the connection that the public shared Brooke’s view of hope for a deeper meaning to the war and death. Though Brooke’s fiercely patriotic and light take on WWI in “The Soldier” strongly appealed to the public as they coped with loss during the commencement of WWI, its sentimentality is criticized for romanticizing the war and masking the true horrors England was experiencing. In striking contrast, “Dulce et Decorum Est” describes the gruesome effects of war and concludes that platitudes such as “it is sweet and fitting to die for one’s country” would not be repeated if the reality was understood. “The Soldier” and “Dulce et Decorum Est” both appeal to the emotions, values and morals of the audience and have engaged the thoughts of scholars for decades.  
The ever-present question, ladies and gentlemen: Are we going to have peace, even if we have to fight for it? Or is an unjust peace better than a just war?

Effect of Height and Mass of Ball on Crater Depth / Physics EEI

Discussion

This investigation involved observing the effect of changing the height a ball is dropped from and the mass of the ball on the depth of the crater formed in the sand both qualitatively and quantitatively. The experiment was designed to fairly and accurately test the formulated hypotheses.
Hypotheses investigated:
·         If the height in which the mass (ball) is dropped from is increased then the depth of the crater that is created in the sand will increase. Likewise, if the height is decreased then the depth of the crater will decrease.
·         If the mass of the ball is increased then the impact gravitational potential energy is increased, increasing the depth of the crater.  If the mass is decreased then the depth of the crater is also decreased.

Interpretation and Explanation of Results

The first hypothesis was tested by dropping a ball from varying heights. As there were seven balls, this experiment was repeated seven times allowing the results to be compared. In each test, the ball was a controlled variable, the depth of the crater was the dependent variable and was measured and the height the ball was dropped from was the independent variable (refer to research plan in log book on page 2).
The first test conducted involved the first ball (a small white ball). While most of the results obtained from the experiment were quantitative data in the depth of the crater created, some observations (qualitative data) were documented. It was seen that the ball was suspended in the air until released. When released, the ball fell in a reasonably vertical nature into the bucket of sand. On impact with the sand, the ball came to a stop. This impact created a crater in the sand (see image in appendix 1 for example).
The quantitative data that was collected, as seen in appendix 2, allowed a thorough analysis of the experiment. Ball #1 was dropped three times from each 1m, 2m, 3m, 4m and 5m. Each test, the depth of the crater was measured and recorded. An average of the three tests was then calculated so that it was easier to interpret and graph the results. Before an average was calculated it was noted that for each test, the average range of the three results was 0.1cm. As hypothesised, the results, when graphed (see log book page 50), show that the depth of the crater increased as ball #1 was dropped from a greater height up to 4 metres. Conversely, when dropped from 5 metres, the ball created a crater depth of 1.62cm, less than that created when dropped from 4 metres and only marginally more than when dropped from 3 metres. This result may have been due to a number of inaccuracies or errors that were involved in the experiment (as discussed in the next section – errors and improvements).
The graph of the results from ball #1 did support the hypothesis in that the depth of the crater tends to increased as the ball is dropped from greater heights when a line of best fit is plotted. This curve-fit for the graph has an equation of: y = 0.216x + 0.828 (depth of crater = 0.216 x drop height + 0.828) and an r-value of 0.8191 (a r-value of 1 would fit the plotted points perfectly). The r-value reveals that the line fits the points fairly well but does not accurately represent the relationship. However, considering that the test from 5 metres seems to be an anomaly, the removal of this point from the results and the graph revealed a clear relationship between the depth of the crater and the height ball #1 is dropped from. When the line of best fit is graphed on the line has a r-value of 0.9849, fitting the points fairly accurately (y = 0.3459x + 0.5871). Additionally, it is consistent with the observations that the y-intercept is positive on the graph. When placed on the sand (dropped from a height of 0m), a crater is created in the sand with a depth.
The test was repeated to ensure that the hypothesis was supported when the type of ball was changed. It was found that in addition to ball #1, balls #2, #3 and #6 had similar results in that the depth of the crater increased as the height increased from 1 – 4 metres. Again, with balls #2, #3 and #6, the test from 5 metres produced a crater of smaller depth than the test from 4 metres (see graphs on pages 50-53 of log book). The linear relationship between the two variables is especially clear in the results from ball #4 – the line of best fit with an r-value of 0.9715 and the equation of the line being y = 0.113x + 1.603. While it is clear that there is a relationship between the variables (they seem to increase proportionally), each ball has shown results that are independent and there is no correlation between the tests. While the hypothesis is supported as the graphs all have a positive gradient and tend upwards, the fact that there is no common gradient or y-intercept between the graphed results (see appendix 3) suggests that the depth of the crater has been affected by another variable relating to the difference in each ball.
Despite the variation in results, the tendency of the ball to create a deeper crater as it is dropped from a greater height can be explained using relevant theory. Each ball, as it is raised to a height, gains gravitational potential energy (Hyperphysics, 2014). Gravitational potential energy is stored as a result of the gravitational attraction of the Earth for the object and is stored in an object because of its vertical position or height (The Physics Classroom, 2014). This gravitational potential energy is stored in the balls as the product of the work done in lifting it away from the Earth. If an object is lifted straight up at a constant speed, then the force needed to lift it is equal to its weight, mg (Inkling, 2014). The work done on the mass is then [work = force x distance = mass x gravity x height]. So the potential energy of the objects (balls) is associated with the state of separation between two objects that attract each other by the gravitational force (see pages 6-9 of log book) and is dependent on the mass of the ball and the height to which it is raised. Since G.P.E. (gravitational potential energy)=mgh (mass x gravity x height), increasing the height (as was done in the first experiment) will increase the gravitational potential energy – when mass is kept constant.
When the balls are released and start to fall, the gravitational potential energy that they possess is converted to kinetic energy (TJHSST, 2012). They are pulled toward the ground by the gravitational force of the Earth and begin to accelerate. This acceleration has an approximate value of 9.81 m/s2, which means that, ignoring the effects of air resistance, the speed of an object falling freely near the Earth’s surface will increase by about 9.81 metres per second every second (Labman, 2013). According to the Law of Conservation of Energy (see page 17 and 18 of log book), the loss of gravitational potential energy is in fact the transformation of this energy into kinetic energy. The further the object (ball) fell, the less gravitational potential energy it had and the more kinetic energy it had. When the object (ball) hits the sand, all of the gravitational potential energy has been transferred into kinetic energy (Finnen, 2012). So, increasing the height from which the ball was dropped increased the gravitational potential energy that it possessed. Increasing the gravitational potential energy increases the kinetic energy as the ball hits the sand. As kinetic energy is proportional to the product of the mass and speed of the object and mass is kept constant, the velocity of the ball as it hits the sand is greater when there is a greater amount of kinetic energy. This is consistent with the knowledge that the further the ball has to fall the greater the eventual speed because of the constant acceleration (9.81 m/s2).
Any object in motion interacting with any other object will transfer energy to that other object. Sand (a mass or some quantity of sand instead of just one grain) is a collection of many individual objects. So, when you drop a ball into the sand, the ball will hit the sand and transfer its energy into the sand. Each sand grain will absorb some sand and move to hit another piece of sand till it eventually disseminates the movement enough that nothing else has the energy to move another piece of sand. The kinetic energy of the ball is a function of its mass and velocity squared and this energy must be absorbed in the collision between the ball and the sand. This means that the more kinetic energy that must be absorbed in a collision, the greater the potential for the movement of sand.
It was also observed that some of the balls bounced on the sand before coming to a stop. This is because, according to Newton’s law (see page 34 of log book), all actions have an equal and opposite reaction. If not all of the kinetic energy can be dissipated by the contact with the sand, it will push back against the ball sending it up.
In the second experiment – testing the second hypothesis – the height from which the balls were dropped was kept constant so that a comparison between the results obtained from changing the mass of the ball. While the hypothesis predicted that the depth of the crater would increase as the mass of the ball was increased it is clear that the results collected from the experiment do not reflect or support this hypothesis (see page 48 and 54-56 of log book).
When dropped from 1 metre, 2 metres and 5 metres the ball of mass 160g achieved the greatest depth of crater. This ball had a greater mass than only 3 other balls and was smaller than 3 balls. If the results supported the hypothesis the heaviest ball, ball #7 should have achieved the greatest depth of crater and the smallest ball, ball #1 should have made the smallest crater in the sand when dropped. Unfortunately, even through manipulating the data, it is seen in the graphs on page 34-56 that no relationship can be found between the mass of the ball and the depth of the crater. It may be possible to conclude that the mass of the ball has no particular influence on the depth of the crater. However, it must also be noted that there was a major flaw in the design of this experiment in that the surface area of the balls was not controlled. So, while air resistance, the frictional force that acts upon objects as they travel through air, may be considered neglected due to its negligible magnitude, it is impossible to draw accurate conclusions as a number of influential variables have not been controlled (Nave, 2014). Theoretically, as in the hypothesis, a greater mass should create a larger crater depth because it results in the object having a greater gravitational potential energy and therefore a greater amount of kinetic energy on impact (Hyperphysics, 2013).
This investigation sought to determine the relationship between the height from which the ball is dropped, the mass of the ball and the depth of the crater in the sand it created. In summary, as the balls are falling from a certain height, their gravitational potential energy is transformed into kinetic energy. This kinetic energy causes the movement of sand as it transfers itself to the sand in the collision. It was found that if the ball possessed a greater amount of gravitational potential energy as a result of its height above the ground then a greater amount of kinetic energy was transferred into the sand and the crater had a greater depth. Although it wasn’t supported by the results, it is also still believed that increasing the mass of the ball will have the same effect as increasing the height. The errors made in the experiment seem to explain the confusing results.


Errors and Improvements

A number of errors were made during the experiment that may have affected the accuracy and validity of the results. As mentioned above, the inaccuracy of the measuring technique may have affected the results and observations made during the experiment. As a 30cm metre ruler was used with increments of 0.1cm and the resulting depth of crater was fairly small a more accurate ruler would have eliminated a greater amount of uncertainty. Another error that may have contributed to the inaccuracy of the results was the levelling of the sand in the bucket. After each test the sand was meant to be evened out and a level surface so the depth of the next crater could be accurately measured using this level sand. Unfortunately, it may have occurred that the sand was not smoothed out evenly and the next measurement to be made based on this level was inconsistent and inaccurate. Another mistake that was made during the experiment was that in the second experiment the variables were not controlled. The balls all had varying surface areas and characteristics. The unexpected nature of the results suggests that these variables did influence the experiment and without controlling them a fair test cannot be conducted. It can also be seen that the bucket braking seemed to have an effect on the results. It is believed that the broken bucket may have caused the anomalies seen when the balls were dropped from 5 metres in the first experiment. The depths of the craters from these experiments were smaller than anticipated and this may be because the broken bucket allowed a wider dispersion of the kinetic energy. It also changed the conditions of the experiment, rendering that part of the experiment inaccurate and not a fair test. As well as this, during the experiment it was difficult to obtain results as the method that was employed to drop the balls into the bucket was imprecise. It allowed for the possibility of accidentally throwing a ball, giving it a greater amount of kinetic energy, and also made it difficult to aim into the bucket, often the ball completely missed the bucket. Lastly, as is seen (page 48 of log book), there were also no results collected for ball #7 from 4 and 5 metre drops. This was because the bucket had completely broken and could no longer be used.

Improvements should be made to this investigation in order to obtain fairer, more accurate, results and to relate the experiment to a real-life situation. As in the example experiments on page 12 of the log book, it would have been beneficial to measure the diameter of the craters as well as the depth of the craters. This additional measurement would have allowed the volume of sand displaced to be calculated and a clear representation of the amount of sand moved to be seen. It also would have been advantageous to use a wider variation of both heights that the balls were dropped from and masses of balls (with the same surface area) so that there was a greater amount of data to be analysed. It may also be beneficial to add an additional experiment to this investigation to observe the effect of differing surface areas on the displacement of sand (controlling both mass and height). This additional experiment may show the effect of air resistance and the influence it had over this experiment. To further improve this investigation a larger area of sand should be used as to keep the level of sand consistent, remove the possibility of ‘breaking’ the container and make it easier to drop the ball on to the right spot. The use of more accurate measuring tools would certainly increase the accuracy and reliability of the results of this investigation. Finally, the calculation of the impact force to determine the effect of falling objects may prove to increase the usefulness of this experiment as the results may be used to demonstrate the effect of falling pieces of infrastructure/coconuts/rain.

Christof Monologue / The Truman Show

Hope for Christof
Contextualisation
Character:  Christof
Scene:  Christof has a moment to himself after witnessing Truman exit the show.
Setting:  Christof is in his office by himself.

Structure

Script
Blocking

Awareness










No. Truman. You’ve made the wrong decision. You don’t know what you’re getting into, a nightmare far beyond your wildest imagination. There is no comfort in the truth, Truman. Reality is an enemy and the truth is his weapon. Truman, hope in reality is the worst of all evils because it prolongs the torments of man. [Friedrich Nietzsche]Freedom is slavery and ignorance is strength. [George Orwell, 1949]   I had plans for you, Truman, plans for welfare and not for evil, to give you a future and a hope. [Indirect, Jeremiah 29:11]. He should know that the reality I have designed, his perception of the world, is more desirable than anything achievable by truth and certainty. His reality, as perfect and peaceful as heaven, cannot compare to the inadequacy of Earth, just as God himself intended. It was faultless, really, the ending. Truman delivered a seamless performance, the best of his life. No! I control him and the ending should have been on my terms, by my word. I should have ended it. 


Angry, storm in to room. (Pace quickly, panicked)
Stop face audience on ‘There is no comfort in the truth!’
Bitter.

Seething, slam fist on desk on ‘strength’.

Emphasise ‘know’.

Laugh sarcastically, defeated on ‘faultless’.
Yell ‘No!’ Breathe heavily.


Self-Doubt


I almost did. I just about killed him. He was born in front of an audience and living in front of an audience. Why couldn’t I let him die in front of one? Isn’t death just another part of existence, of reality, of life?  In an instant I could have stopped this from happening.  How could he want to leave so desperately? His world was faultless why did he question it?  With perfection there is happiness and satisfaction, isn’t there? Aren’t we all searching for perfection, for contentment, safety? His fear should have debilitated him, controlled him. Fear is a darkness closing upon you like the shutting of an eye, wrapping you in a stifling embrace. It is the strongest emotion of mankind is fear and the strongest kind of fear is fear of the unknown. It is a potent weapon. How has Truman’s yearning for truth and freedom overcome his fear? I saved him from the reality he might have faced, as an orphan in the real world, the world I am forced to live in. A life of misery, poverty and unrelenting hardship. Tragedy is an orphan with no takers. Christof: the saviour. The Truman Show: an inspiration.


Firm, directed.
Confused, disgusted.


Sit down on chair.
Run hands through hair.








Thoughtful and confused.

Self-Reflection


Why not a whole lifetime? I was intrigued; a social experiment with no comparison fascinated me immensely. A world fashioned from the fabric of my own imagination. A perfect world.  A perfect reality. A chance to inspire the world back to small, close communities – the town square surrounded by neat houses, front porches close to the street, white picket fences.  A society free from pollution, crime, disease and sin. A world only God and myself have had the capacity to imagine. A simple existence as opposed to the modern urban life I’ve become too familiar with.  I built Truman and shaped his world. I didn’t make any mistakes. Nonetheless his curiosity and suspicion weren’t a product of my design. His undeniable faith in the truth and the development of his individual desires was uncontrollable. So in that moment, when the choice was mine, life or death, was I prepared for him to die? The man of my own creation? I had decided twenty-nine years ago that the Truman Show would last a lifetime. What changed?

Stand up and pace. Use hand gestures.
Smile and emphasise ‘perfect.’


Loudly, convinced.

Pause after ‘imagine’.


Frown, bewildered. Unable to make sense of Truman.


Overwhelmed and confused.



Self Realisation


Of course I never anticipated what Truman would become, who he would become. I could never have predicted the uncontrollable nature of his individualism. Did I underestimate Truman, presuming him to be a passive audience to his own reality? Did I believe him content in the bliss of ignorance? Yes. I believed that he would never question his fear of water, the reappearance of his father, the disappearance of Sylvia. I believed that he would remain oblivious to these to preserve his perception of reality. It was arrogant to assume that Truman would have no input into his individuality. Underestimating Truman’s desire for truth and hope for enlightenment was wrong of me. I did not believe that his death would affect my life either. I was wrong on both accounts. Death transcends reality. In all realities, regardless of perspective, we seem to search for the truth. The thirst for knowledge overcomes the fear of the unknown. In fact, the show itself was born from my curiosity. The intense longing to observe an unfamiliar situation. Truman opposed perfection and left in the hope that truth would bring fulfilment. In saying that, if perfection does not satisfy us, it can’t be the answer to happiness either. If contentment and satisfaction with life is rewarded with happiness then happiness is not found in perfection, but in hope. Hope in the truth and hope that there is always something greater, something that can discovered. Hope that the possibilities are endless and that limitations can’t be found.


Dark, heavy tone.
Apprehensive and uneasy.






Play with fingers, hands. Annoyed at self.

Run hand through hair, stressed.





Sit down again. Emphasise ‘happiness’.



Resolution

Truman, everything we hear is an opinion, not a fact. Everything we see is a perspective, not the truth. So there is always another reality. Another way to see the world. People fight for hope and truth. It seems then that we must fight our battle between fear and hope in the knowledge that hope is always stronger. [Saint Francis de Sales]

Time:



Shake head, steady voice.



Conclusive, decisive.

Saturday, March 1, 2014

War on Discourse

 Good morning/afternoon ladies and gentlemen. I am very honoured to speak today and thank-you, very much, for inviting me to be here.

“An unjust peace is better than a just war.” Marcus Tullius Cicero

“We are going to have peace, even if we have to fight for it.” Dwight D. Eisenhower

These two quotes mention both peace and fighting; they have, however, completely contrasting, even contradictory meanings. One emphasises that any type or form of peace is preferable to war whereas the other foregrounds, even encourages, the need for fighting in order to achieve peace.
These distinct discourses are seen throughout war literature as it seems that under the pressure of war people are more capable than ever to express their beliefs, feelings and opinions through poetry. By contrasting poems with a shared discourse of war it is possible to identify the ideologies and beliefs of the poet surrounding the importance of peace and the true meaning of honour, pride and warfare.

Vitaï Lampada, written by Sir Henry Newbolt during the First World War, invites the audience to accept the act of war as honourable and necessary through the existing discourses. It is a highly persuasive and purposive poem that aimed to provide a guiding principle for the conduct of life in particular relation to warfare and enlistment. Through the use of poetic techniques, relevant and influential metaphors and language specifically related to a pro war discourse, Sir Henry Newbolt clearly illustrates his beliefs. He uses a game of cricket as a metaphor for war and the importance of enlistment.  The first stanza, in particular, illustrates his perspective of war through the use of the imagery of soldiers being like batsmen on a cricket team. It promotes the idea that learning to be a team player is better than thinking of personal gain through the phrase ‘And it’s not for the sake of a ribboned coat, or the selfish hope of a season’s fame, but his captain’s hand on his shoulder smote’. In this, the poet has established a moral connection with the audience, capturing their attention. He encourages the belief that the values needed to play sport are identical to those needed at war. Unlike most poets who also wrote about the honour and pride involved in going to war, Newbolt has not disguised the bloodshed and carnage in his poem. Despite illustrating the mayhem, death and slaughter of war in the lines “The river of death has brimmed his banks,” and “The sand of the desert is sodden red,” the audience is still positioned to view his writing as pro war. This is due to the tone, rhythm and structure of the poem which further emphasises the belief that war is right and principled. The poem has a definite positive air about it and is written with a fast tempo and quick rhythm. Newbolt uses short lines with very few syllables so it is read with an upbeat tempo, inspiring the audience to feel encouraged and optimistic about war. Newbolt concludes his poem with a plea for values of continuity, tradition and discipline. This plea appeals to his audience and persuades them to support his pro war discourse.  “And falling fling to the host behind – “Play up! Play up! And play the game!” While revealing a pro war discourse, Newbolt appeals to the audience through discourses of selflessness, sacrifice and tradition.

Keith Douglas’s poem ‘How to Kill’, also written during the First World War, presents a great contrast in discourse, intention and subject matter to Vitaï Lampada and this contrast shows a clear anti war propensity. The language, theme and use of metaphors all contribute to the influence the poem has on an audience.  In the poem, Douglas has also used a child’s game as a metaphor for war. In this instance, however, the metaphor achieves a completely different purpose. The poet uses the lines “Under the parabola of a ball, a child turning into a man,” to indicate a considerable change in a person. As a child, one throws a ball for fun and as a soldier there’s a dreadful echo of that pleasure in killing, or aiming a missile or gun. In exposing the loss of innocence involved in war, through this metaphor, he encourages the importance of peace. The poem goes on to talk about the enemy as a real person and this further conveys the poet’s anti war message. Through the lines, “He smiles, and moves about in ways his mother knows, habits of his,” the poet identifies the individual and gives him character. By giving the man personality, he positions the audience to feel sympathy, regret and sorrow. This device is seen in movies, television shows and books and is effective in connecting and influencing the audience in the same way. The poet further stimulates the emotions of the reader by depicting the act of killing as easy and effortless. “And look, has made a man of dust of a man of flesh. This sorcery I do. Being damned, I am amused.” This section of the poem reveals the detachment involved in the killing and that the killer feels as though he is guilty, condemned and cursed. He is fascinated by how easy the act of killing can be. In contrast to Vitaï Lampada, ‘How to Kill’ is written as a warning to the terrible and shocking impacts of war.

Douglas and Newbolt express diverse opinions on war in a very interesting manner. While using many of the same techniques, metaphors and approach they are able to achieve conflicting arguments. ‘Vitaï Lampada’ and ‘How to Kill’ both appeal to the emotions, values and morals of the audience especially through the ‘game metaphor’. This metaphor encompasses the discourse, whether anti or pro war, of the poet. In ‘Vitaï Lampada’ it is utilised to encourage the values learnt in conjunction with sporting competition in war. However, in ‘How to Kill’, it is used to expose the loss of innocence and the mindless killing involved in war. The similarities seen within these poems are the aspects that create such a significant difference in the meaning. It is obvious that war poems can clearly represent the ideologies and beliefs of their poets through portraying discourses that appeal to an audience and convey a specific message.


Thank-you for giving me the opportunity to talk to you today and for listening to everything I had to say. 

Thermal Physics / Townsville

Thermal Physics

Townsville usually has a beautiful climate, located in a tropical region and a rain shadow it has about 300 rain free days per year. The sunshine, high temperatures, lack of moisture in winter and the prospect of flooding in the summer has a profound effect on all aspects of life and landscape. In order to achieve energy efficiency and climatic performance of housing in Townsville the environment and temperature needs to be carefully considered in planning and development stages. This report will explain and explore the physics of heat transfer in relation to various features of housing, provide recommendations for the construction of houses specifically within the Townsville region with consideration to heat transfer from conduction, convection and radiation; and, explore economic factors related to these recommendations. Keeping houses at a comfortable temperature almost all year round without the use of artificial heating or cooling will help to save money, minimise environmental impacts and enjoy the tropical lifestyle.

Understanding that heat can be moved from one place to another by means of three processes is essential in designing a home with regard to the environment and temperature conditions. These three processes are: conduction, convection and radiation. Each process contributes to the heating/cooling of a house.

Conduction is the process by which heat energy is transferred through solids as a result of the vibration of particles (Classroom, 1996). Particles with greater heat energy collide with other particles and transfer some of this energy. So, conduction is the flow of internal energy from a region of higher temperature to one of lower temperature through this interaction, involving atoms, molecules, ions, electrons, etc. in the intervening space (Elert, 1998). There is nothing physical or material about this interaction as nothing other than a transfer of energy is occurring. In this, conduction involves a loss of energy from particles with greater energy and a gain of energy for particles with less heat energy in a collision. For example, if the outside of a wall is hot, heat will be transferred from the outside surface of a block (the outside of the home), to the inside surface of a block (the inside of the home). A diagram of this can be seen in Appendix 1. The rate at which different materials transfer heat by conduction varies and is measured by the material’s thermal conductivity (W/m/K). A table of common materials and their thermal conductivity can be seen in Appendix 2.

A poor conductor of heat is any substance which does not conduct, transfer or absorb heat well or at all. These materials have a lower thermal conductivity and can be found toward the bottom of the table in Appendix 2. Generally, metals are better conductors than non-metals. Metals are excellent conductors of heat as their particles are so close together that the vibrations are passed on tremendously quickly. The rate in which heat can be transformed is increased dramatically. Furthermore, as non-metals do not possess the same tightly bound structure with a loose sea of electrons, heat cannot be transferred as quickly or with the same amount of energy. Materials that are poor thermal conductors can also be described as being good thermal insulators as an insulator is a material that restricts the transfer of energy. Restricting the heat energy that can be transferred through the process of conduction will be beneficial in keeping the house comfortable and cool.  

The factors that affect the rate of heat transfer need to be identified because of the frequent need to increase or decrease how quickly heat flows between two locations. Decreasing the rate of heat flow through the roof and walls of a house should decrease the heat energy transferred through the roof cavity into the house during daylight hours. The difference in temperature, material, area and thickness or distance will affect the rate of heat transfer. In conduction, heat is transferred from a hot substance to a cold one. This transfer of heat will continue as long as there is a difference in temperature between the two, only stopping one they have reached thermal equilibrium (the same temperature). The second variable of importance is the material involved in the transfer. The measure of this is referred to as the ‘heat transfer coefficient’.  The greater this measurement is the greater the rate of heat transfer. The thickness or distance that the heat must be conducted will also affect the rate of heat transfer. The rate of heat transfer is inversely proportional to the thickness of the material. The rate of conductive heat transfer is given by:
, where ‘k’ is the thermal conductivity, ‘a’ is the area, ‘THot is the temperature of the hotter material, ‘TCold’ is the temperature of the cooler temperature, ‘t’ is the time taken and ‘d’ is the thickness of the material. Decreasing the thermal conductivity, the difference in temperature and the area; and, increasing the thickness of the material, will decrease the rate of the heat transfer.

The second process, convection, is the transfer of heat by the motion of a fluid (liquid/gas). Convection occurs when the heated fluid (liquid or gas) is caused to move away from the source of heat, carrying energy with it (Nave). The process often occurs above a hot surface because hot air expands, molecules spread out and the air becomes less dense. The hot surface (heat source) transfers energy through particle collision to the liquid/gas. As liquid/gas particles gain heat energy they move faster and bonds between them decrease. The particles spread out and the density of the material decreases. Hot air is less dense and experiences a buoyant force, pushing it upward, the surrounding cooler air replacing it (see Appendix 3 for diagram). In houses, after heat is transferred through walls by means of conduction, it is carried away from the walls by conduction and circulated throughout the house. This circulation will continue until the temperature evens out. It is important to understand this process in order to minimise heat inside the home. Through understanding convection, a number of recommendations for the design of a house can be made to increase air flow and decrease hot air in a house.
The final major process of heat transfer is radiation. Radiation, unlike convection and conduction, does not rely on any contact between the heat source and the heated object. Heat from the sun reaches us as radiation, much as visible light and the rest similar to electromagnetic waves that our eyes cannot detect. Heat energy, carried by electromagnetic waves, can be transferred through empty space by thermal radiation, often called infrared radiation. As with light, infrared heat radiation is actually an example of an electromagnetic wave (Fowler, 2008). Electromagnetic waves are formed when an electric field couples with a magnetic field. As both electricity and magnetism can be static, the changing magnetic field inducing the changing electric field and vice versa. The radiation comes about because the oscillating ions and charged electrons in a warm solid are accelerating electric charges. As the transfer of heat is through electromagnetic waves, where a medium is not necessary, radiation works in and through vacuums such as space and air.
To some extent, radiation from a heated body depends on the body being heated (Fowler, 2008). Considering how different materials absorb radiation will reflect the importance of this dependence. For instance, glass will hardly absorb light, the radiation simply passes through. The electrons in glass are tightly bound to atoms and can only oscillate at certain frequencies. For radiation to be absorbed, the frequencies must correspond. The frequencies obtained by ordinary glass do not correspond with visible light and so little energy is absorbed. However, infrared and ultraviolet frequencies do correspond with the natural oscillations of glass and so some heat energy is absorbed by light. A shiny metallic surface will reflect heat and light because of the structure of a metal. As the electrons are free to move through the entire solid, a metal will conduct both heat and electricity easily. The distinguishing shiny surface of a metal is the result of the reflection of light/radiation. The free electrons are driven into large oscillations by the electrical field of the light wave (radiation) and this oscillating current radiates. So, for a shiny metal surface, almost none of the incoming radiation is absorbed as heat, it is reflected. A black substance will neither transmit nor reflect the radiation. It will conduct an electric current but not as efficiently as a metal. There are unattached electrons that move through the solid however they are constantly colliding. These collisions result in the transfer of kinetic energy to heat energy. The material consequently gains heat energy.

Radiation heat transfer can be described with the use of ‘black bodies’. A black body completely absorbs all thermal radiation and so will not reflect light. Emissivity is the measure of an object's ability to emit infrared energy.  Emissivity can have a value from 0 (shiny mirror) to 1.0 (blackbody). The greater the emissivity of an object is, the greater the ability to emit infrared energy and release unwanted heat energy. An example of heat transfer through radiation is found in an attic. The sun radiates heat to the roof, which in turn heats and radiates heat down toward the ceiling. If the insulation covering the ceiling does not resist this heat transfer then the ceiling will heat up, radiate heat down into the home and the home will become increasingly hotter. Despite the best efforts, some heat energy will be transferred through radiation. So, the use of insulation to limit conduction will also decrease the transfer of heat energy through radiation.

The following section of the report will explore and justify recommendations to increase the climatic performance of houses in the Townsville region. It will focus on recommendations to (1) keep cool air inside the house, (2) keep maximum heat out during the day, (3) release unwanted heat quickly one the sun has set and (4) provide low-cost, effective solutions. There are many factors that need to be considered involving the area and environment when making these recommendations.

As the roof is the leading source of heat intrusion into houses, the first recommendation is in relation to its structure. To keep the house cool, the roof should strongly reflect sunlight and also cool itself quickly by emitting radiation to its surroundings when the sun has set. To reduce the thermal energy transferred into the house through the roof both conduction and radiation processes need to be limited. Understanding both these processes justifies the idea that the material used should have a low thermal conductivity, to decrease the rate of conduction and a reflective surface to reflect the heat energy that may be gained through radiation. Another aspect to consider is the thickness of the material. Primary requirements for roofing materials include: high thermal capacity (to absorb solar heat during the day and release it during the night) and good reflectivity (to reduce heat load and thermal movements). The colour, shape and composition of the roof need to be considered.

It is recommended that a light, reflective colour is used on the roof. As discussed in the theory review, the colour will limit radiation as it reflects the electromagnetic waves more effectively than dark or transparent colours. When an object appears a certain colour it means that it is reflecting light of that colour and absorbing all the other colours. The greater amount of light an object absorbs, the greater amount of heat an object absorbs. A black object absorbs all wavelengths of light and reflects none. Whereas objects that are white reflect all wavelengths of light and therefore absorb the least heat. A colour such as white, cream, light beige or light grey would prove to be optimal. This is supported by the practical component of this report. An experiment was conducted in which two different roof structures and 3 different roof colours where tested. The white roof (compared to the black and silver roofs) obtained the best results in that the difference between the initial and final temperatures was the smallest. The white roof absorbed the least amount of heat in the specific time period. The results from this experiment can be found in Appendix 4. As stated above, these results are supported and can be justified with knowledge of the different processes of heat transfer. Additionally, an experiment was conducted to specifically test a white, reflective roof on an average Townsville home. The experiment supported the theory that a white, reflective roof will absorb the least amount of radiated heat. The results from this experiment can be found in Appendix 5.

It is also recommended that steel roof sheeting, such as corrugated iron, is used as the roofing material. This roofing material will lose heat quickly as the sun sets rather than capturing and retaining this heat. Steel has a higher emissivity than most other suitable materials and will result in the material releasing unwanted heat quickly into the surrounding environment. This can be seen in table available in Appendix 6. Steel roof sheeting is an ideal alternative to roof tiles, for example, which will absorb heat during the day and then slowly re-radiate it into the home at night. Secondary data has been found to support this theoretical recommendation. An experiment was conducted by the Florida Solar Energy Centre in order to improve attic thermal performance. A table of the results can be found in Appendix 7. In summary, the experiment found that a white metal roof was superior to that of various other colours and materials.
The next two recommendations are to specifically reduce and limit the rate of heat transfer through the roof and ceiling. The recommendations are concerning the use of various insulations to combat and limit conduction processes. Thermal insulation is a general term used to describe a product that reduces heat gain or heat loss by providing a barrier between two areas that have a significant difference in temperature (Knauf, 2007). There are two main types of insulation: bulk and reflective; it is recommended that both are used.

It is recommended that a combination of both bulk and reflective insulation is used in the ceiling/attic. Bulk insulation reduces the amount of heat being transferred into the home. It works by resisting the amount of conducted and convected heat flow between the hotter air in the roof-space and the cooler air inside the home. There are several types of bulk insulation including polyester wool, bubble wrap, fibreglass (glass wool), rock wool, cellulose fibre and polystyrene and depending on the type may be supplied as a blanket, batts or blown loosely onto the ceiling to form a layer. The level of insulation a product is able to supply is given as an R-value (see Appendix 14 for table of R-values). An R-value, measured in m2K/W, is calculated using the thickness of the material and the thermal conductivity in the formula: R-Value = , where ‘d’ is the thickness in metres and ‘k’ is the thermal conductivity. Reflective insulation reflects heat away from a surface preventing 95% of radiant heat from entering the house. Highly effective at preventing the entrance of radiant heat, reflective insulation will reflect the heat away before it has a chance to heat up the roof space. Together, these components must achieve an R-value of 2.7 to comply with the building code of Australia; however, it is recommended that an R-value of about 4 is achieved through the use of cellulose wet-spray or loose-fill insulation (see Appendix 13). While natural wool and polyester based insulations provide a higher level of thermal efficiency, the insulation provided by cellulose is sufficient and provides an economic alternative. Additionally, the inclusion of a reflective foil laminate installed directly underneath the roof sheeting will compensate for the compromised R-value.  It is important when installing the reflective insulation that there is an air gap left. Air is a poor conductor of heat (has a low thermal conductivity) and will limit heat transfer to radiant heat between the roof and the layers of insulation.


To further enhance the reduction of heat transfer through radiation, the orientation and availability of shade for a house needs to be considered. To increase the climatic performance of a house, the direct sunlight onto and into the home needs to be limited. By limiting this direct sunlight the radiation from infrared light, ultraviolet light and visible light is restricted. It is necessary to understand the movement of the sun to create effective shading. It is recommended that roof overhangs are utilised on north and south sides of the home. During the middle of the day, when the sun is at its highest points (see Appendix 8), the north and south sides of the home are affected. Overhangs of 900mm will provide the walls with complete shade. As unshaded glass is another major source of unwanted heat in a home, it is also recommended that vertical shading is used on east and west facing windows. Vertical shading in the form of lattice screens, timber batten screens, aluminium batten awnings or mixed height planting of scrubs and trees is essential to decrease the transfer of radiant heat to the outside the east and west facing walls of a home that are affected by low-angled sun in the morning and afternoon.

The orientation of the house is critical in creating a suitable design for the Townsville climate. Using knowledge of the sun’s movement across the sky and the consequent angles (as with shading the house) it is possible to design a home that will minimise heat gain and provide shade where it is most needed: living and dining areas.

It is recommended that a house in Townsville is orientated with the longest side on an east-west axis. This will minimise the surface areas that face the east and west and reduce effects of the afternoon and morning long-angled sun. Orientating the house on a north-south axis will present a large amount of wall and window surface area to the low-angled sun. As discussed in the theory review, allowing direct radiant heat into the home will allow furniture and air in a room heat up. Although the conducted experiment only revealed a marginal difference between a pitched and flatter roof, theoretically a pitched roof would provide a higher level of protection from heat. As well as orientating the house, orientating the rooms will effectively enhance the thermal performance of a house, decreasing the temperature in the rooms (see Appendix 9). Living areas including kitchen, dining, living and family rooms are recommended to face north or north-east, taking advantage of the natural shade protection from the angles of the sun. Additionally, the wind direction distribution chart included in Appendix 10 taken from ‘Wind and Weather Statistics Townsville’ shows that most breezes in Townsville are in a north-easterly direction. Orientating rooms on this axis takes advantage of the cool breezes.

 To further increase ventilation and keep rooms cool and comfortable it is necessary to harness and use natural breezes. Maximising access to breezes, enabling ventilation by convection and creating air movement will all contribute to the cooling of a house. To increase the access to breezes, as mentioned above, it is recommended houses face a north or north-east direction. As well as this, homes should be built with single room depths. This provides optimal cross-ventilation through an entry and exit area in every wall for breezes to pass through. The final recommendation to increase ventilation in the house is to elevate the home and ceiling. This is because access to prevailing breezes increases with height. Elevated houses in Townsville receive faster, cooling breezes (see Appendix 11). Furthermore, this design of house allows breezes to pass underneath the home, in turn assisting to cool the floor and prevent hot air rising up into the home. High ceilings will assist in keeping living spaces cool and comfortable by allowing convection process to take place without affecting living spaces. Hot air will rise and the high ceiling guarantees this hot air will stay above the area intended for living. 

Convection can also be enhanced by devices in the ceiling or roof. These devices are additions that can be made to any house to increase climatic performance of a house. They include roof ventilators, louvered windows, grills, gable vents, open eaves, vented ridges, exhaust fans and raked ceilings (see Appendix 12).

In conclusion, the exploration of heat transfer and the physics involved is detrimental to the effective design of houses that wish to achieve a high level of climatic performance. Through understanding the major processes of heat transfer it is possible to make recommendations in relation to the loss and gain of heat to improve the construction of houses. The report reveals that there are numerous means of decreasing thermal heat energy that can be achieved regardless of financial situation.

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