Quality Philosophy Evaluation Essay Example for Free

Quality Philosophy Evaluation Essay Focus Paper on Quality Philosophy Evaluation Focus Paper on Quality Philosophy Evaluation Edward Deming led the quality revolution and defined it from the customer’s perspective. He argues that the customer’s definition of quality is the only one that matters (Dale van Iwaarden, 2007). He defined quality as the extent by which the performance meets the expectations of the customer. He also argued that quality is the responsibility of management. Deming conveyed the importance of leadership in the cultivation of a culture of quality. The principles that underpin his philosophy also indicate that workers were to be trained and introduced to spirit of quality. He argued that employees should play a key role in the transformation of the organization. He proposed the 14 point philosophy of quality. 1. Create a perpetual drive towards improvement or plan for quality in the long term. 2. Embrace the new philosophy and adopt quality in the whole organization 3. Constant and perpetual improvement 4. Organizations should not rely on inspections 5. Rely on a single supplier for one item in order to ensure consistency 6. The elimination of management by objectives 7. Unclear slogans should be removed 8. The barriers which exist between departments should be broken 9. The transformation to quality should be everyone’s job 10. The removal of barriers which prevent pride of workmanship 11. The implementation of education and self improvement 12. Instill confidence and eliminate fear in job performance 13. Training should be used to remove variations 14. The organization should have quality leadership Joseph Juran Joseph Juran has also published a vast amount of literature on the topic of quality. Juran has two definitions of quality. The first defines quality as the features of products that meet the needs of the customers and which then allow for customer satisfaction (Juran, 2003). The second definition defines quality as the freedom from errors and freedom from deficiencies which necessitate the redoing of work. Juran came with a trilogy philosophy of quality management. This philosophy included: * Quality improvement-this is the process by which originations experience breakthrough in quality * Quality control-this involves the detection of the difference between actual performance and the set goals. * Quality planning-this involves developing processes and products which meet the expectations of the customer. * The above three dimensions of quality were seen as a prerogative of management by Juran. Quality control defines the standard of measure by which quality is determined. Juran saw workers as the implementers of quality. Philip Crosby Philip Crosby had a zero defects philosophy on quality management. He defined quality as being the conformance to requirements. He saw zero defects as the performance standard. He argued that everyone should do things â€Å"right the first time.† Therefore, according, to his philosophy, workers play a fundamental role in promoting quality (Oppenheim, Oppenheim Levine, 2005). Lewis Ireland He defined quality as the totality of characteristics and features of a service or product that enable it to meet the stated or the implied needs. Lewis Ireland focused on quality in projects. In 1991, Lewis wrote Quality Management for Projects and Programs and stated the importance of integrating quality in projects (Rose, 2005). He has a project management quality philosophy. He argued that quality planning should be used to identify quality standards which are relevant for the project. Project managers have a critical role to play in managing quality. Recommendation The philosophy espoused by Edward Deming holds more water in the current competitive business environment. Deming views quality as a change management initiative which is permanently existent in the methods, systems and processes. He provides the principles which should be followed by management in order to cultivate a culture of quality. In addition, his philosophy is more comprehensive and flexible and therefore easily applied by today’s managers. References Dale, B. G., van Iwaarden, J. (2007). Managing quality. Blackwell Publishing Juran, J. M. (2003). Juran on leadership for quality. Simon and Schuster. Oppenheim, A. J., Oppenheim, R., Levine, D. M. (2005). Quality management (pp. 75-76). McGraw-Hill/Irwin. Rose, K. (2005). Project quality management: why, what and how. J. Ross Publishing.

Stabilization of Nitrous Acid

Stabilization of Nitrous Acid Abstract Nitrous acid (HNO2) was stabilized via supporting on Polyvinylpolypyrrolidone (PVPP) and the thermal stabilization and structure were estimated using thermogravimetric analysis measurement and spectroscopic methods, respectively. Some novel heterocyclic azo dyes were synthesized by selective diazotization of aromatic amines followed by coupling with some susceptible aromatic compounds. The stereochemistry structure of the synthesized dyes were optimized using B3LYP at 6-311 G(d,p) basis set and their electron excitation properties were evaluated using calculations of density functional theory. UV-Visible analysis was applied for Photophysical properties evaluation of the new dyes and compared with computed vertical excitation obtained from TD-DFT. Also, the azo-hydrazone tautomerism of the triazine azo dyes was investigated and the results show that for all of the synthesized dyes both azo and hydrazone tautomeric forms exist, while 3a-5 shows more notable hydrazone form than others. Keywords: Polyvinylpolypyrrolidone, Nitrous acid, Azo dyes, azo-hydrazone tautomerism 1. Introduction Nitrous acid as a weak inorganic acid has significant applications in organic reactions such as diazotization, nitrosonation and Sandmeyer Reaction,[1,2] but its instability in temperatures upper 5  °C causes some restrictions to using it. In this work, we stabilized nitrous acid via supporting on polyvinylpolypyrrolidone (PVPP) and then utilized it in synthesis of some novel azo dyes. However, PVPP has been reported as an efficient support in many cases such as trifluoroboride and nitric acid.[3,4] PVPP-HNO2 has many advantages that make it environmentally acceptable in both industrial and laboratory viewpoints. It is applicable for a long time after preparation and the polymer easily remove by washing with water. In particular, nitrous acid absorbed on polyvinylpolypyrrolidone takes part in azo coupling reaction and the polymer remains almost completely intact. However, the literature describing arylamines conversion to diazonium salts using polyvinylpolypyrrolidone supported nitrous acid (PVPP-HNO2) is not available. Herein, we wish to present a convenient procedure for diazotization reaction using this stable reagent. Azo colorants from aromatic heterocyclic amines have sublimation fastness, excellent light and color strength.[5] They are one of the important groups of synthetic organic dyes. They are applied in various fields such as electronic photography, liquid crystal displays, paper printing, bleaching, polymers, laser technology, dyeing, color formers, data storage and solar energy conversion.[6] They also have been known as antibacterial, antifungal and anti-tumor compounds.[7,8] The compound 1,3,5-triazine has an alternative six-membered heterocyclic ring with an equal number of nitrogen and carbon atoms.[9] The triazines are analogues of benzene rings, which makes them as an aromatic compound like benzene. 1,3,5-Triazine, a common reagent which is used as herbicides and pharmaceuticals.[9] The diazonium salts of triazines derivatives have been reported as a diazotization targets in the synthesis of a variety of heterocyclic azo dyes[10,11] but no report found in direct diazotization of triazines with more than one aromatic amine group. The existence of azo-hydrazone equilibrium in azo colorants having the hydroxyl group at ortho or para position to azo linkage was proved in 1983.[12] In hydrazone form, due to the hydrogen bonding, a coplanar six-membered ring is formed with higher thermal stability than azo form ones.[13] After reductive cleavage, the azo chromophoric system gives carcinogenic amines,[14] while in the hydrazone tautomer will be cleaved the C-N bond instead of N=N bond.[15] The study of azo-hydrazone tautomerism gives the great information for degradation of azo chromophores with least toxicological effect on the environment. Finally, we report preparation of polyvinylpolypyrrolidone supported nitrous acid (PVPP-HNO2) and synthesis of novel azo dyes by diazotization of 6-phenyl-1,3,5-triazine-2,4-diamine (1)and 1,3,5-triazine-2,4,6-triamine (2), followed by coupling with hydroxyl and amine substituted of aromatic compounds (Scheme 1). The absorption spectra were obtained using a UV-Visible spectrophotometer and the structures of the triazine azo dyes were confirmed by spectral analysis. Also, DFT calculation was used for study of their azo-hydrazone tautomerism. The structures in azo and hydrazone forms were optimized in the TD-SCF method using B3LYP/6-311 G(d,p) basis sets. 3. Results and discussions 3.1. Stabilization of HNO2 over PVPP PVPP-HNO2 was prepared by a simple route. As regards the nitrous acid is extremely unstable in temperatures over than 5  °C, polyvinylpolypyrrolidone which previously has been applied as an efficient support,[3,4] was used and the spectroscopic and experimental results showed that PVPP can stabilize nitrous acid by formation of PVPP-HNO2. Thermal gravimetric analysis (TGA) investigation of the polymer and PVPP-HNO2 was performed to study their thermal stability (Fig. 1). The thermal decomposition of PVPP starts at near 330  °C and a sharp burning of polymer chains in pure PVPP sample occurs between 360  °C with the weight loss of ~75% of the initial weight. TGA spectra of PVPP-HNO2 demonstrate a mass degradation at 70  °C in PVPP-HNO2, whereas there is no similar situation in TGA spectra of pure PVPP. In other words, TGA spectra of PVPP-HNO2 show that stability of nitrous acid has been increased to 70  °C.   Due to that, the probable hydrogen bonding causes the stability of nitrous acid via prevention of its decomposition to nitrogen oxides. Furthermore the results of acid-base titration show that the PVPP-HNO2 is clearly more acidic than pure PVPP. While pH of the 0.1% solution of PVPP in water is about 7.0, but the same of PVPP-HNO2 is about 2.92. In other word, [H+] is 1.2ÃÆ'-10-3 M and it shows that [HNO2] is about 0.0032 M and it reveals there is about 0.02 g of nitrous acid in 1 g of PVPP-HNO2 which shows good accordance with TGA results. PVPP-HNO2 was prepared in different ratios of PVPP and HNO2.The best result that showed the maximum capacity of acid in the polymer was 20% w/w. The ratios determined by acid-base titration was consistent with TGA degradation analysis. Besides, the synthesis of PVPP-HNO2 was confirmed by FT-IR spectrum. It shows carbonyl band at 1658 cm-1, whereas the same band in pure PVPP has appeared at 1668 cm-1. This can attribute to hydrogen bonding between nitrous acid and PVPP (Figure 2). This type of interaction has been reported between PVPP and polyphenols.[16] The existence of the N-O band stretching at 1380 and 1572 cm-1 in PVPP-HNO2 and absence of this band on PVPP, gives the indication that nitrous acid has been linked to PVPP polymer (Figure 3). 3.2. Synthesis and characterization of azo dyes A simple and facile synthetic route was presented for the preparation of triazine azo dyes. We found that these products can participate in azo coupling reaction to form various and already known azo dyes. Therefore, we treated diazonium salts with 1-naphtol, 2-naphtol and other amino and hydroxy aromatic compounds to obtain a variety of azo dyes in good yields. The compound 4-amino-6-phenyl-1,3,5-triazine-2-diazonium was synthesized from mixture of 6-phenyl-1,3,5-triazine-2,4-diamine (1)and PVPP-HNO2 in 1 mmol of diamine to 2.0 g of PVPP-HNO2 ratio and further coupled with 1 mmol of 2-naphthol in DMSO to obtain 1-((4-amino-6-phenyl-1,3,5-triazin-2-yl)diazenyl)naphthalen-2-ol (3a-2)in good yield. Other derivatives have been synthesized by different coupling components (Scheme 2). The chemical structure of the new dyes was confirmed by 1H and 13C NMR spectroscopy. 2-naphtholic dyes 3a-2 and 3b-2 contain the hydroxyl group at ortho-position to the azo bridge and have the susceptibility to make a six-membered ring due to intramolecular hydrogen transfer. The result of this type of interaction is chemical shift deshielding of hydroxyl group proton than usual. 1H NMR spectra summarized in Table 1 indicates the dye 3a-5 shows an extra singlet at ÃŽÂ ´ 12.11 ppm attributed to N-H proton which is in hydrazone form.   The protons of NH2 in the heterocyclic ring of series 3a show singlet peaks at ÃŽÂ ´ 8.16 to 8.63 ppm while the same at series 3b appear at ÃŽÂ ´ 6.77 to 6.99 ppm. The 13C NMR spectrum of heterocyclic ring carbons shows down field peaks at ÃŽÂ ´ 180-190 ppm. Except compound 3a-4 which have three non-aromatic carbons, all of the other compounds just have aromatic carbons. 13C NMR spectrum of 3a-4 shows two peaks at ÃŽÂ ´ 96.2 and 151 .3 ppm that attributed to the carbons which have been linked to azo group and the hydroxyl group, respectively and a peak at ÃŽÂ ´ 162.0 ppm which assigned as ester carbon of coumarin ring. Infrared spectra of the synthesized chromophores show the band at 1500-1570 cm-1 related to the N=N bond.   A unique band at 2200 cm-1 in 3a-5 reveals the existence of C=N group which can be another evidence for the existence of hydrazone form in this compound. Electron ionization mass spectroscopy (EI-MS) was used to verify structure of the synthesized azo dyes. The base peak in all of the dyes is due to fragmentation of the molecules in the azo bridge. Series 3a and 3b show a base peak at m/z 171 and 110, respectively which attributed to the ionized heterocyclic rings. 3.3. Photo-physical properties and solvent effects To find out the color properties with structural correlation of the synthesized azo dyes, UV-Visible spectra of the dyes were recorded in solvents such as n-hexane, ethanol, acetonitrile and dimethyl sulfoxide at concentration of ~10-4 M and at room temperature. The results are tabulated in Table 1. Although a moderate bathochromic shift in ethanol and acetonitrile was seen, but generally no significant bathochromic shift was observed.  Ãƒâ€šÃ‚   The UV-Vis absorption spectra of all of the dyes in all solvents show the main band at 290-330 nm which can be assigned to moderate energy transition of the aromatic ring. All of the 3b series and compounds 3a-2, 3a-4 and 3a-5 in all solvents, two bands are displayed arising from the à Ã¢â€š ¬Ãƒ ¢Ã¢â‚¬  Ã¢â‚¬â„¢Ãƒ Ã¢â€š ¬* transitions in the backbone. The second bands appear at 360-500 nm can be assigned to azo bridge or intermolecular azo-aromatic chromophore. 3.4. Computational study: Gaussian 03 program package was employed to study Time-Dependent Density Functional Theory (TD-DFT) and the profusion of the synthesized azo dyes in their azo and hydrazone tautomeric forms.[17] TD-DFT calculations were applied using B3LYP/6-311 G(d,p) basis set with the default convergence criteria and without any limitation on the geometry. The TD-DFT provide the most powerful and effective computational tool for examining the ground and excited state properties of the azo molecules compared with obtained UV-Vis data. Time-dependent DFT method was applied for determination of the UV-Vis spectra, electronic transitions, and vertical excitation energies. 3.4.1. UV-Vis spectral analysis The UV-Vis spectra of azo dyes molecules were measured in dimethyl sulfoxide solution as shown in Figure 4. The calculated absorption maximum wavelength (ÃŽÂ »max), electron transition energies and oscillator strength both in solvent phase (DMSO as solvent) along with recorded UV-Visible data are shown in tables 2 and 3. The main characteristic of the spectra is determined by the general structure of the molecules. Each molecule has a double band Nà ¢Ã¢â‚¬ ¢Ã‚ N (azo group) which is directly conjugated with a homocyclic and heterocyclic aromatic ring. This group has a wide electronic delocalization. Therefore, it is possible to predict the presence of the main absorption band associated to a à Ã¢â€š ¬-delocalized system that involves the fragment Nà ¢Ã¢â‚¬ ¢Ã‚ N and other associated internal transitions that emerge from the aromatic and/or heterocyclic system. In this sense and in according with the structure of the compounds, we can determine that the first absorption band ÃŽÂ »1 located in the range of 290-320 nm with low intensity that appears as shoulder is attributed to à Ã¢â€š ¬Ãƒ ¢Ã¢â‚¬  Ã¢â‚¬â„¢Ãƒ Ã¢â€š ¬* transition that involves the aromatic rings, while the second absorption band ÃŽÂ »2 located in the range of 300-400 nm, attributed to a à Ã¢â€š ¬Ãƒ ¢Ã¢â‚¬  Ã¢â‚¬â„¢ à Ã¢ ‚ ¬* transition. This transition involves the azo bridge. The remaining absorption band located at lower energy corresponds to ÃŽÂ »3 and is assigned as the type nà ¢Ã¢â‚¬  Ã¢â‚¬â„¢ à Ã¢â€š ¬* transition. A similar behavior of the previous transition is observed. In tables 2 and 3, the experimental and calculated maximum absorption and the corresponding orbital contribution are shown. As observed, shorter wavelengths (ÃŽÂ »1) and in some cases ÃŽÂ »2 belong to lower occupied MOs such as HOMO-4, HOMO-6 and HOMO-8 and LUMO while longer wavelengths (ÃŽÂ »3) involves frontier molecular orbitals (FMOs). The description of FMO will be discussed in the DFT section. An example of the involved MOs for compound 3a-2 is presented in Figure 5. The entire former assignations were corroborated using TD-DFT calculations. The involved MOs for all of the synthesized compounds are presented in Figure S1-9. 3.4.2. DFT calculations For prediction of the molecules electronic spectra, the TD-DFT calculation is used because of low computational cost and high accuracy. The electronic structure of the molecule in ground state can be determined from the wave function of the electron moving within molecule because molecular orbital can be treated as electron channels.[18] The Gauss View program is applied to calculate group contribution of molecular orbitals, i.e. the highest occupied molecular orbitals (HOMOs) and lowest unoccupied molecular orbitals (LUMOs). In almost every calculated transitions, the FMO are involved, vide supra. The FMO of all compounds shows similar characteristics as observed in supplementary data (Fig. S1-9). In all cases, HOMO is delocalized over the homo-aromatic ring and azo bridge. The HOMO-1 is composed in every case mainly by the azo bridge. In terms of unoccupied MOs, the LUMO is mainly centered over the homocyclic and heterocyclic aromatic rings and azo bridge. On the other hand LUMO+1 of naphtholic compounds 3a-1, 3a-2, 3b-1 and 3b-2 is located almost over the triazine ring while in other compounds, LUMO+1 attributed to non-triazine aromatic rings. The ionization potential (IP), electron affinity and GAP energies do not follow any trend and the calculated values are similar and do not depend on the substituted coupled to triazine rings.[19] The estimated reactivity indexes such as chemical potential (ÃŽÂ ¼), chemical hardness (ÃŽÂ ·) and electrophilicity (à Ã¢â‚¬ °) are reported for make the approach of the potential reactivity of these synthesized dyes (Table 4). Chemical hardness is a measure of the resistance of chemical species to change its electronic configuration.[19] It is an index of the stability and chemical reactivity of compounds. The highest value of ÃŽÂ · is shown by compounds 3a-5 and 3b-4 in 3a and 3b series, respectively, which have 2-nitroaniline as coupling aromatic agent and are the most electron attracting substituent. On the other hand, the smallest value is shown by 3a-2 and 3b-2 which have 2-naphtol in the structure as a good electron-donor substituent. Chemical potential characterizes the tendency of escaping of electrons from the equilibrium system.[19,20] This index shows an opposite behavior to that of ÃŽÂ ·, where the highest value belongs to 3a-2 and 3b-2 which have electron donor substituent and the smallest value is shown by 3a-1 and 3b-4 which the second compound acts as an electron acceptor substituent while the first can acts as an electron acceptor via induction. Electrophilicity index (à Ã¢â‚¬ °) c ould give information comparing two in which one is nucleophile/electrophile via lower/higher à Ã¢â‚¬ °.[20] For example comparing between 3a-1 and 3a-2 shows that 3a-1 has higher à Ã¢â‚¬ ° and it can attribute to more electron attraction of 4-hydroxy substituent rather than 2-hydroxy in the naphtholic system. Another attractive comparison between 3a-1 and 3b-1 shows more electron attraction in triazine ring in 3a-1. A phenyl group which replaced with the amine group has increased electrophilicity of 3a-1 than to 3b-1. Although some contradictions are found in case 3a-5 that it can appropriate to azo-hydrazone tautomerism that it will be discussed in the tautomerism section. 3.4.3. Optimized geometries of azo-hydrazone tautomeric forms The optimized ground state geometries of the dyes in azo-hydrazone tautomeric forms are shown in figures 6 and 7. Figure 7. Ground state optimized structure of dyes 3a series in their azo and hydrazone tautomeric forms Optimized ground state geometries of the compounds in azo forms are almost planar such as 3a-1 and 3a-2 which show a mild dihedral angular twist less than 5 ° at N15-N14-C11-N12 and at N7-N14-C9-C14. All hydrazone forms show a dihedral angle twist by near 30 ° which follows no trend. Optimized bond lengths of the synthesized triazine azo dyes (3a and 3b) have been calculated. The O-H bond lengths of azo forms for all of the naphtholic series (3a-1, 3a-2, 3b-1 and 3b-2) is 0.960 Ã…. Similarly, the N-H bond lengths are 1.015 Ã… for 3a-1 and 3a-2 and 1.000 Ã… for 3b-1 and 3b-2. This calculated information shows no significant trend to determine azo-hydrazone tautomerism but the obtained N-N bond can signify the single-double bond character of the bond. The N-N bond length in hydrazone form falls shorter to the model value of 1.400 Ã… for single bond.[21] N-N bond length in 3a and 3b azo series are 1.232 Ã… and this bond length in 3a and 3b hydrazone forms are 1.400 Ã… except in 3a-5 which N-N bond length in hydrazone form is 1.330 Ã… and this confirms our 1H NMR observation in the existence of 3a-5 in both azo-hydrazone forms in significant ratio, while in other compounds this rate of ratio is not impressive. 3.4.4. Calculated energies of azo-hydrazone tautomeric forms The free energies (E/hartree) and relative energies (ΆE/ kJmol-1) of the synthesized dyes in both azo and hydrazone forms calculated using the B3LYP/6-311G (d,p) level to check theoretical stability difference between tautomeric forms and the values tabulated in Table 5. Contrary to this expectation that hydrazone forms have relative stability than azo tautomers,[15,22] in our TDDFT calculations, only hydrazone form of 3a-1 shows more relative stability than the same of azo form by 26.26 kJmol-1. 2-naphtholic dyes 3a-2 and 3b-2 show a significant stability in azo forms than hydrazone forms by 1260.48 and 498.94 kJmol-1, respectively. In the other compounds there is no difference between the stability of azo and hydrzone form and it shows that in comparison to experimental data, there is no notable accordance in TDDFT structures energy. 4. Conclusion In summary, we have successfully developed an efficient protocol to stabilize nitrous acid by supporting on polyvinylpolypyrrolidone (PVPP). Synthesized PVPP-HNO2 confirmed by simple titration and FT-IR analysis. The TGA results show that the supported system has acceptable thermal stability. In the following, we have synthesized nine heterocyclic triazine azo dyes and they were confirmed by FT-IR, 1H NMR, and mass spectral analysis. UV-Visible spectral analysis was compared with calculated data. TDDFT calculations were performed showing enough adaption with experimental observations. The optimized structure of azo and hydrazone form using B3LYP/6-311 G(d,p) basis set of calculation shows that azo is more stable form in all of the synthesized dyes except 3a-5, which exist in both azo and hydrazone forms. Acknowledgement.   We are thankful to the Yasouj University for partial support of this work. References T. Turney, G. Wright, Chem. Rev. 1959, 59, 497. N. Suzuki, Y. Kaneko, T. Nomoto, Y. Izawa, Chem. Commun. 1984, 22, 1523. M. Mokhtary, S. Refahati, Dyes Pigments 2013, 99, 378. M. Nogami, Y. Sugiyama, T. Kawasaki, M. Harada, Y. Morita, T. Kikuchi, Y. Ikeda, J. Radioanal. Nucl. chem. 2010, 283, 541. H. S. Bhatti, S. Seshadri., Color. Tech. 2004, 120, 151. M. Ghasemian, A. Kakanejadifard, F. Azarbani, A. Zabardasti, S. Shirali, Z. Saki, S. Kakanejadifard, Spectrochim. Acta A. 2015, 138, 643. I. M. Awad, Phosphorus Sulfur 1996, 114, 17. G. Powis, M. Seewald, D. Melder, M. Hoke, C. Gratas, T. Christensen, D. E. Chapman, Cancer Chemoth. Pharm. 1992, 31, 223. W. Hua, E. R. Bennett, R. J. Letcher, Water Res. 2006, 40, 2259. M. A. Satam, R. K. Raut, N. Sekar, Dyes Pigments 2013, 96, 92. D. R. Patel, K. C. Patel, Dyes Pigments 2011, 90, 1. A. LyÄ ka, Collect. Czech. Chem. C. 1983, 48, 3104. Y. Do Kim, J. H. Cho, C. R. Park, J. H. Choi, C. Yoon, J. P. Kim, Dyes Pigments 2011, 89, 1. H. Pinheiro, E. Touraud, O. Thomas, Dyes Pigments 2004, 61, 121. P. G. Umape, V. S. Patil, V. S. Padalkar, K. R. Phatangare, V. D. Gupta, A. B. Thate, N. Sekar, Dyes Pigments 2013, 99, 291. K. J. Siebert, P. Y. Lynn, J. Agr. Food. Chem. 1997, 45, 4275. M. Frisch, G. Trucks, H. Schlegel, G. Scuseria, M. Robb, J. Cheeseman, Gaussian 03, revision C. 02 2008. G. W. Drake, Springer handbook of atomic, molecular and optical physics, Springer Science Business Media 2006. R. G. Pearson, J. Mol. Struc-Theochem. 1992, 255, 261. P. K. Chattaraj, S. Giri, Annu. Rep. Prog. Chem., Sect. C: Phys. Chem. 2009, 105, 13. Y. Ebead, Dyes Pigments 2012, 92, 705. M. S. Deshmukh, N. N. Sekar, Can. Chem. Trans. 1, 2013, 305.

Modernism And Modernisation In Architecture And Culture Philosophy Essay

Modernism And Modernisation In Architecture And Culture Philosophy Essay Discuss the various competing notions of Modernity, Modernism and Modernisation in architecture and culture in the writings of Robert Venturi/Denise Scott Brown using the writings of Michel Foucault and Jà ¼rgen Habermas to support your discussion. Introduction To begin this essay concerned with the issues of Modernity, Modernism and Modernisation, I think it is a necessity to first define the term Modern, as it links all three terms. Modern, according to Jà ¼rgen Habermas, was first used in late fifth century in order to distinguish the Christian present, from the pagan and Roman past. He argues that Modern can be used whenever the awareness of a new era developed in Europe through a change in the relationship to classical antiquity. For us people today, Habermas thinks modern begins with the Renaissance, however people considered themselves as modern in the age of Charlemagne in the twelfth century and in the Enlightenment. (Habermas, 1996). Through this Habermas describes the term modern as one, which can be used widely and has no definitive time period, as the concept behind it is based upon ones (or an eras) perception. Figure Habermas explanation of modern is supported by Vincent Scully, as he explains that Le Corbusiers, a pioneer of Modern architecture, teacher was the Greek temple (Figure 1), consisting of an isolated body, white and free in the landscape, its rigour clear in the sun. Le Corbusier during his early polemics would have his buildings just as the temple, as time went on his architecture began to progressively more and more incorporate the Greek Temples sculptural and heroic character. (Venturi, 1977) Scullys interpretation on the work of Le Corbusier directly, as Corbusier created a new direct relationship with the classical antiquity of Greek Temples. Michel Foucault, according to Barry Smart, takes a slightly different perspective to Habermas and Scullys interpretations of the term modern, he interprets modern as a placeholder when a more definite description is not known. He goes on to explain that the modern (or present) cannot recognise itself as a period and that if you can outline the characteristics that make up a period is to already be beyond it and has become the past. (Smart, 1994). Foucault an interesting insight into the modern, as simply a title giving to that which is unclassifiable , the present, and that once you can classify a time period then it is no longer modern and is the past. Modernity 1.1 Habermas argues that Modernity is an expression that represents the consciousness of an era that relates back to the past of classical antiquity in order understand itself as the movement from the old to the new. What Habermas called the Unfinished Project aims at a distinguishable reconnection of modern culture with an everyday sphere of the theory production process, which is dependent on living heritage. However, the aim of modernity can only be achieved if the process of social modernisation can be transformed into other non-capitalist directions, if the state of the current world is capable of developing institutions of its own way currently withdrawn by the self-ruling system dynamics of the economic and administrative systems. (Habermas, 1994) Venturi explains that Louis Khans or orthodox modern architects desire for simplicity, is satisfactory, when it is made valid through inner complexity. He goes to mention that the Doric Temples (Figure 2) simplicity to the eye is achieved through famous subtleties and precision of its distorted geometry and the contradictions and tensions inherent in its order, so it achieves apparent simplicity through real complexity. (Venturi, 1977). Through this Venturis point links directly to Habermas notion of modernity, as he is relating the new Modern architecture desire for simplicity to the simplicity achieved in the old architecture of the Doric Temple, thereby highlighting a transition from the old to new. Figure Michel Foucault takes a different approach from Habermas as he denotes Modernity as something which is characterised by a combination of power/knowledge relations around the subject of life, a life that is now possible to master through science. He goes on to argue that the human races problem does not only consist of a fear of destruction through chemical or atomic pollution, animal species extinction or depletion of natural resources; the idea that any malicious power could take over technologies for evil purposes, is only a false illusion to hide a genuine metaphysical anxiety that corresponds with the mastery of life. Through this Foucault states that this mastery of life, through science, transforms the living, crushing it. As opposed to turning it into a knowledge base upon which could support us, thus making the living being more and more artificial. (Jose, 1998) Habermas produces a definition of Modernity, which takes a more of social/economical perspective, with his relation between social modernization and capitalism and between the worlds institutions and autonomous economic and administrative systems. On the other hand Foucault takes an approach in which he addresses how important the scientific aspect of modernity is and how it has affected out outlook on life as a whole. Figure According to Habermas, Georg Wilhelm Friedrich Hegel (Figure 3) was the first philosopher to develop a clear understanding of modernity. With the philosophers that came before him, Hegel located the core of modernity in the principle of subjectivity, which had previously been discussed by Kant, who saw subjectivity as the foundation of science, morality and art fields. Hegel argued that since modernity was based on subjectivity and the power of critical reflection, only philosophical reason could achieve the hoped-for reconciliation and overcome the doubt of modern subjectivity. This interpretation lead to the articulation of Hegels notion of absolute spirit, which is the consuming activity of self-discovery, the unconditionally self-productive self-relation, interceding subjectivity and objectivity, nature and spirit, finitude and infinity. (Habermas, 1996, Pg. 6) Modernity and the Enlightenment David Harvey describes Enlightenment thought as that which embraced the idea of progression and actively wanted that break with history and tradition which modernity adopts. It was a non-religious movement that sought the removal of obscurity and sacredness of knowledge and social organisation in order to free human beings from their chains. (Harvey, 1989). The project of modernity, as referred to by Habermas, came into focus during eighteenth century. This developed an intellectual effort by Enlightenment thinkers to advance in objective science, universal ethics and law, and autonomous art according to their inner logic. The idea behind this was to may use of the knowledge gained by many people working freely and creatively in pursuit of human emancipation and the enrichment of daily life. Harvey denotes Enlightenment thought as a thought process which strives to remove the unease about pursuing knowledge and social organisation so that we can remove the chains in our minds, which prevents us from gaining more knowledge. This links into Habermas, where he touches upon a characteristic of Enlightenment thinking, which is to advance and enrich daily life through the gain of more knowledge. According to Habermas, through opposing the classical and the romantic to each other, modernity wished to create its own past in an idealised vision of the Middle Ages. During the nineteenth century the Romanticism produced a radicalised realisation of modernity that detached itself from all previous historical connections and understood itself solely in abstract opposition to tradition and history as a whole. (Habermas, 1996) I do not agree with this statement as Habermas contradicts himself as he previously denoted modernity as an expression that represents the consciousness of an era that refers back to the past of classical antiquity precisely in order to comprehend itself as the result of a transition from the old to the new. (Habermas,1996, Pg. 39) With reference to this notion, it would impossible for a type of modernity to develop that not have historical connections and abstractly opposed tradition and history entirely. Modernity as an avant-garde The mentality of aesthetic modernity began to form with Charles Pierre Baudelaire and with his theory of art, which had been influenced by Edgar Allan Poe. This unfolded in the avant-garde artistic movements and then achieved its peak with surrealism and the Dadaists of the Cafà © Voltaire. This mentality is characterised by a set of attitudes, which formed around a new transformed consciousness of time, which expresses itself in the spatial metaphor of the avant-garde. This avant-garde explores the unknown, thereby exposing itself to the risk of sudden and shocking encounters, conquering an undetermined future and must find a path for itself in previously unknown domains. (Habermas, 1996) Modernism Modernisation Conclusion Total Word Count:

Employment Law Essay examples -- Law

Introduction In many countries the state’s role in employment relations is not something that can be ignored. The state, which is characterized by a set of institutions made of the executive, legislature, the judiciary, the local government and the police, is a system of political domination that exercises power with the legitimate usage of violence, money supply and taxation. The presence of the state in any aspect of life of its citizens is pervasive, whether it is through macroeconomic policies or its role as an employer or even through legislation. In the capitalist world we live in today the state cannot be left out in any aspect pertaining to its citizens. The state (government) is applying policies on the basis that other participants in the employment relations system (employers and the trade unions) cannot manage to take control of all the aspects involved in the work system (Palmer, 2007). Since the federal elections of 2004, the policy of industrial relations issue has been all over. The competing goals of the employees and employers are evident through the trade unions and third parties. The managements’ objectives are paramount with regards to market efficiency with limited space for other interests. Therefore, curtailing trade unions’ activities and setting tribunals to regulate conditions and wages in the name of free markets is increasing. The states talks of advocating for democracy, having limited interventions s as to bring about industrial harmony in certain sectors of the economy, but in practice it has intervened in almost all the sectors of the economy (Adams, 200 ). This therefore begs the question, should the state play an intervening role in employment relations, and if so, to what extent and why? .. ...the sectoral and national interests are integrated to increase productivity. The collective bargaining system should also be independent to develop a more equitable and balanced tripartite relationship (Adams, 2001). Works Cited Adams, J. (2001) .Comparative Industrial Relations: Contemporary Research and Theory. London: Harper CollinsAcademic. Creighton, B. & Stewart, A. (2005). Labour Law. Annandale: The Federation Press. Dunlop, T. (1998). Industrial Relation Stystem.New York: Holt. Keller, K. (2001). The Role of the State as Corporate Actor in Comparative Industrial Relations: Contemporary Research and Theory. London: Harper Collins Academic. Ozaki, M. (1999). Negotiating flexibility: the role of the social partners and the state. London: international Labour Organization. Palmer, G. (2007). Employment Relations. New York: Macmillan Education.

Essay on Satire - Satirizing Optimism in Voltaires Candide :: Candide essays

Satirizing Optimism in Candide Candide is a humorous, far-fetched tale by Voltaire satirizing the optimism promoted by the philosophers of the Age of Enlightenment. It is the story of a young man's adventures throughout the world, where he witnesses evil and disaster. Throughout his travels, he adheres to the teachings of his tutor, Pangloss, believing that "all is for the best in the best of all possible worlds," (Voltaire 4). Candide is Voltaire's answer to what he saw as an absurd belief proposed by the Optimists. "Candide...is a profound attack on philosophical Optimism and, through it, all philosophical systems that claim falsely to justify the presence of evil in the world," (Mason 1). "Candide anatomizes the world's potential for disaster and examines the corresponding human capacity for optimism," (Bell 1). Though he was by no means a pessimist, Voltaire refused to believe that what happens is always for the best. The Age of Enlightenment is a term applied to a wide variety of ideas and advances in the fields of philosophy, science, and medicine. The main feature of Enlightenment philosophy is the belief that people can actively work to create a better world. "It is customary to present Candide as the result of Voltaire's reaction to Leibniz and Pope,"(Wade 1) two of the main philosophers of the enlightenment era. While Voltaire's Candide is heavily characterized by the primary concerns of the Enlightenment, it also criticizes certain aspects of the movement. It attacks the idea of optimism, which states that rational thought can inhibit the evils perpetrated by human beings. Voltaire did not believe in the power of reason to overcome contemporary social conditions. The attack on the claim that this is "the best of all possible worlds" is apparent throughout the entire novel. Throughout the story, satirical references to this theme contrast with natural disaster and human wrongdoing. When reunited with the diseased and dying Pangloss, who had contracted syphilis, Candide asks if the Devil is at fault. Pangloss simply responds that "the disease was a necessity in this 'the best of all possible worlds', for it was brought to Europe by Columbus' men, who also brought chocolate and cochineal, two greater goods that well offset any negative effects of the disease,'" (Voltaire 17). The multitudes of disasters, which Candide undergoes, leads to the abandonment of his belief in optimism. When asked "What's optimism?" by Cacambo, Candide replies, "Alas.

How does Alan Ayckbourn make use of comic resources in the play? Essay

From â€Å"A Small Family Business† a play in which people work together as a team, united to reach to the same goal and sharing values, the author Alan Ayckbourn exposes atmospheres of humorous situations to cut with tension and make the scene weird and funny at the same time. Various comic resources are used in this first scene where Jack is coming back from work and his wife, Poppy, waits for him with a great welcome surprise where family and friends are gathering together too. He makes use of ironic situations, sarcasm, visual and black humor, dramatic and embarrassing situations also, to make up this scene a humorous scene. The first situation of humor in this scene is between the dialogue of Yvonne and Ken: Yvonne: â€Å"Jack is here, Mr Ayres. He has just arrives† Ken: â€Å"Jack who? † Ayckbourn is using black humor in this situation as a comic resource. We can interpret this because it’s obvious of which â€Å"Jack† Yvonne is talking about, and Ken is trying to call the attention asking what Jack, Yvonne is talking about. Ken knows the answer, but he makes the situation funny by asking that question, and as an objective he wants to cut with the tension they were all passing through while they were hidden in the dark silence. As another comic resource, we can stand out the visual humor, because of the ridiculous situation of when Poppy moves into the kitchen, and pretends to be busy herself at the sink so that Jack doesn’t suspect anything out of the ordinary when he sees her, while on the next room, the whole family is hidden in the dark and giggling for silence. Everyone knows from where Jack is going to arrive, and in which moment, but Jack doesn’t have a clue of what’s going on. Here, the author makes use of visual humor because of the actions that the characters are making; they make quite a comic scene. Sarcasm is also state in this scene when Jack refers to the Fond farewells: â€Å"Cheering me through the gates, they were. Goodbye, you old bugger, goodbye† The author is making this phrase sarcastic because in a way, Jack is exaggerating the situation and he knows it was not really like that. He is in a way, telling Poppy that they wanted to get rid of him and he is making them seem like bad persons, when they didn’t really said or done something wrong to him. We can also see an atmosphere of humor, when Jack says to Poppy â€Å"thanks god for that. I don’t want to see anyone else. Not today†. Here, a dramatic irony is used as a comic resource because the reader understands the whole funny situation of the family hearing this dialogue hidden in the same house, but the character who in this case is Jack, does not. Also irony, because again, Jack uses exaggeration, disparity of expression and says something he doesn’t really mean. In this first scene, Ayckbourn has also made moments of embarrassing situations. Poppy: â€Å"Oh God, I want to die. I really want to die† Here Poppy is very embarrassed because she knew the whole family was listening to her dialogue with Jack, who was quite intimate and she doesn’t know how to fix it. This also makes the situation humorous because the character actions are seen as embarrassing by the audience because they know the consequences. As a conclusion, Alan Ayckbourn does use of many comic resources to break with the tension, the nervousness, and to give a funny atmosphere to the scene which is a bit anxious, at first, and uncomfortable at the end not only for Poppy but with the family also.

Assessment ‘Of mice and men’ Essay

Of mice and men is a novel by john Steinbeck about two migrant agricultural labourers George Milton and Lennie Small. At the outstart they are working at a ranch in northern California. The ranch is a microcosm of the macrocosm that was in America at that time in 1939. During this period of failed businesses, harsh poverty, and long-term unemployment, we see how people attempted to survive on the ranch. In this essay I am going to clarify how Steinbeck presents the theme of discrimination in chapter 3. Discrimination seems particularly unpleasant on the ranch because there are lonely, isolated characters, who looking are for friends and an escape from solitariness. In chapter 3 we see discrimination in the form of racism, ageism and sexism. The victims of discrimination in this novel are: Crooks, a black stable buck; Curley’s Wife, the farm owner’s neglected daughter-in-law; and Candy, an old, disabled housekeeper. Crooks, is terribly discriminated against because of his natural skin colour, which he has no choice to change it. â€Å"S’pose you couldn’t go into the bunk house and play rummy ’cause you was black† this illustrates that the migrants on the ranch discriminate against him by having him left out of the gang. Furthermore he lives in a little shack on his own. They don’t treat him equally; in fact it almost feels like as if they don’t see him as human being. They don’t care about his feelings and emotions; nevertheless this isolation has consequently affected his mental and physical well being. Crooks is not allowed to enter the Bunk house, whereas Candy’s dog can. Therefore clearly this shows that they treat animals better than him. Although the dog has someone that looks out for him, crooks has no one except his books. Despite him believing that â€Å"Books ain’t no good†. Crooks had a bright childhood where he could play with white children and socialise with them, but this discrimination against him has affected him deeply. He never accepted this way of life unlike other slaves of his time, â€Å"I got a right to have a light† this shows that he is aware of his rights, even when he is having a simple conversation with mentally ill Lennie, who has no idea about rights not even his. Evidently this discrimination made crooks desperate for a companionship, â€Å"A guy goes nuts if he ain’t got nobody† this demonstrates that crooks has gone to the point where he is dying for a shoulder to cry on, even Lennie with a childlike brain. â€Å"Don’t make no difference who the guy is, long’s he’s with you†, This implies that he doesn’t care if the friend is white or black, furthermore it shows that crooks is not racist. He plays horseshoes all day as an attempt to be liked and be accepted for what he is. Similarly Candy is discriminated against because of his age. As they know that he hasn’t got the physical strength to defend himself or his dog, they take advantage of him and forced him to allow his only friend to be killed. Steinbeck used this to clarify that within the society the powerful ones rule the helpless and no matter what we do there will always be evil around us. â€Å"Why’n’t you get candy to shoot his dog†. This makes candy think that this could be the prospect for him when he gets useless. It drove him to the desperation point of putting his life saving into the hands of complete strangers wanting to escape from the same ending as his beloved dog. The men on the ranch describe the dog as a â€Å"stinking hound† and an â€Å"old bastard†. Candy feels dejected as he says â€Å"I wish somebody would shoot me when I become useless†. He feels left out and not respected because of his age as they killed his only friend, he feels that he doesn’t wish to live without his precious dog anymore. Candy, a lost old man, he’s missing a hand and his most reliable and trust worthy companion. â€Å"i lost my hand my hand right here on this ranch, that’s why they gave me a job swampin'† this worries candy that he will get fired soon because if he can no longer work he will be dispensable. Steinbeck used this character because the older generation would relate to him. Curley’s wife is the only women on the ranch. Everybody makes fun of her; they don’t talk to her as a friend because she’s a woman. â€Å"Aint I got a right to talk to nobody? Whatta they think I am anyways?†.This quotation shows that she is quarantined from the other migrants just like crooks and candy they are all isolated characters. The men on the ranch don’t give a chance to get to know her personally, they just labelled her a â€Å"trouble maker†, and being Curley’s wife doesn’t do her any favour. As we never hear her real name in the book it shows how belittled she is, she is seen as a property of Curley’s. Steinbeck did this because back in those days men were dominant and women were just seen as house wives. The men on the ranch act on their prejudice calling her nasty names such as a â€Å"rattrap†, â€Å"jailbait†, and â€Å"tart†. Due to this she feels alone and discriminated against, because she is only seeking for attention to make friends, she’s is not what they describe to be. Curley’s wife is desperate for a companion just like candy and Crooks; she wants someone to listen to her because Curley is never around, he never gives her the attention she needs, â€Å"I don’t like Curley, he ain’t a nice fella†, clearly shows that she isn’t happy, she feels trapped and lonely. Due to this she wonders around the ranch looking something to do, someone to talk to. Overall in conclusion Steinbeck carefully used these types of characters, because they each represent different society at that time of the book. Racism was very high and discrimination against women and the elderly were very common. I think the novel has relevance in our culture; it portrays the issues of discrimination and racism. I think Steinbeck wrote this book to show the world that within our society we have a disgusting habit of making other feel down.