Complete the Table: There are three different segments for running, resting, and walking, as you can see in the graph above. Use the table below to enter the data and find the velocity for each case.
Time interval [sec] Corresponding distance change [meter] Velocity [m/s]
Answer the questions below using complete sentences and add space as needed.
1. Distinguish between speed and velocity.
2. List the velocity from greatest to least among running, resting, and walking
3. List the speed from greatest to least among running, resting, and walking
4. If the slope in the plot of distance and time is steeper, do you think the speed of the motion is increasing or decreasing? Why do you think so?
Your response should be at least 75 words in length.
5. If the slope in the position versus time graph is a curved line, what can you tell about the motion?
Your response should be at least 75 words in length.
Villa and Sure Thing | Analysis of Timing and Language Distributed: 23rd March, 2015 Last Edited: fifteenth December, 2017 Disclaimer: This paper has been presented by an understudy. This isn't a case of the work composed by our expert paper authors. You can see tests of our expert work here. Any sentiments, discoveries, conclusions or proposals communicated in this material are those of the writers and don't really mirror the perspectives of UK Essays. Hitting the nail on the head: An investigation of Timing and Language in Hamlet and Sure Thing This exposition investigates how dialect is utilized to uncover the shrouded internal musings and sentiments of characters, and how timing can have a pivotal impact in the depiction of sensational characters to the group of onlookers. The street numbers how, in Shakespeare's Hamlet, dialect depicts the progressive working through of Hamlet's musings, towards his definitive desire of requital, and interestingly, how dialect is significant in building up the underlying and basic association amongst Bill and Betty in David Ives' one-Act play, Sure Thing. Beyond any doubt Thing presents a grouping of discoursed between a youthful couple becoming acquainted with each other in a bistro. The ringing of a ringer interferes with their progressive endeavors at a similar discussion. Meaning 'time out' when one says something unsuccessful, when, in conventional conditions, their discussion may have finished: BILL. This is my first night out alone in quite a while. I feel a tad adrift, to disclose to you reality. BETTY. So you didn't stop to talk since you're a Moonie, or on the grounds that you have some abnormal political alliance - ? BILL. Not a chance. Straight-down-the-ticket Republican. (Chime). Straight-down-the-ticket Democrat. (Ringer.) Can I disclose to you something about legislative issues? (Ringer.) I jump at the chance to consider myself a resident of the universe. (Chime.) I'm unaffiliated. BETTY. That is a help. So am I. (Ives, 1994, p.20). In this play, dissimilar to the wild advance of Hamlet, extremes are no great - it is the center ground that the two characters try to occupy, where protected and dependable answers will secure their trust in each other as a potential accomplice. Ives' utilization of dialect is clever and specific quickly addressing subjects that give the gathering of people a thought of the identity and tastes of the characters, while hacking up the pace to keep their consideration. Interestingly, Hamlet tries to investigate the furthest points of human character and the limits amongst rational soundness and craziness, and profound quality and unethical behavior. For instance, when Hamlet's reality is all of a sudden turned upon its head after the murder of his dad, Shakespeare utilizes allegory to express the dismal and agitated emotions which Hamlet encounters: I have generally (yet whereof I know not) lost all my jollity, done without all custom of activities; and, surely, it runs so vigorously with my air this goodly edge, the earth, appears to me a sterile projection; this most fantastic shelter, the air, look you, this overcome overhanging atmosphere, this majestical rooftop fussed with brilliant fire, why, it appeareth no other thing to me than a foul and pestilent assembly of vapors! (Villa, II. I. Found in Geddes and Grossett, 2006, P.386). Villa's vision of the world is contrasted with a structure - the 'edge' of the earth, and the 'overhang' of the sky. The analogy is reached out into the accompanying lines, where the wonders of the common world are attributed with human qualities, for example, 'overcome' and 'majestical.' Shakespeare's utilization of scene as representation is critical here as it accentuates the flipping around of Hamlet's reality - the possibility that all that he knew and trusted to remain - has all of a sudden changed into the most exceedingly bad, most extraordinary, situation possible. For Shakespeare, it is the slow unfurling of Hamlet's character, which drives the play forward and makes the gathering of people question social and individual qualities. As faultfinder W. Thomas MacCary remarks on Hamlet, the advancement of the plot is controlled by the improvement of Hamlet's character. Besides, Hamlet as a character must 'uncover what is covered up, [… .] so the plot of Hamlet is a continuous disclosure of what is spoiled in the territory of Denmark.' (MacCary, 1998, p.65): The time is out of joint: O reviled demonstrate hatred for, That ever I was destined to set it right! (Village, I.v. 188-19. Found in Geddes and Grosset, 2006, p.384). Villa's notorious deferral is important for him, and the gathering of people, to have sufficient energy to absorb and make an educated judgment on the occasions that have gone, before continuing to the following period of sensational force. Shakespeare utilizes talks to depict to the crowd what is close to home to Hamlet. This method serves not exclusively to detach the character, hence concentrating consideration on him, yet in addition empowers correlations and reflection with respect to the crowd to their own particular lives, and the nation of Denmark. Conversely, the power of Ives' discourse amongst Bill and Betty presents a short, sudden knowledge into the cumbersomeness and insouciance of a contemporary youthful couple, meeting out of the blue, while giving a clever and provocative social editorial. As this is a play with few props, the consideration is centered around the couple; undoubtedly, Bill's craving to pick up Betty's consideration and secure her organization is anticipated onto the server, whose fast approaching landing in the finish of the exchange means the end of the scene. The way that the server never arrives - and along these lines neglects to interfere with the course of their discussion - secludes the cumbersomeness and potential incongruity of contemporary social models: discussion is regularly jarred, lost, and wrongly planned: BILL. (Glances around.) Well the servers here beyond any doubt appear to be in some extraordinary time zone. I can't find one anyplace… .Waiter! (He thinks back.) So what do you - (He sees that she's returned to her book.) BETTY. I ask exculpate? BILL. Nothing. Too bad. (Ringer.) (Ives, 1994, p.17). This moves the group of onlookers to consider albeit two genuinely comparative individuals are talking in an open gathering place, with nothing to intrude on them, despite everything they can't take care of business. The characters make references to 'various calendars,' 'missed associations,' and the term 'distinctive time zone' is first specified by Bill, and after that rehashed by Betty. This is suggestive of Ives' goal to present to the crowd in the 21st century, in spite of the nearness of advanced methods for correspondence, the basic demonstration of making oneself known to another remaining parts risky. To finish up, this paper has demonstrated that planning is significant in both the plays, not just in the depiction of the character to the group of onlookers, yet in addition in the congruity of each play all in all. Specific and clever utilization of dialect in both plays reminds the gathering of people that they are not simply watching an envisioned situation, but rather a mixed spoof of the general public of which they themselves are a section. Reference index>GET ANSWER