The History of the periodic table

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The history of the periodic table extends back over 00 years, from when chemistry was the magical science. Through the evolution of the world, chemistry became a science of systemic observation rather than based on false expectations. Dmitrii Ivanovich Mendeleev, the father of the periodic table attempted to condense the known elements and conceptualize possible future discoveries. Mendeleev's research and concepts were revolutionary for his time but met with skepticism. Although not accepted when first developed, the periodic table is now in chemistry laboratories and science classrooms around the world. An increased interest in the development and discovery of new elements was initiated by the simplicity presented by the periodic table. After Mendeleev developed the table, controversy still existed behind the naming of the elements. Research is always continuing but scientists must also understand the fundamentals and how they develop.

Far before Mendeleev's time, scientists made various lists attempting to organize the known elements. In 1787, a simple listing of elements was established; unfortunately these listings had no particular format and were useful only if new discoveries were of elements that would follow prior findings. A new technique in 1817 involved grouping elements in three similar groups, which were called triads. "For example, lithium, sodium and potassium all react vigorously with water" (Scerri, 18); this was a reasonable assumption at the time. Jean-Baptiste-Andre Dumas abandoned the idea of triads and attempted to form a mathematical relationship between various molecular weights. This concept was incorrect since weight is not a fundamental property of the element's characteristics. Mendeleev systemically organized the elements by atomic weight; " The crucial characteristic of Mendeleev's system was that it illustrated a periodicity, or repetition, in the properties of the elements at certain regular intervals" (Scerri, 18). This was previously seen in works by Alexandre-Emile Beguyer de Chancourtois. Mendeleev introduced in 186 what is known now as the periodic table of elements, but other scientists disputed it.

Lothar Meyer was revising a textbook and had a similar diagram of the periodic table but printing delays extended the publishing date to 1870. This delay caused a conflict between Mendeleev and Meyer. Meyer felt cheated, but in science, the first person to publish is the recipient of the fame. Every new idea is thoroughly analyze" Normally a new scientific theory has to prove its value as a guide to ongoing research"(Brush, 16); this is the criteria on which textbook are published. New concepts were sometimes introduced to teachers to determine their validity to chemistry. Mendeleev's periodic table was met with high acceptance because of its organization. With the development of a table with gaps, researchers were encouraged to further their knowledge and discover new elements. By 180, the United States and Britain had a majority of their chemistry textbooks printed with a periodic table contained with in it.

The acceptance of the periodic table of elements flourished throughout the world. Classrooms and textbooks pertaining to chemistry contained an illustrated version of Mendeleev's original table. Although large colorful tables can be found on the walls of chemistry classrooms, the true function of the table is a helping tool rather than a necessity of memorization. Rather than make students memorize every element, students are given smaller versions of the table, some so small they can fit in your pocket. The table's context is relevant only when associated with learning or applying the information provided by the table. Chemistry research is a continuing science with the discovery of new elements, but the periodic table stays the same in structure.

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The world around us is composed of many different elements, oxygen in the air we breathe, gold as jewelry and mercury used in thermometers. All these elements naturally occur in our environment, but scientists have also created elements. " The ancient alchemists' dream of transmutation was finally realized in 17 when the first man-made element, technetium (Z=4), was synthesized by C. Perrier and E. Segre" (Campbell, 1). Many man-made elements have been produced through the process of nuclear fission. A cyclotron is used to accelerate nuclei at each other, if there is sufficient force, the nuclei will combine to form a new element. The elements produced are radioactive and decay in a short period. Through nuclear fission of lead and argon, element 100(fermium) is produced. Fermium generates very little heat when produced which, delays the fission of this element. This process is termed "cold fusion by the institute for heavy-ion research" (Armbruste & Hessberger, 18).

As new elements are developed, a controversy arises when the element is to be named. Each element has been given a name based on a factual or theorized characteristic. There was a variety of reasons behind the naming of the elements, such as the names of celestial bodies and days or color. Gold was named after the Sun and represented Sunday, whereas tin was named for Jupiter and was designated for Thursday. The English form that is used to represent the elements is inadequate in defining the characteristics, since most of the elements were discovered when Greek and Latin were prevalent. Color was readily used as defining quality, such as Cesium, which has two strong bluish gray lines in its emission spectrum, and the Latin for bluish gray is Caesius. The element oxygen was actually based on theory that all acids contained oxygen and Greek word for acidic is oksys. The man-made, radioactive elements required more of an artistic touch. Some the suggestions were flamboyant, such as mickeymousium. Primarily they were scientifically based; nobelium was chosen for element 10. The majority of the elements are named and catalogued in the periodic table. Currently elements 110 to 11 do not have actual names since it is disputed whether these are actual elements since they exist for only a short period. Another reason for the controversy is the fact that both Americans and Europeans are developing these radioactive materials and it is disputed as to whom the first creators were. As new elements are formed, mainly by nuclear fusion, the resulting molecule is extremely radioactive and only exists for about one nano (10-) seconds.

As the periodic table stands, the maximum element that is possible currently is 118. Even though the existence and acceptance of elements above 110 is slim do to the incredibly short period of decay, it is reasonable to believe the higher elements will someday be created. The only real limitation to the periodic table is science and the physical limitations associated. Elements 110-11 were created, and scientists struggle to develop further elements. Scientists have far surpassed Neil Bohr's predicted limitation of fermium.

Knowledge is the strength and the key to understanding the physical world, the macroscopic and the microscopic. Time holds all truths especially in chemistry; some elements were discovered by fluke and that others it was a mapped journey to a theoretical ending. Every path to success is paved one stone at a time; first a simple list of the elements, the introduction of triads, but the result was Mendeleev's periodic table of elements. All new theories or developments face scrutiny, complaints by other scientists and the simple idea of proving it is significant furthering research. With every new discovery, there arises a conflict concerning the names of the elements. Most elements were based on a physical characteristic but naming has become an artist's game. Although more is understood now then in Mendeleev's time there is always going to be a mystery to chemistry.

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Anne frank

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Anne Frank

Imagine...being just 1 years old isolated

From the whole world, with the exception

Of your family and some strangers. You

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Hardly eat,speak,move or even breath for

Constant fear that your hiding place will be

Discovered.

Mr. Slemmon, fellow classmates. I am going

To share with you The Diary of a 1 year old

Jewish Girl named Anne Frank.

Anne Frank was born in 1 in Germany. Her

Parents came from wealthy Jewish Families who

Had lost their money during World War I. Anne

Had an older sister named Margot.

In 1, Hitler became Chancellor of Germany and

He believed that German People were the strongest

And the best in the world. He believed that all

Other people were inferior....especially the Jews.

Anne's family left Germany in 1 for the safety

Of Holland where Anne's father started a business

And the family lived in peace and comfort for a few

Years. Then, in May 140, the German's arrived in

Holland. They made all Jews wear a six pointed

Yellow star on their clothes, telling everyone that

They were Jews. Jews were not allowed on street

Cars, to have bikes, go to movies or play sports.

Shopping had to be done between to 5 pm and

They had to be inside their houses by 8. Their

Children had to attend Jewish schools and could

Not visit Christian friends.

On June 1th, it was Anne's 1th birthday. Her

Most precious gift she received was a diary. She

Named her diary Kitty, and Kitty became her best

Friend, especially when her family was forced into

Hiding. Anne was known as a chatterbox, loved

School, was smart and very populr.

In July 14, 16 year old Margot, received a call up

Notice which meant she would be taken away to a

Concentration camp. Anne's parents decided they

Needed to go into hiding. Anne and Margot were

Told to pack only important things. Anne packed

Haircurlers, school books, a comb, old letters and of

Course, her diary. She didn't pack dresses because

Memories meant the most to her. They wore many

Layers of clothing to their secret hideaway that was

Located in her fathers workplace.

When they first arrived there, it was only the Frank

Family, then later, another family, the Van Daans

Moved in. They had a son, Peter. It took alot of

Patience to adapt to their new home. Anne didn't

Really like them as these families were so different

From one another. Their hideaway had floors, the

Van Danns on one and the Franks on another. Although

It was small and cramped, it was much better than being

Taken to a concentration camp where there were alot of

Diseases, you were beaten, starved, gassed and living

Conditions were so poor.

They called their hideout the Secret Annex. They each

Took a hot bath every Saturday, had meals, electricity,

A washroom and bedrooms. Another man named Mr.

Dussel moved in with them later on and shared Anne's

Room. This was very challenging as they both had

Little privacy of their own. Anne and Margot secretly

Took school lessons, thanks to the help of some Dutch

Friends of theirs who knew of their secret annex. These

Friends provided them with food,books,supplies and news

From the outside.

Anne's diary Kitty, was her source to tell all her problems &

Express her thoughts. She wrote of her joys and sorrows of

Being a Jewish person in hiding.

Over time, Anne and the Van Daans got along much better,

But she felt like she was pulling away from her family. In

144, 14 year old Anne and 17 ½ year old Peter started to

grow closer together and Anne felt that she loved Peter.

Peter became Anne's second source for talking over her

problems, her first source, remaining her diary. They were

both happier than ever since they came to the hideaway, but,

the relationship ended after 6 months when they realized it

wasn't true love. They remained friends.

Tragically, on August 4th, 14, the German Nazis along with

The Dutch Nazis, raided the office building where Anne and

The others were hiding. The Nazis had forced Mr. Franks

Friends to reveal the Secret Annex and they sent the 8 Jews

to a concentration camp in Holland, were they were separated.

This was the last time Mr. Frank saw his family. Mrs. Frank

Died of starvation, Mr. Van Daan was gassed. Mr. Dussel

Died in another camp and Peter was taken by the Germans

And never heard from again.

Margot, Anne and Mrs. Van Daan were sent to another

Concentration camp where Mrs. Van Daan died in 145.

Anne and Margot both caught typhus,became very ill, and

Died within days of each other. It was said that Margot's

Death did to Anne what all previous sufferings in her past

Had failed to do. It broke her spirit.

Anne;s father was the sole survivor of the 8 in the Secret

Annex. He went back to Holland where he met with some

Friends. They gave him Anne's diary that they had found

On the floor of the secret annex.

The most famous words in Anne's diary were "I want to

Go on living after my death. And therefore, I am grateful

To God for giving me this gift....of expressing all that is

In me.

Today, through her diary, Anne certainly does live on....in

People's hearts and minds.....she has gone on living after her

Death.

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Unwanted children

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Due to recent discussions in my religion class I have been able to reflect more upon the issues of unwanted children and the affects of many different situations. My personal reaction to the problems of unwanted children in our society in the light of the need to treat everyone as created in God's image is that we simply need to realize how devastating the lack of love to children can be. It is a life altering challenge that children, in most cases, don't overcome for a long time if even at all.

For situations where abortion is at stake, the parents involved need to be assured that no matter what, the baby is worth giving birth to because in no way is it the baby's fault. After the parents have consented to giving birth, hopefully, they should then take into consideration of the different possibilities they have. For instance, one method is adoption. It is the best route to go because the parents would be solving two problems at once. First of all and most importantly, the baby would be in an environment where they would be willingly loved no questions asked. Secondly, the parents who are obviously not ready for a baby or who have maybe made a bad judgement by engaging in pre-marital sex, they can rest assure that the for the baby's sake as well as their own the baby won't be harmed, or abused.

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I am still in the dark about a lot of the problems at hand with unwanted children because I have never been associated with anyone who has been so severely scarred for life due to the of the lack of love they've received. I'm sure that my views would differ immensely if I personally have been affected by a situation, but I can say that the problems of unwanted children need to be handled with responsibility from the parents. Even if it does mean giving the baby up for adoption, as I have stated before this would be the best scenario for most cases.

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No title

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Russian 75

A long, long time ago in an unimaginably horrible place, a peon stared at a decrepit, filthy wall, wondering why and how his life had come to such a disgraceful end. Imprisoned for life, the peon had ample time to think about what he had done and why he had done it; but he could not figure it out. Age crept up on the old peon. It had been fifty years of introspection and profound recollection before the peon realized that he was not at fault for the death of the young girl. The peon decided to recount the events of that tragic day one last time, weighing all possibilities before he was incapable of doing so.

It was a beautiful, summer day, when the high-spirited peon decided to go for a walk in the forest near his abode alongside a gully. Little did the peon know, this particular gully was enchanted. The peon began skipping rocks and was interrupted all of a sudden by a dark, mysterious voice. "You will kill the one of my desire," was the command of the anonymous voice. Petrified yet intrigued, the peon slowly walked toward the voice. The peon came upon a caterpillar as miniscule as a baby's baby toe and immediately began to laugh. Assuming that the mysterious voice came from the caterpillar, the peon laughed hysterically. "What's so funny," the caterpillar intervened. The peon replied, "You are the one who has summoned me. You want me to kill someone of your desire?" The caterpillar stared at the peon without the slightest emotional expression. The peon continued, "And what if I don't?" The caterpillar abruptly laughed and said in a soft but malevolent voice, "Why don't you take a look at what's behind me?" An enormous silhouette arose from the subterfuge of the trees; its shadow enshrouding all the peon could see. The peon trembled in utter fear. The monstrous figure approached the peon, frightening him so much, he entered a state of temporary paralysis. The peon's lips continued to quiver uncontrollably as the monster drew closer until it was within inches him, leaving the peon motionless. The monster leaned down so it could see eye to eye with the peon. The peon was so scared he could not see straight, so he did not clearly see what the monster looked like, which, in retrospect, may have been to his advantage. He knew a monster of that size, power, and evil could have haunted him for the rest of his days. The monster whispered something in an indiscernible tongue. The peon had never heard such frontier gibberish, but somehow understood what it was he was supposed to do.

The monster had cast a spell upon the peon, leaving him in a trance-like state, with no control of himself, physically or cognitively. The peon found himself in a scarcely inhabited, rural village, consisting only of decent and generous people. Although the peon was in the village with only evil intentions and had no communicative skills whatsoever, the villagers welcomed him and took him in. A feast was prepared and a celebration was in store for the newcomer. The peon wandered the village during the party, seemingly aimlessly, but the peon, controlled by the monster, had one thing on his mind death. An innocent little child walked toward the peon. Possessed, the peon could barely determine the appearance of the child, but there was something about the child's soft, sweet voice that was appealing to the peon. He listened intently as the little girl rambled incoherently about the sun, flowers, and other things that made her happy. The peon kept hearing the monster's voice instructing him to kill the little girl simultaneously as the girl was talking. This is where the story becomes unclear. The peon blacks out at this point and awakes in prison. However, for this final recollection, everything that transpired that day became clear. The peon recalled panicking, picking up the child to keep her safe from the monster, and running frantically toward the central district of the village to gather the other villagers in an attempt to prevent the monster from causing any harm to the child. A strange thing happened when the peon did this. The child was fussing and fighting, screaming and kicking as if the peon was trying to harm her. As the peon ran with the child in his arms, the child's remarkable strength and stubbornness allowed her to break free of the peon's grip, as if someone or something had possessed her. The child then fell to the ground, hit her head, and was unconscious, and the peon was blamed. The peon had an epiphany maybe the monster made the child behave in such an unusual way. The peon also remembered the previously insignificant fact that the body of the child disappeared, and she was only presumed to be dead, never officially buried. What could have happened to the body? Was she dead or not, the peon thought to himself. Then it hit him. The caterpillar had a strikingly similar voice as the child when she was throwing a fit when the peon was trying to save her. The peon was outraged. He had spent decades in solitary confinement for no reason. He began to scream. He noticed the wall of his cell crumble somewhat as he screamed so he proceeded to bellow as loudly as he could. The entire wall of his cell collapsed, and the peon was free. The peon was amazed temporarily, but he knew what must be done so he set out for the enchanted gully, hoping that the child was still okay.

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He arrived at the gully to find that it was infested with caterpillars, all with similar voices. The monster had been casting spells on older men, possessing them to either kill or if unsuccessful kidnap the child. After killed or kidnapped the monster could turn the child into a caterpillar making it an eternal slave of his domain (the enchanted gully). The peon did not receive a warm welcome. Every caterpillar screeched to warn the monster of the peon's unexpected arrival. The monster appeared out of thin air, and was bigger and stronger than ever. Its power increased with every man he subdued, and child the subdued man kidnapped or killed. However, the peon was fearless. The monster towered over the peon and stood over him in an attempt to intimidate him. Not a word was said. The monster stood over the peon breathing heavily and the peon stood his ground staring back into the monster's eyes. The peon knew the monster would have to say something witty or frightening before it killed him. As the monster began to talk the peon intuitively removed a sword from a sheath hidden under his cloth apparel and struck the monster what seemed to be its ankle. The monster laughed, and said "You are no match for me, cease your futile attempts." The peon was not discouraged. He continued to strike. The peons relentless attacks seemed to do nothing, and the monster just stood there and laughed. The aged peon eventually grew tired, and stopped attacking. As the peon sat down he crushed several caterpillars and noticed the monster cringed in pain. The peon immediately gathered up what strength was left in him and began stepping on every caterpillar he could find. His sword was flailing as he stomped erratically, almost fortuitously killing more caterpillars. The monster was decomposing more and more with every dead caterpillar and was unable to fight back. The peon did not even bother to look at the monster as he decimated the plethora of caterpillars. It was not long before the monster had decomposed into nothing.

The peon had defeated the monster. Shortly after his victory, the peon's skin began to return to its original state on the day of the encounter with the monster and the caterpillars transformed back into children. The only problem was finding a home and caretakers for the children. There had to be two thousand of them. The peon did a very brave and generous thing. He took the children in; worked day and night to raise every single one of them, and lived to see each one of them become an adult and start a life of his or her own.

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The Killer Angels Paper

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"The killer Angels" my feelings on this book are the same since the first day I sat down to read or look over it. I would have to say that this book was put together more as a way to describe the emotional and psychological aspect of war rather then the actual fighting and killing. This book deals with the struggle of fighting your own friends and family in this war. I also believe it to be an account of the war as tragic and somehow made 'sacred' by the enormity of the courage, suffering, and sacrifice. If you do not win the battle or war was it even worth it?

When I first heard the title "The Killer Angels" on a handout presented to me I had no idea what to expect. The subject to Michael Shaara's book is not at all evident in the title. When I finally got my hands on the actual book itself and read through its chapters is that I realized what that title actually meant. Sharra tells of a war where it is clear that many of its men are almost fighting a war inside themselves to fight a war against there own brothers. I good example of this thought is present in a quote Sharra presented to us in the forward from Robert E. Lee. It says

With all my devotion to the Union and the feeling of loyalty and duty of an American citizen. I have not been able to raise my hand against my relatives, my children, my home. I have therefore resigned my commission in the Army….

With this quote from a letter, it is very clear that Robert E. Lee could not stand the fact that he has to fight against people from his own family and that he has to do it on his homeland. It also sounds as if this war, by many does not even want to be fought. In Monday, June , 186 Chamberlain episode this line explains why many of the men are there fighting.

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Some of us volunteered to fight for the Union. Some came in mainly because we were bored at home and this looked like it might be fun. Some came because we were ashamed not to. Many of us came… because it was the right thing to do. All of us have seen men die. Most of us never saw a black man back home. We think on that, too. But freedom… is not just a word.

With that line in mind it sounds as if many of the men there are not even the least bit concerned with the actual meaning of the war. It sounded to me like a game of "follow the leader". If he goes then I should go as well. This line also in Chamberlain episode makes it sound as if many of the men are new to the meaning of the war or at least confused.

This is a different kind of army. If you look at history you'll see men fight for pay, or women, or some other kind of loot. They fight for land, or because a king makes them, or just because they like killing. But we're here for something new. I don't … this hasn't happened much in the history of the world. We're in an army going out to set other men free.

Since in my perspective many of the men who were brought into the war were not sure why they were there it brought to mind that during and after the war they had to be thinking to themselves "Is this fighting even worth it?" or "Why the heck am I risking my life for this?" In July , 186, episode 5 Longstreet says "They had all died for nothing and he had sent them in." It sounds to me that he fully regrets sending his men in like that. He feels that so many men had just lost their lives for something that might not have even been worth it.

It seems to me that war is blind, pathetic, and absurd as wars must always be. This line is stated in Friday, July , 186, Chamberlain episode

He sat looking down at his bloody leg, feeling the gentle wind, the heat from the south, seeing Kilrain dead on a litter, no more the steady presence. Sometimes he believed in a Heaven, mostly he believed in a Heaven; there ought to be a Heaven for young soldiers, especially young soldiers, but just as surely for the old soldier; there ought to be more than just that metallic end, and then silence, then the worms…

When I first read this line I was almost disgusted by it. It just really hit me the way they must have felt whenever they were injured or one of their collegues is lying there dead next to them. I can only imagine what it was like to wake in the morning happy that you made it through the night alive. All that could have been avoided and that is one of the biggest reasons that I feel war is blind, pathetic, and absurd. Although many are now considered hero's for their acts in war, the disputes that they war was over could have been settled in some other way and the outcome could have been even better then the one that prevailed.

Michael Shaara did a great job in portraying the feelings and emotions of war heroes to the readers of "The Killer Angels". He not only grasped the emotional aspect of the soldiers he was also able to almost dive into their minds and get a physicological view as well. It brought to view how much pain and suffering a soldier goes through for their country and why they are considered heroes.

Please note that this sample paper on The Killer Angels Paper is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The Killer Angels Paper, we are here to assist you. Your persuasive essay on The Killer Angels Paper will be written from scratch, so you do not have to worry about its originality.

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Collaboration in Teaching

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Collaboration in today's diverse classrooms is essential if the needs of all students are to be met. Collaboration in teaching today means that teachers share a joint responsibility to teach the students under their care. Due to the many changes in schools today such as inclusion and least restrictive environment, collaborative teaching is able to address the needs of all students, with or without disabilities. Increasingly, teachers are realizing the many benefits of teamwork. Advocates of this method say that collaboration "promotes active learning, critical thinking, conceptual understanding, long-term retention of material, and high levels of student satisfaction" (Unknown, 14). But in order to accomplish these goals and be successful, teachers must overcome obstacles inherent to working with another teacher. They must learn to be more flexible, to focus on each other's strengths, and to maintain communication above all else. Preparation is also key in successful co-teaching. Ideas and concerns should be discussed daily so that students' needs are met. Everyone involved must work to enhance the classroom climate, being careful no to radically change it. Integration of individual expertise in content areas and pedagogy through collaborative teaching produces teachers who are more capable of working with diverse groups of students. Co-planning and co-teaching, when done well, can result in the building of trust between not only teacher to teacher, but student to teacher as well. Other results are a learned flexibility, formation of partnerships, team problem solving, and an amazing ability to meet the needs of all students. Above all, we must keep the faith and believe that what we are doing is in the best interest of our students.

Please note that this sample paper on Collaboration in Teaching is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Collaboration in Teaching, we are here to assist you. Your cheap research papers on Collaboration in Teaching will be written from scratch, so you do not have to worry about its originality.

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Ukiyo-e prints

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Varieties of Subject Matter in Ukiyo-e Prints

The Japanese woodblock print has been one of the more fascinating aspects

of Japanese aesthetic expression to western culture. Ukiyo originally was the Buddhist term for the fleeting secular world in contrast with the spiritual reality of Buddhism (Munsterberg 16) though in the Edo period the term was appropriated to designate in particular the red-light pleasure district of Edo, the Yoshiwara. This floating world of pleasure and amusement, often of an erotic type was the setting for a large number of ukiyo-e prints. (Munsterberg 16). Ukiyo-e prints in particular emphasized three primary subjects; the depiction of women and actors, genre scenes of daily Japanese life, and the depiction of nature. This range of subjects is represented by the six great masters of the ukiyo-e tradition, and formed the aesthetic foundation of Japanese printmaking for the next two hundred years.

The depiction of the women and actors of the floating world was the most predominant subject matter among the six great masters of the ukiyo-e print. Kitagawa Utamuro, Suzuki Harunobu, and Torii Kiyonaga were all interested in particular in the depiction of women in the floating world. Each of the three artists whose primary subjects were women portrayed them in a unique style peculiar to their own aesthetic sensibilities, though Utamuro is generally acknowledged to be the greatest artist of womanhood (Paine 66). Utamuro particularly excelled in his portrayal of erotic subject matter; it has been said that he is probably the greatest master of this genre in the entire history of the Japanese print. This however was not the only aspect of womanhood he portrayed. Utamuros women have been said to be more a vision of the artists notion of ideal beauty than of the beauty of any particular women he painted; he portrayed women beautiful as types rather than as individuals (Paine 66). The vision of ideal beauty which Utamuros women exhibited was unlike the typical Japanese girl of the times, women who were tall and slender and who were well aware of their erotic appeal and elegant beauty, which exercised such a fascination over men (Munsteberg 8). The print Mother and Child was one of Utamuros non-erotic prints genre where he portrays the delicate relationship between mother and child. Robert Paine describes his ability such that nor has any other Japanese artist handled the tender relationship of mothers and babies so ably and yet without sentimentality (Paine 67).

Suzuki Harunobu the youngest of the six great masters; his women were characterized by graceful, delicate, willowy beauty (Munsterberg 4). His prints have been described as containing a poetic mood as well as sheer delicacy and charm (Munsterberg 50). This is especially evident in the print Girl on a Temple Stairs Performing an O-Hyakudo Dance where the lyricism and delicacy of Harunobus women is evident, as well as the interplay of a curving figure against straight lines (Paine 65).

Torii Kiyonaga is another of the great masters whose primary subject was the portrayal of women. Kiyonaga depicted tall, stately women who by Victorian writers like Fenellosa were compared to Greek goddesses (Munsterberg 80-1). His style combined realism and idealism, producing a simple grandeur and perfection (Munsterberg 80). Like all of the great masters his women were idealistically portrayed, which perhaps may be attributed to the sense of unreality in the floating world. These characteristics are especially evident in the print The Wind (c. 1780) in the hashira-e style (Takahashi 7). The verticality and simplistic, emotionally neutral beauty of the woman is characteristic of the comparison people have made between Greek goddesses and Kiyonagas women.

Along with the emphasis on the women of the floating world, the kubuki actors who inhabited the Yoshiwara were a subject which was explored by the great masters of ukiyo-e printing. The prints, called yakusha-e (Takahashi 7), were the focus in particular of the great master Toshusai Sharaku. Unlike the masters of ukiyo-e printing who focused on their attentions on women subjects, Sharaku doesnt idealize his subjects; he is a staunch realist. His portrayals of the actors of kabuki theater showing the actor as he actually looked rather than being an idealized portrait of him, they have a truthfulness and psychological depth not usually found in Japanese art (Munsterberg 101). His portrayal of the actors without their usual idealized glamour (Munsterberg 101) angered the public, and this may have been the reason why these prints did not enjoy the same popularity as did the very idealized portrayals of courtesans that Utamuro was producing at the same time (Munsterberg 10). His print The Actor Otani Oniji III is striking for its depiction of psychological depth, in particular anger, which was not often depicted in Japanese art.

Genre scenes were another important subject matter among the great masters of ukiyo-e printing, particularly in the work of Katsushika Hokusai. Though Hokusai created a large number of landscape prints, his emphasis was always on the relationship of man and nature Hugo Munsterberg writes that

Hokusai mirrors the entire world of contemporary Japan drawn in a very spirited, informal manner with a wonderful use of line. The emphasis is on the people shown in all kinds of occupations and positions working and sleeping, wrestling, fighting and making love, elegant ladies and poor beggars, ordinary laborers and farmers, as well as ghosts and grotesque monsters. In addition there are landscapes and buildings, birds and animals, flowers and trees, as well as scenes from history and legend- a whole encyclopedia of Japan in the Edo period (Munsterberg 11).

His print Fugi from a Lumberyard from Thirty Six Views of Fuji (c. 185) combines a narrative description of Japanese life while at the same time, with the presence of Mount Fugi, emphasizes the distinctively Japanese nature of the scene.

Nature also was a theme of ukiyo-e printmaking which was represented by the great masters, in particular, Ichiryusai Hiroshige.

In contrast with Hokusai, who was more interested in the human activity taking place in his pictures than in the aspects of nature, Hiroshige was primarily concerned with the impressions he got from the landscape at various times of the year (11).

Hiroshige is generally credited with (along with Hoksai) reestablishing the traditional focus of Japanese aesthetics as one based upon an appreciation of the natural world.

In his print Sudden Shower at Ohashi from One Hundred Views of Edo (c. 1857) Hiroshige captures the sensitivity and lyrical quality of the Japanese view of nature. No one up to that time had ever brought the scenery of Japan the sensitivity and poetic temperament of this artist (Munsterberg 1). Unlike Hokusai, whose paintings of the natural world were more concerned still with man as the focus of the print, Hiroshige fully restores nature as the focal point of Japanese aesthetics. When people appear in Hiroshiges works, such as in Sudden Shower at Ohashi, they are in harmony with nature rather than struggling against it, despite what might often be thought of as adverse conditions.

The variety and sophistication of Japanese woodblock prints has made them one of the most popular and treasured forms of Japanese aesthetic expression, particularly in western culture, where the prints have been seen to nearly epitomize the Japanese sensibility.

Munsterberg, Hugo. The Japanese Print. New York Weatherhill, 11. Pine, Robert Treat, Soper, Alexander. The Art and Architecture of Japan. Hong Kong Penguin, 158.

Takahashi, Seiichiro, tr. by Richard Stanley Baker. Traditional Woodblock Prints of Japan. New York Weatherhill, 17.

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