Hazardous Materials Assignment Essay Example | Topics and Well Written Essays - 250 words

Hazardous Materials Assignment - Essay Example shipment, mitigate the effects of accidents causing the spillage of the hazardous chemical to the environment, and prevent the personnel from accidentally inhaling or ingesting the product: Containment vehicles or trucks will be attached with unobscured markings of chemical name â€Å"Arsenic† and labeling with corresponding photo for â€Å"POISON† with white background using durable materials, as well as coloring the containment unit with colors that contrast the labels, as prescribed in  §172.304 and  §172.430. Bulk transport of arsenic is allowable under  §173.242 through the use of intermediate bulk containers (IBC’s) made out of metal or rigid plastic that meet the passing rate of performance standards such as bottom lift, top lift, stacking, and drop tests as mentioned in  §178.803. Other materials neither are nor recommended due to possible sifting or leakage. It is thus recommended that IBC’s be used to contain the multiple packages of the chemical while inside the delivery

DNA worksheet Essay Example for Free

DNA worksheet Essay Answer the following in at least 100 words: 1. Describe the structure of DNA. DNA is typically has two strands running in opposite direction and is usually referred to as a double helix. Each on the individual strands consists of a backbone that is formed by sugar molecules linked together in groups. Each individual sugar molecule is covalently linked to one of the following possible bases: Adenine, Guanine, Cytosine and Thymine. These bases are typically aligned perpendicular to the axis of the strand. As previously stated the strands run in opposite directions with the bases paired up with Adenine always with Thymine and Guanine always with Cytosine. Theses pairs form hydrogen bonds with the A/T pair having 2 and the G/C pair having 3. The extra hydrogen bond makes the G/C pair stronger. 2. How does an organism’s genotype determine its phenotype? The genotype is the organisms’ hereditary information while the phenotype is how the organism displays its properties. Another way of saying this is that the gene contributes to a particular trait while the phenotype is the expression of that gene. The genotype plays a large role in determining the development of the phenotype but other factors also play into its development such as plasticity, canalization and the environment. Even identical genotypes can differ in the phenotype that results, a good example for this would be in identical twins. It’s safe to say that while the genotype is not the final contributing factor to produce the phenotype it does play a role significant enough worth understanding 3. Describe each stage of the flow of information starting with DNA and ending with a trait. The first stage in the flow of information is DNA. It stores the necessary instructions for the building of protein. DNA is can be viewed as the blueprints required to start the process. The next stage in the flow of information is the RNA. The instructions are copied from the DNA and at this point are referred to as a RNA molecule. These copies move away from the DNA with the next stop being the cytoplasm. From here the process of converting the RNA information into amino acids begins, eventually forming a protein. The functions of an organism reply on these proteins.

Harlem Renaissance Art Style and History

Harlem Renaissance Art Style and History The legacy of the Harlem Renaissance is that it redefined how America and the world, viewed the African-American population. The migration of Southern Blacks to the North changed the image of the African-American from rural, undereducated peasants to one of urban, cosmopolitan sophistication. This new identity led to a greater social consciousness; African-Americans became players on the world stage, expanding intellectual and social contacts internationally. Some common themes represented during the Harlem Renaissance were the influence of the experience of slavery and emerging African-American folk traditions on black identity, the effects of institutional racism, the dilemmas inherent in performing and writing for elite white audiences, and the question of how to convey the experience of modern black life in the urban North. Characterizing the Harlem Renaissance was an overt racial pride that came to be represented in the idea of the New Negro, who through intellect and production of literature, art, and music could challenge the pervading racism and stereotypes to promote progressive or socialist politics, and racial and social integration. The creation of art and literature would serve to uplift the race. New Negro is a term popularized during the Harlem Renaissance implying a more outspoken advocacy of dignity and a refusal to submit quietly to the practices and laws of Jim Crow racial segregation. The term New Negro was made popular by Alain LeRoy Locke. It is my intent to show how Carl Van Vechten, James Van Der Zee, and James Latimer Allen interpret and display the New Negro in their work of portraitures. As white families moved from cities to suburbs, the advent of World War I created a shortage of labor in northern cities. African Americans began to migrate north from their southern rural homes. During the 1920s, 1.5 million African Americans migrated north in hope of employment and relief from tthe prejudice that oppressed them so severely in the South. Van Vechtens many portraits of African-American performers, writers, and musicians taken in New York City reflect his interest in African Americans and the arts. They also reflect the growing presence of African Americans in northern cities resulting from the mass migration of the 1920s. More than this, these portraits also document the impact of this migration in popularizing African-American artistic movements such as jazz, the blues, and the Harlem Renaissance. I am certain that my first interest in making [these] photographs was documentary and probably my latest interest in making them is documentary too . . . I wanted to show young people of all races how many distinguished Negroes there were in this world . . . he adds that the process of making photographic portraits is a magical act. Bessie Smiths notorious private life contributed to glamorizing the self-destructive behavior often associated with jazz, blues, and rock performers of the present day. Smiths excessive drinking, violent temper (and physical strength), and predatory sexual life involving both men and women were boundary breaking, even by the standards of free-living musicians of the Roaring Twenties. A number of Smiths recordings in her later career were frankly pornographic, reflected both her loss of stature as an artist and her first-hand experience in reckless and often abusive relationships. All of this is important to keep in mind while analyzing this piece. We see the subject, Smith looking up and back at a bust of an African statue. While she is physically looking in a backward motion it can also be interpreted as a metaphor for l ooking into ones own past and heritage. With Smiths dicey past and morally grey activities Van Vechten portrays her as a beautiful female specimen who is in adoration of her African roots. Van Vechten place Smith below the statue which forces her to look up in its direction which is historically pious in stance. She is in veneration of her ancestors; she has them to thank for her present success as a performer. The portraits taken by James Latimer Allen were of many men and women who created the Harlem Renaissance exhibit with a purposeful uniformity. Men dressed in a dapper manner in suits and ties, women in their Sunday best. Through this formal statement Allen was underscoring the emergence of what a local magazine, The Survey Graphic, in 1925 had called the New Negro. Harlem photographer James Allens portrait of graphic artist James Lesesne Wells shows his subject intensely engaged with a drinking cup from Central Africa. Wells gazes down on the face carved on the vessel as if communing with an ancestor. The entire notion of this photo is very contrived. It is a bit of a strain to believe that Wells has a deep connection much less a full understanding of his ancestral past. The fact is the New Negros was a group that had never known slavery. Therefore they were comfortable with the idea of succeeding in all realms of culture and in any profession. Whether Wells understands or appreciate s the artifact if it is even authentic doesnt matter. What is really important is his presence and brooding manner. He seems to be engulfed within his own thoughts. His meditative state gives the viewer the idea that this Black man is able to think on a high level proving his intelligence and all around competence within society. His is very neatly put together; though no real emphasis is put on his attire we can still tell that he is not poor. Wells is looking down at the cup, a contrast to the image of Smith who is looking upward at her African fetishe. In comparison, these two images are similar in that they both are looking to their past and pieces of African art which serve as an affirmation of their heritage and identity. In contrast, Wells is putting himself above and beyond his ties to slavery; he is asserting himself into the image of the New Negro. Wells may reject the European ideas of primitivism because he himself is an artist who is very influenced by European woodcuts and their makers. Alain Locke happens to be one of his biggest supporters which may also feed into his self assured and confident nature that he is about to portray. Aesthetically the composition is lacking. Our eyes are guided diagonally to the cup so that we too may contemplate and feel the magic that lies within the cup. As contrived as the pictorial space and composition is, it certainly promotes the values of the New Negro. A lot of scholars and critics agree that James Van Der Zee documented the truth and he was very creative and realistic in doing so. They feel he used photography to document Black America by creating a vision of success and naturalness. Through his artwork he wanted to show that life for African Americans in Harlem could be better and will be better. He wanted them to have a better, wealthier image showing that they too can be successful he took pictures of them either looking strong, happy, or dominant. Van Der Zee had the ability to construct his compositions so they were visually interesting and coherent. They have an aesthetic dimension that is independent of whatever they depict. Experts explain that the best photographers do the unexpected; they do not just focus on the fantasized world but the real world also Van Der Zee did both. He provided an image for African Americans showing success and showing what they face in everyday life by creating a natural look so they fit in. Wo rks by Van Der Zee are artistic as well as technically proficient. His work was in high demand, due in part to his experimentation and skill in double exposures and in retouching negatives of children. A theme that reoccurs in his photographs is the emergent black middle class, which he captured using traditional techniques in often idealistic images. Negatives were retouched to show glamour and an aura of perfection. This affected the likeness of the person photographed, but he felt each photo should transcend the subject. His carefully posed family portraits reveal that the family unit was an important aspect of Van Der Zees life. He photographed the people of Harlem for more than six decades, depicting the life of one of the most celebrated black communities in the world. By providing elaborate costumes, props, and backdrops, in combination with creative double exposures, expert retouching, and airbrushing, Van Der Zee became renowned for the quality of his portraits. Van Der Zee actively worked to manipulate an image through careful composition, use of multiple negatives, retouching, dramatic lighting, and skillfully painted backdrops and props. It is tempting to compare his multi-layered images to photomontage created in the 1920s and 1930s. However, Van Der Zee was familiar with neither the avant-garde photographic practices in Europe nor the modernist photography by Alfred Stieglitz. Although he gained fame for his portrayal of African-American celebrities who passed through Harlem, Van Der Zee made his daily living by taking thousands of photographs of Harlems residents, including family groups, weddings, athletic teams, and social clubs. In this portrait, Wedding Day, Harlem, Van Der Zee was creating an unusual but realistic message. The most important concepts of the portrait are the facial expressions on the bride and grooms face. The bride is looking at the camera while the groom is looking at her. Her face has a serious structure, showing that she is dominant, as her body is positioned slanted position but her posture is straight. The groom is admiring her and being a gentleman. The painted backdrop of the fireplace and a superimposed image of a little girl who is playing with a newly available black baby doll all speak of the couples dream of a middle class status. The architecture of the columns and the ornate chair are visual tropes that have been used throughout history in such other wedding portraits such as the Arnolfini portrait. A domestic family life, and black pride are the ideas all fall into line with the New Negro movement these are all concepts that Van Der Zee puts into action in his portraits. These works portray the peoples of African descent in a positive light in normal, human situations. Historically and continually, peoples of African descent are often portrayed negatively in the various media, and many mainstream photographers working in areas such as Harlem, have historically highlighted squalid conditions, social problems, or exoticism. Such Western interest in tribal artifacts grew from the colonization of Africa by Europeans, whose takeover of the continent is documented through a colored map. By 1900, few major artists were untouched by the fascination with African and Oceanic primitive art. Henri Matisse, Pablo Picasso, and others were drawn to the styles and motifs from these non-Western cultures as a way to challenge traditional aesthetic ideas. They saw western styles as stagnant and irrelevant to modern society. Unfortunately, part of the expectation of African-American artists of this time period was to relate to and produce images that correlated with tri bal artifacts. While Europeans understood African objects through the lens of colonialism, Americans viewed them as representing the legacy of slavery and segregation. Racial biases resulted in the negative perception of African art which persists to this day. But since the Harlem Renaissance is remembered as a fleeting golden age; a contemporary viewer cannot help but read evanescence into these portraits. Van Der Zee, Allen, and Van Vechten did their part to promote African-Americans in a light that they deserve even if they may not have monetarily deserved the title. All humans deserve the right to dream and have the same goals despite racial barriers. It is my belief that these artists truly upheld the image of the New Negro while also continually trying to move forward with that idea and their own artwork. Carl Van Vechten, Portrait of Bessie Smith James Van Der Zee, Future Expectations (Wedding Day)1926 James Latimer Allen, Portrait of James Lesesne Wells, c. 1930.

Essay --

T. S. Eliot: Metaphysical Poetry, Prufrock and Hollow Men In the essay â€Å"The Metaphysical Poets,† T. S. Eliot explicates and praises the anti-Romantic and intellectual qualities of metaphysical poetry which Johnson had disapproved. Eliot writes â€Å"the poet must become more and more comprehensive, more allusive, more indirect in order to force, to dislocate if necessary, language into his meaning.† Eliot praised the metaphysical poets’ ability to find the verbal equivalent for states of mind and feeling while using clear, simple, pure language, and unexpected analogies to makes their reader sit up and consider a thought or emotion in a completely nuanced way, such language of metaphysical poetry is evident in Eliot’s poems, The Love Song of J. Alfred Prufrock, and The Hollow Men. Eliot states that the term metaphysical has been used as a term of abuse or as the label of a quaint and pleasant taste. Johnson himself, who employed the term ‘metaphysical poets’ with the poet Donne chiefly in mind, remarks, â€Å"the most heterogeneous ideas are yoked by violence together.† Johnson apprehended the metaphysical style where the â€Å"effects are due to a contrast of ideas, different in degree, but the same in principle.† The force of Johnson’s argument lies in his belief that the metaphysical poets could only correlate dissimilar ideas with violence, and that they could not fuse their analogies into a whole. Eliot remarks that this, however, is not the case and that many of the metaphysical poets have succeeded in combining heterogeneous ideas. Eliot quotes from Bishop King, Herbert and Cowley and other such poets to support his assertion. Thus, Eliot concludes that the fault Johnson references is not valid and the unity of heteroge neous ideas is com... ... as corrosive and cowardly. In the final lines of the poem, the prickly pear rhyme ends in a song about the end of the world. And this is how the world ends in the realm of the hollow men, â€Å"not with a bang, but with a sad and quiet whimper.† Eliot creates a desolate and alienated world where the hollow men dream of a kingdom that could release them from the constant state of nothingness. He focuses on the hollow men’s inability to transcend although it is their only hope. He uses the imagery of disembodied eyes and fading stars to depict the state of the men’s consciousness. Aspects of the form copy the characteristics of the hollow men, as well. The speakers desire to avoid speech and his inability to complete full sentences are shown in the final lines of the poem. Eliot deploys, the hollow men represent all humankind, and their tragic existence concerns everyone. Essay -- T. S. Eliot: Metaphysical Poetry, Prufrock and Hollow Men In the essay â€Å"The Metaphysical Poets,† T. S. Eliot explicates and praises the anti-Romantic and intellectual qualities of metaphysical poetry which Johnson had disapproved. Eliot writes â€Å"the poet must become more and more comprehensive, more allusive, more indirect in order to force, to dislocate if necessary, language into his meaning.† Eliot praised the metaphysical poets’ ability to find the verbal equivalent for states of mind and feeling while using clear, simple, pure language, and unexpected analogies to makes their reader sit up and consider a thought or emotion in a completely nuanced way, such language of metaphysical poetry is evident in Eliot’s poems, The Love Song of J. Alfred Prufrock, and The Hollow Men. Eliot states that the term metaphysical has been used as a term of abuse or as the label of a quaint and pleasant taste. Johnson himself, who employed the term ‘metaphysical poets’ with the poet Donne chiefly in mind, remarks, â€Å"the most heterogeneous ideas are yoked by violence together.† Johnson apprehended the metaphysical style where the â€Å"effects are due to a contrast of ideas, different in degree, but the same in principle.† The force of Johnson’s argument lies in his belief that the metaphysical poets could only correlate dissimilar ideas with violence, and that they could not fuse their analogies into a whole. Eliot remarks that this, however, is not the case and that many of the metaphysical poets have succeeded in combining heterogeneous ideas. Eliot quotes from Bishop King, Herbert and Cowley and other such poets to support his assertion. Thus, Eliot concludes that the fault Johnson references is not valid and the unity of heteroge neous ideas is com... ... as corrosive and cowardly. In the final lines of the poem, the prickly pear rhyme ends in a song about the end of the world. And this is how the world ends in the realm of the hollow men, â€Å"not with a bang, but with a sad and quiet whimper.† Eliot creates a desolate and alienated world where the hollow men dream of a kingdom that could release them from the constant state of nothingness. He focuses on the hollow men’s inability to transcend although it is their only hope. He uses the imagery of disembodied eyes and fading stars to depict the state of the men’s consciousness. Aspects of the form copy the characteristics of the hollow men, as well. The speakers desire to avoid speech and his inability to complete full sentences are shown in the final lines of the poem. Eliot deploys, the hollow men represent all humankind, and their tragic existence concerns everyone.

Nathaniel Mackeys Bedouin Hornbook Essay -- Nathaniel Mackey Bedouin

Nathaniel Mackey's Bedouin Hornbook A Bedouin is a nomad and a nomad a wanderer. Nathaniel Mackey seems to wander far and away in his Bedouin Hornbook, a series of fictional letters addressed to an â€Å"Angel of Dust† and signed by the ambiguous â€Å"N.† N. interprets passages of improvisation, analyzing others’ musical expression in surprising detail to the point that his unquestioning sincerity and self-assurance are almost laughable. That N. can glean meaning from music in such a direct and certain manner is problematic because his tone implies that there is only one correct interpretation of music. In addressing the issue of how music conveys meaning, Mackey seems to wander in two disparate directions. After asserting each seemingly contradictory view, first that music and speech are simply ends in themselves and second that they are means to a separate end, Mackey reconciles the question through his motivic discussion of absence and essence. In the first passage, Mackey draws out the nuances of this problem by directing two characters to argue over the meaning of a particular musical piece. He focuses on the style rather than the content of the dispute, suggesting that its value lies in the graceful unfolding of the argument itself. In the subsequent passage, N.’s lecture on â€Å"The Creaking of the Word† uses metaphor in such a way as to highlight the explosive possibility of words and music to transmit meaning. During the first episode, Mackey uses the same style of writing when N. repeats another character’s speech as when he reiterates another’s musical ideas, which confuses the boundary between music and speech. N. uses the same tone when retelling the verbal dispute between Lambert and Aunt Nancy as when interpreting La... ... Bottle’s] lecture/demonstration, as far as Djamilaa was concerned, would take the form of a serenade† (206). Here the forms of music and speech converge as one, signaling a convergence of their parallel roles throughout the novel. That the speech is an â€Å"after-the-fact† version, or a re-interpretation, is evidence of Mackey’s commitment to artistic evolution. The book ends in relative confusion: a phone rings repeatedly with no answer and Djamilaa wistfully dreams of a potentially shared blocked opera (208). Despite lacking a concrete conclusion, by raising and resolving numerous contradictions, the novel offers a complex and layered understanding of how meaning is conveyed through and in art. Mackey shows through words that music may be both a means and an end. Ultimately, Bedouin Hornbook pays homage to the wandering man and his wandering sport, improvisation.

Experimental Estimating Deflection of a Simple Beam Bridge Model Using Grating Eddy Current Sensors

Abstract: A novel three-point method using a grating eddy current absolute position sensor (GECS) for bridge deflection estimation is proposed in this paper. Real spatial positions of the measuring points along the span axis are directly used as relative reference points of each other rather than using any other auxiliary static reference points for measuring devices in a conventional method. Every three adjacent measuring points are defined as a measuring unit and a straight connecting bar with a GECS fixed on the center section of it links the two endpoints. In each measuring unit, the displacement of the mid-measuring point relative to the connecting bar measured by the GECS is defined as the relative deflection. Absolute deflections of each measuring point can be calculated from the relative deflections of all the measuring units directly without any correcting approaches. Principles of the three-point method and displacement measurement of the GECS are introduced in detail. Both static and dynamic experiments have been carried out on a simple beam bridge model, which demonstrate that the three-point deflection estimation method using the GECS is effective and offers a reliable way for bridge deflection estimation, especially for long-term monitoring. Keywords: three-point method; deflection estimation; relative deflection; absolute deflection; grating eddy current sensor (GECS) OPEN ACCESS Sensors 2012, 12 9988 1. Introduction. After a bridge is put into use, gradual deterioration is inevitable because of loading, temperature changes or other environmental factors. In order to guarantee the safety and durability of those bridges which are expensive and closely related with people’s livelihood, long-term and continuous structural health monitoring is an essential part of the maintenance management. Among the various structural performance evaluations, vertical deflection is an important parameter that can directly and effectively indicate a bridge ’s behavior. In terms of instrumentation for deflection estimation, there are contact and non-contact deflection estimation methods. Traditional displacement sensors such as mechanical dial gauges or linear variable differential transducers (LVDTs) are used in contact measurement, through which static or real-time displacement values can be obtained directly or fed into a computer for processing and displaying via a data cable. This method, however, requires access under the bridge and installation of a temporary supporting system to mount sensors, which is time consuming and not very efficienct. In addition, it might even be unavailable when bridges are over rivers, highways or have high clearance. Another contact sensor is the fiber optic Bragg-grating (FBG) sensor through which the deflection is calculated from the measured strain data and displacement-strain relationship [1,2]. In this way, however, the calculated displacement from strain data is sensitive to noise, and the sensors are expensive and must be embedded into the structure, which to a certain degree is difficult for bridges in service. To cope with those inconveniences in contact measuring methods, various non-contact approaches have been proposed. Based on the detection of the Doppler shift of the laser light, a laser Doppler vibrometer (LDV) equipped with displacement and velocity signal decoders can measure both bridge deflection and vibration simultaneously [3]. In this way, a static reference point (usually underneath the bridge) is needed for device mounting, and the device should be attended, which limits it’s usability for long-term monitoring. Among image methods, dynamic deflection with high resolution of the bridge can be obtained through using digital image processing techniques [4], while deflection distribution from the images of the bridge girder surface recorded by a digital camera before and after deformation can be evaluated by digital image correlation techniques [5], and digital close-range terrestrial photogrammetry (DCRTP) can measure the spatial coordination in three-dimensions [6,7]. Like the LDV, devices such as video cameras used in image methods cannot be left unattended and they are easily affected by weather conditions. Use of a Global Positioning System (GPS) can provide spatial locations of the measuring points on the bridge in real-time by comparing with a continuing operational reference station (CROS). It offers a long-term monitoring approach without being affected by climatic factors [8,9], but due to its relatively low accuracy, it is only applied to those bridges with significant deformations. All the non-contact methods mentioned above, although they differ in instrumentation, have one thing in common, a static reference point or CROS that is kept a certain distance away from the bridge is selected for installation of the measuring device, otherwise measurements cannot be carried out. Another method is using inclinometers which can be installed on the bridge directly along a line paralleling the bridge span axis [10,11], and both static and dynamic deflection time history curves can be calculated through curve-fitting technology based on the accurate angle records of the inclinometers. An outstanding feature of the inclinometer is that static reference Sensors 2012, 12 9989 points mentioned above are no longer needed. This approach reduces the dependence on environmental conditions and it is suitable for long-term monitoring. To avoid those deficiencies in conventional estimating deflection methods mentioned above, a novel three-point deflection estimation method is presented in this paper. Measuring points along lines paralleling the bridge span axis are chosen equidistantly. Among these measuring points, every three adjacent measuring points are defined as a measuring unit in which a straight connecting bar linking the two endpoints is taken as a relative reference line. Relative deflection of the mid-measuring point relative to the intermediate point of the connecting bar on which a displacement sensor is fixed can be measured, and thus the absolute deflection of each measuring point can be calculated from the relative deflections of all the measuring units. Compared with the contact and non-contact methods mentioned above, only real spatial positions of the measuring points are taken as relative references without any other static reference points. Moreover, the selected displacement sensor is the grating eddy current absolute position sensor (GECS) which is different from traditional eddy current sensors based on vertical characteristics [12,13]. Since the structure of grating reflective conductors is adopted, the measurement range is extended but without compromising the accuracy. In addition, as an inductive sensor, the GECS is waterproof and dustproof in principle, thus it can work under bad weather conditions, which makes it ideal for long-term monitoring. In this paper, both the principles of the three-point method and displacement measurement of the GECS are presented. Then, this three-point method for deflection estimation is verified in a simply supported girder bridge model in the laboratory. Comprehensive static and dynamic experiment results on the laboratory tests demonstrate this method is effective and offers an alternative way for bridge deflection estimation.

The ministers black veil and the birthmark questions

The ministers black veil and the birthmark questions and answers BY kassadi2012 The Ministers Black Veil: 1 . What is the Serman's subject on the first day that Mr. Hooper wears the black veil? a. It had reference to the secret sin. The ones we hide from everyone, even ourselves. Everyone felt like he had crept upon them and knew all their secrets. 2. Who is Elizabeth? a. She is the minister's fianc ©. 3. Explain the effect the black veil has on the wedding that Mr. Hooper performs. a.It was a distraction to the wedding and many people said it resembled evil. . Why does Mr. Hooper's fianc © cancel their wedding? a. She asked him to remove the veil and he refused so she left him. 5. When Mr. Hooper is on his death bed, what does he say he sees in the faces of everyone? Why is this important to the story? a. A black veil. This is meaning that everyone has secret sin and that they are all living in hypocracy. The Birth Mark: 6. How does Aylmer Feel about Georgiana's birthmark? How d oes Georgiana feel about it? . Aylmer thinks it's a physical mark of earthly imperfection. At first she likes it. 7. What does her birthmark look like? Where is it located? Why is it important? a. It looked like a red stain on her check that resembles a tiny hand. Men told her a fairly must have placed a hand on her when she was born. Woman saw it as a flaw. 8. Summarize the dream Aylmer had about his wife's birthmark and his attempt to remove it. a. He had a dream that him and his assistant were operating on his wife to remove the birthmark from her face.The deeper he would cut the deeper in the irthmark would go until the tiny hand grasped her heart. 9. Who is Aminadab? What is his role in the story and what can he be compared to? a. He is Aylmer's lab assistant. He helps remove the birthmark in the dream Aylmer had. He also is his assistant when Aylmer really tries to remove it. He doesn't know much about science he is Just doing what he is told. He represents the body. 10. What happens at the end of the story? Why does this happen? a. She dies. It shows that you should not try to change someone.