William Faulkner s A Rose For Emily - 1682 Words

Lisa Lyons Professor Amy Green Writing about Literature COM1102 Oct. 06, 2015 William Faulkner s A Rose for Emily is a short story that has also been adapted into a short film; both have been largely debated. Faulkner’s lack of a normal chronology and situation-triggered memories generates a story that has many understandings among its readers, but surprises everyone at the end. When asked about the title of his story, Faulkner said, [The title] was an allegorical title; the meaning was, here was a woman who had had a tragedy, an irrevocable tragedy and nothing could be done about it, and I pitied her and this was a salute . . . to a woman you would hand a rose. (Faulkner, William 1966 ;) He gave a humble explanation, for such a complex story. Death and transformation are the main theme in Faulkner’s short story, being a sign of the crumbling of the Old South after their military defeat by the North, as Emily’s suggested necrophilia echoes the desire to hang on to the past and its traditions. Through flashbacks and foreshadowing, Faulkner addresses the struggle of traditional versus progress in Jefferson, the south being a region bound by history and tradition, class and social influence. Emily represents to generations before and after her old South nobility. Even the town s people are having a hard time letting go of old southern societal ideals. Their obsession with Emily and her family is a sign of society s way of holding on to these old values. The narratorShow MoreRelatedWilliam Faulkner s A Rose For Emily951 Words   |  4 Pagesliterary Response to â€Å"A Rose for Emily† â€Å"A Rose for Emily† by William Faulkner was published in 1930. This short story is set in an old southern town. I believe that this and several other combinations of events are what made the main character Miss Emily go insane. Miss Emily was an old school southern woman trapped in a modernizing society. She tried desperately to keep to her old ways, but the changes that happened around her were inevitable. This made me feel like something was going to goRead MoreWilliam Faulkner s A Rose For Emily1316 Words   |  6 Pagesminuscule detail in the writing. In order to fully enjoy William Faulkner’s â€Å"A Rose for Emily† readers must do the latter. Faulkner is a witty writer; some symbols are less obvious than others in his writing. To fully appreciate and obtain full meaning of the text readers must pay attention to his symbols and how they contribute to the greater theme. William Faulkner uses symbolization in â€Å"A Rose for Emily† to develop a theme of personal struggle. Emily faces many personal struggles: her relationship withRead MoreWilliam Faulkner s A Rose For Emily1181 Words   |  5 Pages Is William Faulkner s A Rose for Emily iconic American literature? Faulkner uses setting, theme and plot to show the ways â€Å"A Rose for Emily† is an iconic American literature. Faulkner saw the Forum magazine with his short story he wrote, â€Å"A Rose for Emily† and found out that was his first national publication. The Mississippi Writers Page says, â€Å"The man himself never stood taller than five feet, six inches tall, but in the realm of American literature, William Faulkner is a giant† (MWP). Read MoreWilliam Faulkner s A Rose For Emily1528 Words   |  7 Pagespoint of view is A Rose for Emily told? Why? In William Faulkner s short story A Rose for Emily the reader is given the account of an old woman who is rejected by society. The reader is acquainted with Miss Emily Grierson by a spectator, somebody who is not Miss Emily, but rather part of the town that rejects her. The storyteller has a somewhat omniscient perspective, knowing more than the normal town s individual, however not all that matters there is to think about Miss Emily. The storytellerRead MoreWilliam Faulkner s A Rose For Emily1801 Words   |  8 Pages William Faulkner is known for his many short stories, however, many has wondered what has influenced him in writing these stories. Like his well known, most famous short story â€Å"A Rose for Emily†, which has always been compared to â€Å"Barn Burning†, one of Faulkner’s other short story. It only make sense to compare them two together because these two stories has may similarities , whether it may be in setting , characters or style they favor each other . Nevertheless they also have many differencesRead MoreWilliam Faulkner s A Rose For Emily957 Words   |  4 PagesBereavement While a â€Å"Rose for Emily† by William Faulkner and â€Å"A Good Man is Hard to Find† by Flannery O’Connor share the common themes of unexpected death and the old south, the murders found in each story are vastly different. Both stories tell of strong female protagonists who don’t cope well with change and both foreshadow death right from the beginning, but the murderers themselves come from completely different worlds. Emily Grierson of â€Å"A Rose for Emily and the grandmother in â€Å"ARead MoreWilliam Faulkner s A Rose For Emily879 Words   |  4 Pagesare both similar due to how these emotions cause a human to act irrationally. The lone woman in A Rose for Emily and the cashier, Sammy, in A P both portrayed a greater sense of hate which overcame their love. We as humans, capable of powerful emotion typically act too quickly to even understand the consequences of our actions. One prime example is portrayed in William Faulkner’s A Rose for Emily, Emily loved Homer tremendously, however he did not feel the same way †he liked men, and it was knownRead MoreWilliam Faulkner s A Rose For Emily854 Words   |  4 Pages Literary Response to â€Å"A Rose for Emily† â€Å"A Rose for Emily† by William Faulkner was published in 1930. This short story is set in an old southern town. I believe that this and several other combinations of events are what made the main character Miss Emily go insane. Miss Emily was a old school southern woman trapped in a modernizing society. She tried desperately to try and keep to her old ways, but the changes were inevitable. This made me feel like something was going to go wrong very early inRead MoreWilliam Faulkner s A Rose For Emily1810 Words   |  8 Pages William Faulkner is one amazing writing ,who is known for his many short stories .However, many has wondered what has influenced him in writing these stories . Like his well known, most famous short story â€Å"A Rose for Emily†, which has always been compared to â€Å"Barn Burning†, one of Faulkner’s other short story. It only make sense to compare them two together because these two stories has may similarities , whether it may be in setting , characters or style they favor each other . NeverthelessRead MoreWilliam Faulkner s A Of The Sky And A Rose For Emily1540 Words   |  7 Pagesgeneral has affected all societies in all time periods, and reading is more than just an everyday task. These two authors affected society in their time, with their reappraising stories: A Horseman In The Sky and A Rose For Emily. However, William Faulkner (author of A Rose For Emily) and Ambrose Bierce (author of A Horseman In The Sky) have different views and affects on so ciety by when the particular story was published, the use of figurative language, and different genres. Back in the time of

The Pros And Cons Of Gay And Lesbians - 1447 Words

Most people believe that they deserve the rights they are granted by the government. An upstanding citizen who pays their taxes, serves their community and abides by the law should be afforded the rights of an American. However, not all citizens are afforded equal rights. Gay and lesbians are consistently denied rights that are typically taken for granted by the average American. Specifically, gay and lesbians couples are denied the right to marry even if they are upstanding citizens. They are held at an unfair disadvantage solely because of their sexual orientation. This discrimination must stop because gay and lesbian couples are law-abiding citizens too, who should be afforded the same rights as heterosexual couples. One common†¦show more content†¦The ones who suffer the greatest repercussions of such prejudices are the children of gay and lesbian couples. Non-biological children of gays and lesbians cannot receive survivor benefits if the deceased partner did not legally adopt them. But how is this related to whether or not homosexuals should be allowed to marry? Same-sex couples do have the privilege of adopting children to begin a family of their own. However, they are often rejected because of their unmarried status. Even if the government does not wish to provide some financial security for homosexual couples, it should not punish the children of such relationships. The government directly discriminates against the children of same-sex marriages by not allowing them the same rights as children who have heterosexual parents. Children do not chose who their parents are regardless of your stance on the issue. The Human Rights Campaign has adopted the idea that, â€Å"any change mu st also define survivor to include non-biological children of gays and lesbians found in the changing American family† (Survivor Benefits 2). This is absolutely necessary because it is absurd that innocent children are being denied basic rights due to the sexual orientation of their parents. Death is a painful enough experience; nobody should not have to worry about their financial standings with the government after dealingShow MoreRelatedEssay on The Pros and Cons of Gay Marriage1019 Words   |  5 Pagesin many countries. Leaders punish their own citizens by jail, or even death, for being gay. In the United States, however, many states allow gay marriage. Some people approve of it, but also, some do not. Society also plays a big part in the gay marriage legalization process. Same-sex marriage is a major controversial issue in the United States; specific examples would be the views of Americans, pros and cons of same-sex marriage, and the reality of it in the United State s. The views of AmericansRead MoreThe Pros and Cons of Gay Marriage1370 Words   |  6 PagesThe Pros and Cons of Gay Marriage LP 3: Argumentative Essay Patty Waters NAU Composition II Sue Cochran, Instructor Sunday, March 24, 2013 Abstract This essay covers the pros and cons concerning gay marriage. You will discover some new laws and amendments that are about to happen in our country, and some things that people are against. There are many issues that will be covered from rights and benefits to getting married legally. You will read reports, stories and articles from lawyersRead MoreGay Marriage Should Be Legal1810 Words   |  8 PagesA gay couple from Indianapolis who have waited to marry for years have been quoted as saying: â€Å"We re positive because the mindset in this nation seems to be that it is unconstitutional to say that our marriages are different from any other marriage.† (pro-con,1) This means that gay people are staying optimistic. Prohibiting gay marriage is considered discrimination to gays because the government is not giving homosexual couples the same rights as gay heterosexuals, which is also unconstitutionalRead MoreFemme Fatale - Original Writing1299 Words   |  6 PagesThese are some of the typical things your average femme lesbian prides herself on. These are some of the things I pride myself on. My appearance constitutes a large part of my identity and self image. I am your standard girl next-door, except, I am not waiting on that handsome athletic jock to hit on me, I m waiting on the other girl next-door to come swoop me off my feet and ride into the sunset with. As lesbians, we assume we have a certain amount of gaydar ingrainedRead MoreLegalizing Gay Marriage Essay examples1290 Words   |  6 Pageshas existed on this Earth, but the question is, what makes it so wrong? During my research I have yet to find a legitimate reason as to why homosexuality is so wrong. With homosexual relationships, comes the question about homosexual marriage. Should gay marriage become legal in all fifty United States, or should it stay illegal in some states and remain legal in others? Most of society’s issues and controversies come forth when subjects like religion, the home life, and values are discussed. The realRead MoreSynthesis Essays1243 Words   |  5 PagesGay/Lesbian Families Adoption is an extremely sensitive subject,(insert dash) especially for individuals who are Gay or Lesbian. There is much controversy on the topic. There are a variety of ways to which it isn’t possible for a couple to adopt. Infertility is becoming a greater problem in our time. In Gerald P. Mallon’s article, â€Å"Assessing Lesbian and Gay Prospective Foster and Adoptive Families: A Focus on the Home Study Process,† in 2007. He introduces a few different ways gay men and lesbianRead MorePros and Cons of Same Sex Marriage1734 Words   |  7 PagesPros and Cons of Same Sex Marriage Jasmaine Joseph April 19, 2013 Final Grade Same sex marriage is when two people with the same gender get married. Most people label it as homosexual, gay or lesbian marriage. Allowing same gender couples to legally marry is considered to be one of the most important of all  LGBT rights. Same sex marriage isn’t hurting anyone, personal I don’t have a problem with it. People should love and be able to marry anyone they please. America isRead MoreEssay on Gay Marriage 1616 Words   |  7 Pages Gay marriage is a very talked about topic in are country that shouldn’t be ignored. I believe men and women should be able to love freely and not be shamed by it. Marriage is a great factor in the United States. To some people it’s what we live for; is to get married and start a family. To not give everyone the same opportunity to have a happy marriage and family is unlike us. This problem is bringing a lot of hate, the same hate that was used in racial discrimination so why not give gays equalRead MoreThe D ebate on Homosexuals Adopting Children Essay1086 Words   |  5 Pagesmarriage? Does it make the child happy? Some people say it’s better for a child to be in a gay marriage home than in foster care homes. In the other hand, other people say that it’ll affect children mentally and will be raised in the wrong way. In an online blog, Alpen Gideon describes the discussions people have over homosexual marriages adopting children. One of the discussions is that the child could become gay for being raised by a homosexual marriage. Parents are the role models that the childrenRead MoreShould Same Sex Couples Be Allowed to Adopt?954 Words   |  4 Pageshomosexuality will influence (Marquardt), the children into becoming gay but that only seems to be a form of someones opinion instead of a fact.There are logical explanations to allow gays to adopt, but the main issue is, what the best interest is for the child involved in the situation. A plethora of people have come to the conclusion that gays have it better (Cooney), than everyone else that is not necessarily true. Gays are constantly assaulted and bullied every single day because of sexual

Night World Huntress Chapter 12 Free Essays

Jez kept one hand on the kid as they walked up the stairs under the dirty fluorescent bulbs. She could only imagine what Iona must be thinking as they shepherded her to the top. They came out on the roof into slanting afternoon sunlight. We will write a custom essay sample on Night World : Huntress Chapter 12 or any similar topic only for you Order Now Jez gave Iona’s shoulder a little squeeze. â€Å"See-there’s the garden.† She nodded toward a potted palm and three wooden barrels with miscellaneous wilted leaves in them. Iona glanced that way, then gave Jez a sober look. â€Å"They’re not getting enough water,† she said as quietly as she said everything. â€Å"Yeah, well, it didn’t rain enough this summer,† Morgead said. â€Å"You want to fix that?† Iona just looked seriously at him. â€Å"Look, what I mean is, you’ve got the Power, right? So if you just want to show us right now, anything you want, be my guest. It’ll make things a lot simpler. Make it rain, why don’t you?† Iona looked right at him. â€Å"I don’t know what you’re talking about.† â€Å"I’m just saying that there’s no reason for you to get hurt here. We just want to see you do something like what you did the night of the fire. Anything. Just show us.† Jez watched him. There was something incongruous about the scene: Morgead in his high boots and leather jacket, iron-muscled, sleek, sinewy, on one knee in front of this harmless-looking kid in pink pants. And the kid just looking back at him with her sad and distant eyes. â€Å"I guess you’re crazy,† Iona said softly. Her pigtails moved as she shook her head. A pink ribbon fluttered loosely. â€Å"Do you remember the fire?† Jez said from behind her. â€Å"Course.† The kid turned slowly around. â€Å"I was scared.† â€Å"But you didn’t get hurt. The fire got close to you and then you did something. And then the fire went away.† â€Å"I was scared, and then the fire went away. But I didn’t do anything.† â€Å"Okay,† Morgead said. He stood. â€Å"Maybe if you can’t tell us, you can show us.† Before Jez could say anything, he was picking up the little girl up and carrying her. He had to step over a line of debris that stretched like a diagonal wall from one side of the roof to the other. It was composed of telephone books, splintery logs, old clothes, and other odds and ends, and it formed a barrier, blocking off a corner of the roof from the rest. He put Iona in the triangle beyond the debris. Then he stepped back over the wall, leaving her there. Iona didn’t say anything, didn’t try to follow him back out of the triangle. Jez stood tensely. The kid’s a Wild Power, she told herself. She’s already survived worse than this. And no matter what happens, she’s not going to get hurt. I promised her that. But she would have liked to be telepathic again just for a few minutes, just to tell the kid one more time not to be scared. She especially wanted to as Val and Raven poured gasoline on the wall of debris. Iona watched them do it with huge sober eyes, still not moving. Then Pierce lit a match. . The flames leaped up yellow and blue. Not the bright orange they would have been at night. But hot. They spread fast and Jez could feel the heat from where she was standing, ten feet away. The kid was closer. She still didn’t say anything, didn’t try to jump over the flames while they were low. In a few moments they were high enough that she couldn’t jump through them without setting herself on fire. Okay, Jez thought, knowing the kid couldn’t hear her. Now, do it! Come on, Iona. Put the fire out. Iona just looked at it. She was standing absolutely still, with her little hands curled into fists at her sides. A small and lonely figure, with the late afternoon sun making a soft red halo around her head and the hot wind from the fire rippling her pink-trimmed shirt. She faced the flames dead-on, but not aggressively, not as if she were planning to fight them. Damn; this is wrong, Jez thought. Her own hands were clenched into fists so tightly that her nails were biting into her palms. â€Å"You know, I’m concerned,† Pierce said softly from just behind her. â€Å"I have a concern here.† Jez glanced at him quickly. Pierce didn’t talk a lot, and he always seemed the coldest of the group-aside from Morgead, of course, who could be colder than anyone. Now Jez wondered. Could he, who never seemed to be moved by pity, actually be the most sensitive? â€Å"I’m worried about this fire. I know nobody can look down on us, but it’s making a lot of smoke. What if one of the other tenants comes up to investigate?† Jez almost hit him. This is not my home, she thought, and felt the part of her that had sighed and felt loved and understood wither away. These are not my people. I don’t belong with them. And Pierce wasn’t worth hitting. She turned her back on him to look at Iona again. She was dimly aware of Morgead telling him to shut up, that other tenants were the least of their worries, but most of her attention was focused on the kid. Come on, kid! she thought. Then she said it out loud. â€Å"Come on, Iona! Put out the fire. You can do it! Just do what you did before!† She tried to catch the child’s eye, but Iona was looking at the flames. She seemed to be trembling now. â€Å"Yeah, come on!† Morgead said brusquely. â€Å"Let’s get this over with, kid.† Raven leaned forward, her long front hair ruffling in the wind. â€Å"Do you remember what you did that night?† she shouted seriously. â€Å"Think!† Iona looked at her and spoke for the first time. â€Å"I didn’t do anything!† Her voice, so composed before, was edging on tears. The fire was full-blown now, loud as a roaring wind, sending little bits of burning debris into the air. One floated down to rest at Iona’s foot and she stepped backward. She’s got to be scared, Jez told herself. That’s the whole point of this test. If she’s not scared, she’ll never be able to find her Power. And we’re talking about saving the world, here. We’re not just torturing this kid for fun†¦. It’s still wrong. The thought burst out from some deep part of her. Jez had seen a lot of horrible things as a vampire and a vampire hunter, but suddenly she knew she couldn’t watch any more of this. I’m going to call it off. She looked at Morgead. He was standing tensely, arms folded over his chest, green eyes fixed on Iona as if he could will her into doing what he wanted. Raven and Val were beside him, Raven expressionless under her fall of dark hair; Val frowning with his big hands on his hips. Thistle was a step or so behind them. â€Å"It’s time to stop,† Jez said. Morgead’s head whipped around to look at her. â€Å"No. We’ve gotten this far; it would be stupid to have to start all over again. Would that be any nicer to her?† â€Å"I said, it’s time to stop. What do you have to put out the fire-or did you even think of that?† As they were talking, Thistle stepped forward. She moved right up to the flames, staring at Iona. â€Å"You’d better do something fast,† she shouted. â€Å"Or you’re going to burn right up.† The childish, taunting tone caught Jez’s attention, but Morgead was talking to her. â€Å"She’s going to put it out any minute now. She just has to be frightened enough-â€Å" â€Å"Morgead, she’s absolutely terrified already! Look at her!† Morgead turned. Iona’s clenched fists were now raised to chest-level; her mouth was slightly open as she breathed far too fast. And although she wasn’t screaming or crying like a normal kid, Jez could see the tremors running through her little body. She looked like a small trapped animal. â€Å"If she’s not doing it now, she’s never going to,† Jez told Morgead flatly. â€Å"It was a stupid idea in the first place, and it’s over!† She saw the change in his green eyes; the flare of anger and then the sudden darkness of defeat. She realized that he was going to cave. But before he could say anything, Thistle moved forward. â€Å"You’re gonna die!† she shrilled. â€Å"You’re gonna burn up right now!† And she began kicking flaming debris at Iona. Everything happened very fast after that. The debris came apart in a shower of sparks as it flew toward Iona. Iona’s mouth came open in horror as she found fiery garbage swirling around her knees. And then Raven was yelling at Thistle, but Thistle was already kicking more. A second deluge of sparks hit Iona. Jez saw her put up her hands to protect her face, then fling her arms out as a piece of burning cloth settled on her sleeve. She saw the sleeve spurt with a tiny flame. She saw Iona cast a frantic look around, searching for a way to escape. Morgead was dragging Thistle back by her collar. Thistle was still kicking. Sparks were everywhere and Jez felt a hot pain on her cheek. And then Iona’s eyes went enormous and blank and fixed and Jez could see that she’d made some decision, she’d found some way to get out of this. Only not the right one. She was going to jump. Jez saw Iona turn toward the edge of the roof, and she knew in that same instant that she couldn’t get to the child in time to stop her. So there was only one thing to do. Jez only hoped she would be fast enough. She very nearly wasn’t. But there was a two-foot wall at the roof’s perimeter, and it delayed Iona for a second as she scrambled onto it. That gave Jez a second to leap through the fire and catch up. And then Iona was on the wall, and then she was launching her small body into empty space. She jumped like a flying squirrel, arms and legs outspread, looking down at the three-story drop. Jez jumped with her. Jez! The telepathic shout followed her, but Jez scarcely heard it. She had no idea who had even said it. Her entire consciousness was focused on Iona. Maybe some part of her was still hoping that the kid had magic and could make the wind hold her up. But it didn’t happen and Jez didn’t waste time thinking about it. She hit Iona in midair, grabbing the small body and hanging on. It was something no human could have done. Jez’s vampire muscles instinctively knew how to handle this, though. They twisted her as she fell, putting her underneath the child in her arms, putting her legs below her like a cat’s. But of course Jez didn’t have a vampire’s resistance to injury. She knew perfectly well that when she hit, the fall would break both her legs. In her weakened state it might well kill her. It should save the kid, though, she thought unemotionally as the ground rushed up to meet her. The extra resiliency of Jez’s flesh would act as a cushion. But there was one thing Jez hadn’t thought of. The trees. There were discouraged-looking redbud trees planted at regular intervals along the cracked and mossy sidewalk. None of them had too much in the way of foliage even in late summer, but they certainly had a lot of little branches. Jez and the kid crashed right into one of them. Jez felt pain, but scratching, stabbing pain instead of the slamming agony of hitting the sidewalk. Her legs were smashing through things that cracked and snapped and poked her. Twigs and branches. She was being flipped around as some of the twigs caught on her jeans and others snagged her leather jacket. Every branch she hit decreased her velocity. So when she finally crashed out of the tree and hit concrete, it merely knocked the wind out of her. Black dots danced in front of her eyes. Then her vision cleared and she realized that she was lying on her back with Iona clutched to her stomach. Shiny redbud leaves were floating down all around her. Goddess, she thought. We made it. I don’t believe it. There was a dark blur and something thudded against the sidewalk beside her. Morgead. He landed like a cat, bending his knees, but nice a big cat. A three-story jump was pretty steep even for a vampire. Jez could see the shock reverberate through him as his legs hit concrete, and then he fell forward. That must hurt, she thought with distant sympathy. But the next instant he was up again, he was by her side and bending over her. â€Å"Are you all right?† He was yelling it both aloud and telepathically. His dark hair was mussed and flying; his green eyes were wild. â€Å"Jez!† Oh. It was you who yelled when I jumped, Jez thought. I should have known. She blinked up at him. â€Å"Of course I’m all right,† she said hazily. She tugged at the kid lying on her. â€Å"Iona! Are you all right?† Iona stirred. Both her hands were clutching Jez’s jacket in front, but she sat up a little without letting go. There was a burned patch on her sleeve, but no fire. Her velvety brown eyes were huge-and misty. She looked sad and confused. â€Å"That was really scary,† she said. â€Å"I know.† Jez gulped. She wasn’t any good at talking about emotional things, but right now the words spilled out without conscious effort. Tm sorry, Iona; I’m so sorry, I’m so sorry. We shouldn’t have done that. It was a very bad thing to do, and I’m really sorry, and we’re going to take you home now. Nobody’s going to hurt you. We’re going to take you back to your mom.† The velvety eyes were still unhappy. Tired and unhappy and reproachful. Jez had never felt like more of a monster, not even that night in Muir Woods when she had realized she was hunting her own kind. Iona’s gaze remained steady, but her chin quivered. Jez looked at Morgead. â€Å"Can you erase her memory? I can’t see any reason why she should have to remember all this.† He was still breathing quickly, his face pale and his pupils dilated. But he looked at Iona and nodded. â€Å"Yeah, I can wipe her.† â€Å"Because she’s not the Wild Power, you know,† Jez said levelly, as if making a comment about the weather. Morgead flinched. Then he shoved his hair back with his knuckles, his eyes shutting briefly. â€Å"She’s an extraordinary kid, and I don’t know exactly what she’s going to be-maybe President or some great doctor or botanist or something. Something special, because she’s got that inner light- something that keeps her from getting mad or mean or hysterical. But that’s got nothing to do with being a Wild Power.† â€Å"All right! I know, already!† Morgead yelled, and Jez realized she was babbling. She shut up. Morgead took a breath and put his hand down. â€Å"She’s not it. I was wrong. I made a bad mistake. Okay?† â€Å"Okay.† Jez felt calmer now. â€Å"So can you please wipe her?† â€Å"Yes! I’m doing it!† Morgead put his hands on Iona’s slender shoulders. â€Å"Look, kid, I’m-sorry. I never thought you’d-you know, jump like that.† Iona didn’t say anything. If he wanted forgiveness, he wasn’t getting it. He took a deep breath and went on. â€Å"This has been a pretty rotten day, hasn’t it? So why don’t you just forget all about it, and before you know it, you’ll be home.† Jez could feel him reach out with his mind, touching the child’s consciousness with his Power. Iona’s eyes shifted, she looked at Jez uncertainly. â€Å"It’s okay,† Jez whispered. â€Å"It won’t hurt.† She hung on to Iona’s gaze, trying to comfort her as Morgead’s suggestions took hold. â€Å"You don’t ever have to remember this,† Morgead said, his voice soothing now. Gentle. â€Å"So why don’t you just go to sleep? You can have a little nap†¦ and when you wake up, you’ll be home.† Iona’s eyelids were closing. At the last possible second she gave Jez a tiny sleepy smile-just the barest change of expression, but it seemed to ease the tightness in Jez’s chest. And then Iona’s lashes were lying heavy on her cheeks and her breathing was deep and regular. Jez sat up and gently put the sleeping child on the sidewalk. She smoothed back one stray pigtail and watched the little chest rise and fall a couple of times. Then she looked up at Morgead. â€Å"Thanks.† He shrugged, exhaling sharply. â€Å"It was the least I could do.† Then he gave her an odd glance. Jez thought of it at the same instant. She was the one so concerned about the child-why had she asked Morgead to wipe her memory? Because I can’t do it, she thought dryly. Out loud she said, â€Å"I’m really kind of tired, after everything that’s happened today. I don’t have much Power left.† â€Å"Yeah†¦Ã¢â‚¬  But his green eyes were slightly narrowed, searching. â€Å"Plus, I hurt.† Jez stretched, gingerly testing her muscles, feeling every part of her protest. The searching look vanished instantly. Morgead leaned forward and began to go over her with light, expert fingers, his eyes worried. â€Å"Can you move everything? What about your legs? Do you feel numb anywhere?† â€Å"I can move everything, and I only wish I felt numb somewhere.† â€Å"Jez-I’m sorry.† He blurted it out as awkwardly as he had to the child. ‘I didn’t mean †¦ I mean, this just hasn’t turned out the way I planned. The kid getting hurt-you getting hurt. It just wasn’t what I had in mind.† The kid getting hurt? Jez thought. Don’t tell me you care about that. But there was no reason for Morgead to lie. And he did look unhappy-probably more unhappy than Jez had ever seen him. His eyes were still all pupil, as if he were scared. I’m not hurt,† Jez said. It was all she could think of. She felt dizzy suddenly-uncertain and a little giddy, as if she were still tumbling off the roof. â€Å"Yes, you are.† He said it with automatic stubbornness, as if it were one of their arguments. But his hand reached out to touch her cheek. The one that had been hit by burning debris. It hurt, but Morgead was touching so lightly†¦. Coolness seemed to flow from his fingers, seeping into the burn and making it feel better. Jez gasped. â€Å"Morgead-what are you doing?† â€Å"Giving you some Power. You’re low and you need it.† Giving her Power? She’d never heard of such a thing. But he was doing it. She could feel her skin healing itself faster, could feel his strength pour into her. It was a strange sensation. It made her shiver inwardly. â€Å"Morgead†¦Ã¢â‚¬  His eyes were fixed on her face. And suddenly they were all Jez could see; the rest of the world was a blur. All she could hear was the soft catch in his breath; all she could feel was the gentleness of his touch. â€Å"Jez†¦Ã¢â‚¬  They were leaning toward each other, or falling. It was that silver thread between them, shortening, pulling. They had nothing to grab on to but each other. And then Morgead’s arms were around her and she felt his warm mouth touch hers. How to cite Night World : Huntress Chapter 12, Essay examples

Compare and contrast Jackie Kays presentation Essay Example For Students

Compare and contrast Jackie Kays presentation Essay ‘Yellow’, by Jackie Kay, is a poem where Kay remembers her deprived childhood, linking many of her memories to the colour yellow. ‘Brendon Gallacher’, another poem by Jackie Kay, is a poem where Kay recalls the death of her imaginary friend. Both poems explore aspects of Kay’s childhood in very similar yet illustrative fashion.  In ‘Yellow’, Kay utilises a negative and depressing tone to convey the desperate situation that her family was in and, also, she opts not to use a rhyme scheme in order to portray the lack of liveliness in her childhood. The poem’s acoustics display more sadness especially when Kay’s mother ‘weeps’ creating the impression of a tearful experience, thus further emphasising the sadness in Kay’s own childhood. Meanwhile, in ‘Brendon Gallacher’, Kay uses a contrasting tone to convey the change in her feelings. The first three stanzas have a bright and cheerful tone which shifts to a depressed one in the final two stanzas, resembling her sadness at the death of Brendon. The poem’s acoustics appear like pleading with Kay’s constant repetition of ‘my Brendon Gallacher’. As in ‘Yellow’, Kay does not utilise a rhyme scheme again. In both poems, it is obvious from the poignant acoustics and lack of rhyme that there is dullness engulfing her childhood. The reader first catches sight of Kay’s poor relations with family members in ‘Yellow’. Kay’s expert use of direct speech is vital to portray the members of her family: ‘Now look here Comrade!’; ‘Not listening’; and ‘Don’t be fussy!’ The direct speech is essential to accurately capture the personalities of her seemingly rude and distant family. She doesn’t get on well with her father, aunt and brother; only with her mother. Further implications of her tarnished childhood emerge in ‘Brendon Gallacher’. Kay’s constant repetition of ‘my Brendon Gallacher’ suggests that she is infatuated with him. However, the very need to invent such a figure, as well as her childlike state, could be a result of loneliness. Again, this links with ‘Yellow’ where the reader is given first hand coverage of the tensions in her family. It is obvious from both poems that Kay was deprived of the stereotypical family life that a child deserves during childhood. Both poems illustrate the lack of a father for Kay. In ‘Brendon Gallacher’, Kay depicts Brendon with details that resemble her, claiming that ‘his father was in prison’. By displaying this aspect of Brendon’s life, the reader is elucidated to the symbol that it is her father who is confined elsewhere, not in a literal sense, but from her. In ‘Yellow’, Kay’s father appears briefly and he ‘barks at cowardly comrades’. The alliteration puts emphasis on the word ‘comrade’ implying some sort of Communist association. Kay verifies this in ‘Yellow’ – describing her dad as a ‘communist party full time worker’. Without her father, yet again the reader can sense solitude with only her mother repeatedly there for comfort.  In both ‘Yellow’ and ‘Brendon Gallacher’, Kay presents childhood very similarly: it is grim and lonely but, more worryingly, her mind appears disturbed, summarised by the sombre simile: ‘Two white sweet pickled onions stare like blind eyes.’ The simile mirrors Kay herself – a blind child whose sensation of childhood has vanished.

Ball Mill free essay sample

CHAPTER 1- INTRODUCTION Ball Mill plays an important role in paint industry. The manufacture of pigmented paint involves the dispersion of the pigments into binder and solvent components. This is an important part in the manufacturing process of paints. For this purpose grinding devices like ball mill, bead mill, sand grinder, roll mill or high-speed grinders are used. Though compared to ball mill the other devices provide better dispersion, they require constant attention, semi-skilled labor, high power requirements and have low rate of production, making the ball mill an important and significant part of paint industry. This report comprises of basic information related to paints, principles of grinding, the use of ball mill in paint industry, factors governing the efficiency of mill and various technological aspects regarding the use of ball mill in paint industry. CHAPTER 2- PAINT 2. 1 Paint It is a coating consisting mainly of resin, a solvent, additives, and pigments. We will write a custom essay sample on Ball Mill or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page It made its earliest appearance about 30,000 years ago. Cave dwellers used crude paints to leave behind the graphic representations of their lives that even today decorate the walls of their ancient rock dwellings [1]. 2. 2 Components of paint Paint comprises of various components. They are as follows: Pigments- Pigments are finely ground particles or powders that are dispersed in paints. They impart qualities such as color and opacity and influence properties such as gloss, film flow, and protective abilities. They can be categorized into two main types: 1. Prime or hiding pigments- They provide whiteness and color. They are also a source of hiding capacity. Eg- TiO2. They also protect the substrate from the harmful effects of ultraviolet light. 2. Inert or extender pigments-Extender pigments or extenders provide bulk at relatively low cost. They impact many properties like sheen, scrub resistance, exterior color retention [2]. Binder- It is the actual film forming component of the paint. It imparts adhesion, binds the pigments together, and strongly influences properties such as gloss, exterior durability, flexibility, and toughness. Binders include synthetic or natural resins such as acrylics, polyurethanes, polyesters, melamine resins, epoxy or oils [2]. Solvent Vehicle- Solvent is used to adjust the viscosity of the paint. Vehicle acts as a carrier for paint application. Usually solvent and vehile are same. The vehile or the solvent is volatile and does not become part of the paint film. It can also control flow and application properties. Its main function is as the carrier for the non volatile components. Eg- water, alcohols, ketones, esters, glycols and ethers [2]. Additives- They impart specific properties like pigment stability, anti-freeze properties and foam control [2]. Misc. Fillers are used to thicken the film, support its structure and simply increase the volume of the paint. Eg-talc, lime. Catalysts, Thickeners, Stabilizers, Emulsifiers, Texturizers, Adhesion promoters, Flatteners (de-glossing agents) are also added [2]. . 3 Important characteristics of paint The important characteristics of paint are as follows [3] :- 1. Hiding or covering power 2. Required color 3. Required sheen or gloss 4. Weather resistance 5. Dirt resistance 6. Blister resistance 7. Resistance to peeling 8. Anti-corrosive properties 9. Proper consistency or viscosity 10. Non-Toxicity 11. Low cost 2. 4 Paint Applications The main purpose of use of paints is to protect products from environmental corrosion and to improve their consumer appeal. The various applications of paint are [1]:- 1. Paints are used as protective coating for equipments and structures in industries. . Paints are used as marine coatings, mainly as coatings to protect new and existing commercial ships or offshore oil and gas rigs and equipments. 3. Paints are used for highway or traffic markings. 4. Paints are used as architectural coatings. 5. Paints are used to protect food and beverages in metal cans from spoilage and contamination. 2. 5 Paint Manufacturing Process The various steps of paint manufacturing process are as follows [4] :- 1. The pigment is mixed with sufficient binder and solvent or vehicle to make a paste, which has the correct consistency for grinding. . The paste is grinded in a mill until the aggregates are broken down, as indicated by the ‘fineness of grind’ test and that the p igment gets dispersed in the paste. 3. After the required dispersion the paste is thinned to the required consistency. 4. Performance enhancers and preservatives are added to improve the properties. 5. Tinting of batch is done to get the required color. 6. Testing is done to determine physical properties and performance requirements. 7. Filling and packing of paints is done. Figure 1 gives a detailed description of the various steps of paint anufacture. Figure 1: Process Flow Diagram of Paint Production[4] CHAPTER 3- GRINDING 3. 1 Grinding Grinding is a unit operation designed to break a solid material into smaller pieces. There are many different types of grinding mills and many types of materials processed in them. Historically mills were powered by hand (mortar and pestle), working animal, wind (windmill) or water (watermill). Today they are also powered by electricity. The grinding of solid matters occurs under exposure of mechanical forces that trench the structure by overcomin g of the interior bonding forces. After the grinding the state of the solid is changed: the grain size, the grain size disposition and the grain shape. As represented in figure 2, grinding, in which size reduction of the particles takes place, can occur in two ways, either by collision or compressive forces between the particles or by rubbing or attrition forces. Grinding may serve the following purposes in engineering: 1. Magnification of the surface area of a solid 2. Manufacturing of a solid with a desired grain size 3. Pulping of resources [5] [pic] Figure 2: Schematic representation of compressive and attrition forces in grinding [5] . 2 Energy and power requirements in grinding During size reduction the particles of feed material are first distorted and strained. The work necessary to strain them is temporarily stored in the solid as mechanical energy of stress. As additional force is applied to the stressed particles they are distorted beyond their ultimate strength and suddenly rupture into fragments and ne w surfaces are created. Every unit area of solid has a definite amount of surface energy, the creation of new surface requires work which is supplied by the release of energy of stress when the particles break [6]. 3. 3 Grinding laws In spite of a great number of studies in the field of fracture schemes there is no formula known, which connects the technical grinding work with grinding results. To calculate the needed grinding work against the grain size changing three half-empirical models are used: 1. KICK for d 50 mm [pic] Equation- 1 According to Kick’s law (in 1885, based on stress analysis of plastic deformation within elastic limits) work required for grinding a given mass of material is constant for the same reduction ratio, that is the ratio of initial particle size to final particle size. 2. BOND for 50 mm d 0. 5 mm [pic] Equation- 2 According to Bond’s law (in 1952) the work required is inversely proportional to the square root of the diameter of the particles. 3. RITTINGER for d 0. 05 mm [pic] Equation- 3 According to Rittinger (in 1867) work required is proportional to new surface created. It also means that for a given material and a given machine the grinding efficiency is indepe ndent of size of feed and product. In all these postulates W is the grinding work in kJ/kg, c is the grinding coefficient, dA is the grain size of the source material and dE is the grain size of the ground material. A reliable value for the grain sizes dA and dE is d80. This value signifies that 80% (mass) of the solid matter has a smaller grain size. To calculate the KICKs and RITTINGERs coefficients following formulas can be used : [pic] Equation- 4 [pic] Equation- 5 with the limits of BONDs range : upper dBU = 50 mm and lower dBL = 0. 05 mm [5] [6]. 3. 4 Grinding degree To evaluate the grinding results the grain size of the source material (1) and of the ground material (2) is needed. Grinding degree can be expressed by various parameters: 1. Grinding degree referring to grain size d80 pic] Equation 6 Instead of the value of d80 also d50 or other grain diameter can be used. Grinding degree referring to specific surface [pic] Equation 7 The specific surface area referring to volume Sv and the specific surface area referring to mass Sm can be found out through experiments [5]. CHAPTER 4- MILLS USED FOR GRINDING 4. 1 Ball mill A typical type of fine grinder is the ball mill. A slightly inc lined or horizontal rotating cylinder is partially filled with balls, usually stone or metal, which grinds material to the necessary fineness by friction and impact with the tumbling balls. The feed is at one end of the cylinder and the discharge is at the other [5]. 4. 2 Pebble mill A rotating drum causes friction and attrition between rock pebbles and ore particles. It can be used where product contamination by iron from steel balls is to be avoided [5]. 4. 3 Rod mill A rotating drum causes friction and attrition between steel rods and ore particles. The rods range from 25 mm to 125 mm in diameter [5]. 4. 4 Tube mill It is a continuous mill with a long cylindrical shell. Tube mills are excellent for grinding to very fine powders in a single pass when the amount of energy consumed is not of primary importance [5]. . 5 Compartment mill When slotted transverse partitions are used in a tube mill then it is called a compartment mill. The compartments have balls of different sizes. One having large heavy balls, the other small balls and another having pebbles. This segregation of grinding media in the various compartments helps in avoiding waste work as heavy balls break on ly the large particles. The smaller ones fall only on the small particles and not on large lumps, which they cannot work [5]. 4. 6 Conical ball mill The feed enters through a 60o cone into the grinding zone where the diameter of the shell is maximum. Product leaves through the 30o cone. Such a mill contains balls of different sizes all of which wear and become smaller as the mill is operated. New balls are added periodically. As the shell rotates the large balls move toward the point of maximum diameter and small balls migrate to the discharge [5]. Figure 3 gives the detailed description of a conical ball mill. Figure 3: Conical Ball Mill [6] 4. 7 SAG mill SAG is an acronym for Semi-Autogenous Grinding, and applies to mills that utilize steel balls in addition to large rocks for grinding. The SAG mills use a minimal ball charge of 6 to 15%. SAG mills are primarily used in the gold, copper and platinum industries with applications also in the lead, zinc, silver, alumina and nickel industries [5]. [pic] Figure 4: Principle of SAG Mill Operation [5] Principle of SAG Mill operation As shown in figure 5, in SAG mill a rotating drum throws large rocks and steel balls in a cascading motion, which causes impact breakage of larger rocks and compressive grinding of finer particles. Attrition in the charge causes grinding of finer particles. SAG mills are characterized by their large diameter and short length. The inside of the mill is lined with lifting plates to lift the material inside up and around the inside of the mill, where it then falls of the plates and falls back down. 4. 8 Autogenous mill A rotating drum throws large rocks in a cascading motion, which causes impact breakage of larger rocks and compressive grinding of finer particles. It is similar in operation to a SAG mill but does not use steel balls in the mill. Attrition in the charge causes grinding of finer particles. It is also known as ROM or Run Of Mine grinding [5]. CHAPTER 5- USE OF BALL MILL IN PAINT INDUSTRY 5. 1 Role of ball mill in paint industry The manufacture of pigmented paint involves the dispersion of the pigments into part of the binder and solvent components. This is the key component of the manufacturing process. For this various grinding devices like balling mill, bead mill, sand grinder, rolling mill or high-speed grinder are used. As compared to ball mill though the other devices provide better dispersion but they require constant attention, require semi-skilled labor, require high power and have low rate of production [7]. 5. 2 Ball Mill The ball mill is a horizontal cylindrical vessel, which is used for size reduction. It can reduce size of a particle upto one-tenth of a micron. It rotates about a horizontal axis. It is partially filled with the material to be grounded and the grinding medium. The various advantages of a ball mill are: 1. It is a well-established technology. 2. It is a simple technology not requiring many moving parts. Hence it is a robust construction. 3. It is possible to recirculate the ground material and achieve finer grinding. It is also possible to regulate the amount of recirculated product to control the final product. 4. Apart from grinding ball mills are also used for mixing. . By using different media in the same drum we can process wide variety of feed [8]. 5. 3 Applications of Ball Mill in paint industry The applications of ball mill in paint industry are as follows [9]: 1. Ball mills are used for reduction of size of pigments. 2. They are used to make pigments uniform in the finished product. 3. They are used for grinding inexpensive coarse extender pigments in the batch, which gives more hiding power. 4. In case of agglomerated pigments resulting from storage and handling, ball mills are used. Steel ball mills and pebble mills are sed in the paint industry. CHAPTER 6- STEEL MILL PEBBLE MILL 6. 1 Pebble Mill The pebble mill can be obtained in various diameters and lengths with almost any capacity desired. The ends or heads of the mill are usually cast iron and the shell is steel. The inside of the cylinder is lined with either porcelain or stone (Silex or French Buhrstone). A shaft extends from center of each head. These shafts ride in very heavy bearings supported on trunions or legs, which can be mounted either on the floor or from the ceiling. The machine is suspended in a horizontal plane. A charging gate is located on one side of the cylinder with a grilled discharge valve on the opposite side. Removable plug is provided in one end for taking the samples. A large ring gear of the same diameter as the mill is bolted to one end of the cylinder for rotating. The grinding charge consists of porcelain balls for the porcelain-lined mills and flint pebbles for stone lined mills. These mills can be used for grinding white gloss and semi-gloss enamels or house paints. The advantage of pebble mill is that there is no discoloration of products because the components do not contact any metal surface. The diameter of the cylinder should be large enough to allow proper cascading of pebbles or balls of proper size when the mill is rotated [7]. Figure 5 shows a photograph of pebble mill, provided by Paul O Abbe Inc. 6. 2 Steel Ball Mills Steel ball mills operate on the same principle as pebble mills but they are jacketed for water-cooling. The shell is made of chrome-manganese steel. The grinding charge is usually composed of chrome-manganese steel balls that are 5/8 in. in diameter. This tough and hard metal is used to reduce wear and minimize discoloration. Water cooling jackets are necessary to remove heat generated by contact of metallic surfaces when the mill is in operation. Fine grinds and better dispersion are usually obtained with ball mills in a much shorter time than with the pebble mills, as the steel balls are heavier and of higher density as compared to flint pebbles or porcelain balls. Hence small size balls can be used thereby providing more grinding contacts for each revolution of the cylinder. However they cannot be used for white or light colored paints as abrasive action of steel on steel can produce free iron to discolor the light colored batches. The discoloration is not significant in case of darker colors. Apart from this steel mills can’t handle materials affected by metallic contamination [7]. Figure 6 shows a photograph of steel mill, provided by Paul O Abbe Inc. Figure 5: Pebble Mill [10] Figure 6: Steel Mill [10] 6. 3 Essential features of Ball and Pebble Mill The essential features of ball and pebble mill are as follows [7]: 1. They are simple to load and unload. 2. They can be operated by unskilled labor. 3. These mills do not require premixing of paste. 4. They can be run during off-peak loads and hence they are economical to operate. 5. They are well suited to continuous batch grinding of the same pigment, hence excessive cleaning between the batches is avoided. 6. They require no attention during operation, hence can be loaded in the afternoon and run overnight and can be unloaded in the morning. 7. However in 24-hour operation, four hours are required to load and unload a mill. 8. If the mill is run for more than one day, it is run for even days plus the original 20-hour interval. 9. They are well suited to continuous batch grinding, hence avoiding excessive cleaning between the batches. . 4 Types of grinding media used in Ball or Pebble Mill There are three types of grinding media that are most commonly used: 1. Flint Pebbles 2. Porcelain Balls regular and high density 3. Steel and other metal Balls Flint Pebbles These are the oldest type of grinding media in use. They can be used with all types of lining and even in the chrome manganese mills. They are exceptionally tough and longwearing and last for many years regardless of the kind of service. Porcelain Balls This is a pure white ceramic material with a dense, highly vitrified body that does not chip or crack in service. High Density Media This is another grinding media developed for ball and pebble Mills. They are made with a high alumina oxide content and have a density 40 to 50% greater than the regular porcelain balls. They are also fired at higher temperature making them harder and more abrasion resistant. High-density media are available in various shapes including spheres, cylinders and ovals resembling the natural flint pebbles. It is advantageous to use high density grinding media when the product is hard to grind and requires all the energy available to break it down or where higher viscosities can be developed as in the case of paint industry. Steel and other Metal Balls Steel balls are used for faster grinding job than any of the other commercially available media. They are especially valuable in the paint industry. The following metals are used to make balls, which are commonly used in ball mills: 1. High carbon high manganese steel with alloying elements or molybdenum, chromium or nickel. 2. Cast Nickel Alloy 3. Stainless Steel 4. Chilled Iron 5. Forged Low Carbon Steel 6. Other more special types include bronze or brass, aluminum, tungsten or carbide [9]. 6. Linings used in Ball or Pebble Mill The various linings, which are used in ball or pebble mill are as follows: Burrstone lining- It is a pure flint lining, noted for its exceptional durability. It is one of the toughest lining materials available for Pebble Mills. Burrstone lined mills can run for a continuous production schedule for more than 25 years without repairs. Apart from its exceptional wearing quality, Burrstone has a natural rough surface, which help s prevent the charge from sliding or slipping thereby insuring a more efficient grinding action. Porcelain lining- This is a pure white ceramic lining which has a dense, tough structure especially developed for Pebble Mill service. It can stand up for many years under the most severe kind of service and is highly recommended where requirements call for a white lining. High density porcelain lining– It is made with a high alumina content, it is the toughest and most abrasion resistant of the synthetic linings and under normal conditions, it will outlast the standard porcelain lining several times. Metal linings- The cylinders of batch type steel ball mills are usually made of abrasion resistant alloy steel like chrome manganese. Apart from this, linings of other metals like chilled iron, manganese, high carbon, stainless steel, bronze can be also used [10]. 6. 6 Operations of Pebble or Ball Mill The various operations of pebble or ball mill are as follows [7]: 1. The pigment and a predetermined portion of the vehicle are placed in the mill. 2. First the liquid or the vehicle is loaded followed with the pigment as it gives better initial wetting and there is less danger of ball formation. If the pigment is loaded first it prevents liquids from penetrating through the pebble voids and makes the mill more difficult to load and an extra session of spinning of mill might be required. Sufficient vehicle should be put into the mill to come just to the top of the ball level. 3. After loading, the mill is then revolved. Loading and discharge closures are checked to ensure that they are tight and do not leak. At the end of the run time (predetermined by number of hours or revolutions required) a sample of paste is checked for fineness of grind. Grinding gauges are used to test the degree of fineness of grind. Removable plug is used to take the sample. If the fineness is not satisfactory the mill is operated for longer time until the correct degree of dispersion is obtained. 4. The mill is then stopped and enough of the remaining vehicle is added to produce a consistency suitable for discharging the ground paste from the mill. 5. The mill is closed again, rotated for 15 to 30 minutes to ensure uniform mixing and then the slurry of paste is discharged either by gravity or by means of pumping device. When pumping is used, the suction line may be attached directly to the discharge valve or cover. A safety screen is provided to prevent damage to the pump by a pebble or ball chip, which might be sucked through the discharge grate by the pump. The vent plug should always be removed so that the pump may do its work without being hindered by the vacuum, which would build up in the mill if the vent were left closed. When blowing, the air line is connected to the vent opening and the air pushes on top of the material forcing it out the discharge opening. 6. When the charge has been removed a portion of the thinning vehicle is put in the mill, which is then closed and rotated again. This is used to wash the mill. 7. The pebble or ball charge is to be periodically checked to ascertain if the correct volume of grinding medium is present and to check for the wear of the pebbles. At least once a year the pebble charge is unloaded from the mill and the pebble or the balls are screened and those who are badly worn, broken, defective or are undersized are replaced. In order to have daily production of 2000 gallons of paste product the following equipments are used: 1. Two 13 x 32 in. high-speed mills each equipped with a 25 hp explosion proof motor. 2. One 13 x 32 in. roller mill equipped with a 20 hp explosion proof motor. 3. One 4 x 5 ft Buhrstone lined pebble mill equipped with a 10 hp explosion proof motor. One 3. 5 x 4 ft chrome manganese steel ball mill equipped with a 10 hp explosion proof motor [7]. 6. 7 Grinding Mechanism The working of pebble and steel ball mill depends on the movement of stone or porcelain pebbles or steel balls within revolving cylinders for dispersion of dry pigments in liquid vehicles. Each mill rotates at such a rate of speed that the pebbles or balls are carried up on the side of the cylinder by centrifugal action, but at a speed that enables the force of gravity or the centripetal force to overcome the centrifugal force and allow the pebbles to fall and cascade over each other. The balls or the pebbles break contact from the wall at the â€Å"angle of break†. Thus the material, which is being grounded, is subjected to crushing by impact of pebbles on pebbles and by slipping or rolling of pebbles against each other and the lining of the cylinder. This process is continued as long as is necessary to obtain the desired degree of dispersion. The speed of rotation should be less than critical speed. At critical speed centrifugal force is so high that balls are carried over. No grinding takes place the mill is said to be centrifuging [7]. Figure 7 gives the pictorial representation of the various forces and the directions in which their components are acting on a particle in a ball mill operation Figure 7: Forces acting on a particle in a ball mill operation [6] 6. 8 Slip in Ball or Pebble Mill The term â€Å"slip† means relative motion between the layer of grinding media nearest the lining and the surface of the lining itself. Slip may be caused by several factors: 1. A smooth inside surface on the lining 2. A low viscosity batch of material 3. Material with a very low co-efficient of friction 4. A very light weight charge of grinding media and material. The effects of slip are detrimental to efficient and economical grinding. The angle of break drops sharply when excessive slip occurs and as a result, the grinding media break away from the periphery of the mill too soon, thereby developing less grinding energy. The grinding time and power costs increase considerably. Some grinding does occur between the shell and the grinding media, but this action is considerably less than that which accompanies the rolling, cascading, sliding, and relative motion in the center of the charge which occurs when the correct angle of break is maintained. Hence it is important to have a correct angle of break to have proper dispersion. The most detrimental effect of slip is that the grinding media in contact with the lining slide around the entire weight of the charge forcing them down onto the lining. As a result the mill interior becomes full of ruts and ridges and wears away very rapidly. Then the lining has to be replaced which is costly, time consuming operation. Apart from this the wear on the lining results in excessive batch contamination. Slip is most prevalent in steel ball mills but it can also create a problem in porcelain-lined mills. To prevent it burrstone lining, with rough surface can be used to prevent the slip problem. In some cases, where slip occurs, it can be removed by increasing the viscosity of the batch. However mechanical means of controlling the slip known as baffle bars are usually used. In steel ball mills baffle bars are made of special, chip -proof, hardened steel. In porcelain -lined mills the baffle bars are made of high-density material. The bars are spaced equally in a horizontal position around the inner circumference of the lining. The quantity used is dependent upon the diameter of the mill and the type of operation involved. They project above the inside lining surface just enough to prevent the first layer of grinding media in direct contact with the lining from slipping backwards on the smooth lining while the mill is turning. Baffle bars with relatively, flat sides are more effective than any other design. The flat sides secure the maximum locking effect along the cylinder wall with the first layer of grinding media held stationary relative to the lining surface until they reach the angle of break. Backward slipping of the media and material is completely eliminated. The outer edges of the baffle bars in contact with the media charge should be smoothly rounded to prevent excessive wear and chipping [10]. The figure number 8 shows the principle of slip, angle of break and the use of baffle bars in a ball mill. pic] Figure 8: Angle of Break, Principle of slip baffle bars [7] 6. 9 Jackets The use of a jacket on a ball or pebble Mill makes possible the control of the batch temperature while the mill is in operation. If mill temperatures are too low, many products will run at much higher viscosities than are recommended. This would lead to slow grinding time. If mill temperatures are too high, lower viscositi es will usually result. This causes excessive wear on linings and grinding media and therefore batch contamination. Another danger of grinding at high temperatures is that of pressure buildup. The jacket is usually fitted around the cylindrical shell only, but it can be also extended to enclose both ends of the mill according to the situation. Fluids as hot water, steam, or hot oil pass through the jacket and maintain the fluid consistency. Cold water or brine passing through the jacket, maintain cool temperatures while grinding. Cooling is necessary for paste production in the mill in paint industry [10]. 6. 10 Venting and pressure in mills The vent plug in the head of the mill has two primary functions: 1. It aids in the loading and discharging of the mill. The use of a vent helps in loading of the liquids in the batch. During unloading, the vent plug should be removed before the cover or discharge valve is opened. The vent permits more rapid discharging. The vent plug is removed so that the pump can discharge the material from the mill without being hindered by the vacuum, which would build up in the mill if the vent were left closed 2. The second use of the vent is for reducing pressure, which may build up in a mill during operation due to volatile liquids or heat being generated in the mill. Ball and Pebble Mills are not normally built for pressure operation. Therefore it is important to make certain there is no excessive pressure built up during the grinding cycle, to avoid damage to the mill end and lining. Special care should be exercised when grinding volatile solvents, as these are most apt to cause high pressures if heat develops while grinding. The mill is vented about one -half hour after starting a new batch and it is followed with such periodic ventings. Periodic venting to prevent pressure buildup has resulted in increased grinding efficiency. It is possible in many cases to withdraw air from the interior of the mill, causing a vacuum. This draws air from the bubbles in the batch, thus removing them. As a result it helps in easier and quicker grinding [10]. 6. 11 Discharge procedure Built-in discharge valves are generally located in the mill directly opposite the manhole opening. When the mill is spotted with the valve on the bottom to discharge, the manhole opening will be at the top. After the finished material is unloaded the discharge valve is closed, the manhole cover is removed, and a new batch of material may be dumped into the cylinder without having to turn the mill [10]. 6. 12 Cleaning of mill Good cleaning procedure is one of the most important factors in avoiding batch contamination. Where cleaning is necessary, the established procedure is to run the mill with a solvent or other liquid so that any of the products remaining around the media or sidewalls of the mill may be picked up and subsequently discharged. A good method of cleaning is to dump a small quantity of solvent into the mill, run it for 15 to 30 revolutions and dump it immediately. If necessary, the cycle can be repeated two or three times. In this way thorough cleaning is accomplished and batch contamination is avoided. The mill should not be run during cleaning for longer period of time. When no protective film is around the grinding media they will wear down very quickly. During a long cleaning run, a considerable amount of contamination is picked upon the surface of the grinding media. When the cleaning material is dumped out, a lot of this contamination remains in the mills. When a new batch of material is loaded, this dirt is absorbed and will come up in the finished product. At the same time the grinding media wear away, needing more frequent replenishing or dumping and sorting and excessive wear can also occur on the lining. Therefore, when cleaning, running time should definitely be kept to a minimum [10]. 6. 13 Maintenance of mill A well-made ball or pebble Mill will give many years of service with a minimum of maintenance costs and trouble. However, as with any equipment having moving parts, periodic maintenance checks are required for smooth performance and for low operating costs. These checkups take very little time or effort and are suggested to prevent any trouble from developing. Some of these checks include: 1. Material should not be allowed to accumulate on the outside of the cylinder. This adds to the weight and throws mill off balance. 2. Threads on the tightening bolts of the cover should be kept clean and occasionally oiled. 3. Lubricants recommended by the manufacturer should be strictly adhered to. 4. Lubricating periods are best determined by the operator and are generally controlled by existing conditions. 5. The level of the grinding media should be frequently checked. If it falls below the correct operating level, the required grinding media should be added. At longer intervals the charge should be dumped and inspected. All grinding media, which are excessively worn or damaged, should be removed and replaced with new media. 6. Even though a Mill may be perfectly aligned when new, occasionally it will settle after being in operation a while, due to the floor sag or settling of foundations. For this reason the alignment should be checked occasionally. 7. The foundation bolts should be examined periodically to see that they are secure [10]. 6. 14 Mill efficiency The controlling factors that govern the grinding efficiency of cylindrical mills are as follows [7]: 1. Speed of mill affects capacity, also liner and ball wear up to 65–75 percent of critical speed. 2. Ball charge equal to 35–50 percent of the mill volume gives the maximum capacity. 3. Minimum-size balls capable of grinding the feed give maximum efficiency. 4. Bar-type lifters are essential for smooth operation. 5. Higher circulating loads tend to increase production and decrease the amount of unwanted fine material. 6. Ratio of solids to liquids in the mill must be considered on the basis of slurry characteristics. 6. 15 Cares during mill operation The various cares to be taken during mill operation are [10]: 1. There should be enough material in the batch to cover the grinding media. 2. Grinding time is to be watched carefully to avoid excessive grinding. 3. Excessive buildup of heat should be avoided. In paint grinding, this may lower the operating viscosity beyond the critical point. A reduction in mill speed may help to avoid overheating, but it is more desirable to circulate a cooling medium around the cylinder. If the mill is not jacketed, a water spray can be used. 4. The smallest possible grinding media should be used. This reduces the danger of overheating. They also provide faster and better results. 5. When using extenders, their abrasive nature may cause excessive wear. To avoid this, extenders are held out until the grinding is almost complete and then they are added for the final operation. CHAPTER 7- FACTORS AFFECTING EFFICIENCY OF MILL 7. 1 Factors affecting the efficiency of the mill The various factors affecting the efficiency of the mill are as follows [7]: 1. Speed of Rotation 2. Relative volume of grinding medium and batch. 3. Size and density of grinding medium. 4. Consistency of batch. 7. 2 Speed of rotation There is a specific operating speed for most efficient grinding. At a certain point, controlled by the mill speed, the load nearest the wall of the cylinder breaks free and forms a cascading, sliding stream containing several layers of balls. The top layers in the stream travel at a faster speed than the lower layers thus causing a grinding action between them. There is also some action caused by the gyration of individual balls or pebbles. A pebble mill of the same size as that of ball mill usually runs at a slightly faster speed. This is due to the smaller inside diameter of the pebble mill with its lining, which is lacking in the ball mill. There is a point where the charge, as it is carried upward, breaks away from the periphery of the mill. This is called the â€Å"break point† or â€Å"angle of break† as it is measured in degrees. It is measured up the periphery of the mill from the horizontal. Usually the angle of break ranges from 50 to 60 degrees from the horizontal with the lower range recommended for wet grinding operations like paint manufacture and the higher break point (which provides a more severe grinding action) for dry materials. Angle of break should be lower for larger mills as compared to smaller mills because of severe grinding action in the mill. While in the old days operating speeds were determined by trial and error, now a days correlations are used to determine the critical speed, which is the speed at which the grinding media, without material, begin to centrifuge. The speed of rotation ranges from 50-60% of critical speed. According to Fischer [7] S=K/(D) ? Equation- 8 Where S is critical speed, K is constant and D is the diameter of the mill in ft. According to Coghill and De Vaney [7] S=54. 18/(R) ? Equation- 9 Where S is critical speed and R is the radius of the mill in ft. The smaller the mill the faster in RPM it has to run to attain critical speed. For example, 4. 5† diameter mill has a critical speed of 125 RPM, and 90† diameter ball mill has 28 RPM [7][9]. 7. 3 Relative volume of grinding medium and batch The volume of grinding medium and the volume of the paste in a mill affect the grinding time. For fastest grinding a pebble mill should contain 50-55% by volume of pebbles and a ball mill 45-50% of steel balls and in each case the paste should be sufficient to cover the grinding media slightly. Ball mills can contain as low as 33. 3% by volume of steel balls. This reduces the cost of balls and permits a larger loading space in the mill. However the grinding time is longer than with a 50% charge of balls. The grinding efficiency of the one -half charge is considerably greater than for the one-third, hence power consumption per gallon output will be less. Apart from this, the mills containing a low ball or pebble charge are harder to clean than when they are half full because paste tends to adhere to the ends of the mill and is difficult to remove when the charge is low. When the mill is half filled the grinding medium is continuously cleaning this area. The volume of voids between the spherical grinding media does not change with the size of the media. When a mill is charged with pebbles to 50% of its volume the voids among the pebbles are about 20% of the total volume of the mill. The minimum charge of paste is 25% of mill volume, which would give the fastest dispersion to the required fineness. The void volume between the grinding media, with a one-third charge of grinding media is 13 ? %. Fastest grinding occurs where there is just sufficient material in a batch to fill all voids and slightly cover the grinding media. This gives highest ratio of medium to paste. This equals approximately 25% of the total volume with a half ball charge and 18% with a one -third ball charge. The material should never be allowed to drop below the surface of the grinding media because when this happens excessive wear occurs to the mill and grinding media and contaminates the material itself. The largest size batches should not exceed 60% of total mill volume. Usually the minimum load of paste is 40-45% of mill volume and it can increase up to 60% but the grinding time also gets increased considerably. A 40% load requires twice the grinding time of the minimum 25% and the 60% load requires four times as long. It is not always necessary that the shortest grinding time is the most desirable. The mill can operate overnight without any attention therefore the loading can be increased to correspond to the overnight period and a larger yield of paste will be obtained. The size of load can be adjusted to conform to the specific working hours or the production schedules but in no case the load should be below the level of grinding medium, as it would result in excessive wear of the medium [7] [9]. 7. 4 Size and density of grinding medium The most common cause for faulty operation in a ball mill is regarding the size of grinding media. Usually smallest feasible grinding media are used. The optimum size of media should not change with mill size. If the laboratory pebbles or small balls successfully grind a sample batch in a lab ill, the same size grinding media can do the best job in a production mill irrespective of the size of the mill. The criteria is that the size and density of grinding media should be great enough to prevent them from floating in the material and to obtain the maximum amount of grinding surfaces. For steel balls the optimum size of balls recommended are ? † and 5/8†. However, balls of size as small as ? † in p roduction mills can be used and they are found to be extremely advantageous when exceptionally fine grinds are required. Figure 9 shows ? † and ? † sized steel balls. Porcelain balls range from 1-1. 5 in.. The heavy balls exert more force between them than light weight balls. However as the size of ball increases, to give it more weight, the surface area per weight decreases. To overcome this situation grinding medium of maximum possible density should be used, hence steel balls are preferred over pebbles in most of the cases. Balls of mixed size can provide greater area of contact between the balls. However there are chances of increased wear and more uneven wear of the balls with the possibility of large pebbles cracking or chipping the smaller ones. The advantages of small size grinding media are as follows: 1. They provide many more grinding contacts per revolution than larger media. This results in much quicker grinding action. One-inch balls have approximately 38 contacts per pound whereas 5/8 in. balls have 144. 2. They provide smaller voids, limiting the size of particles or agglomerates, which can exist there. 3. They do not create excessive energy, which cannot be utilized. Oversized grinding media frequently develop more grinding energy than is needed for the job. This excess builds up heat and wears down the media and the lining, introducing contamination in the batch. The disadvantages of small size grinding media are as follows: 1. Smaller balls tend to float or rise in the paste as the mill rotates. This can be overcome by lowering the pigment concentration to reduce the paste viscosity. However a stage reaches where reduced the grinding time is overbalanced by the smaller quantity of pigment ground. 2. Smaller balls or pebbles make a mill harder to discharge because of smaller channels in the mass through which the paste can flow, hence increased surface tension in the smaller voids. However, the reduced grinding time by using smaller media offsets this disadvantage. Slight air pressure can be used to assist in more rapid discharge. 3. Balls of too small a size will not be held back by the screen or grate in the discharge opening of the mill. These can cause serious trouble if they lodge in valves or in the pumping mechanism. 4. Small pebbles because of relative small size are less effective in breaking up large agglomerates of paste or pigment and may tend to promote formation of pigment balls in a mill. The attempts to increase the area of contact between the grinding media have produced tubular or rod shaped porcelain media. They have outside diameters of 13/16 in. nd 1 ? in. and lengths of the same dimensions. Porcelain balls of higher than normal density are also used. High density balls are used when the material is hard to grind or when the paste is of high viscosity [7] [9]. Figure 9: Steel Balls of ? † and ? † [5] 7. 5 Consistency of batch The consistency should be such so as to permit the particular size and density of grin ding media to move through the paste smoothly. The correct paste consistency is difficult to determine because it depends on the ball size, diameter of the mill, speed of the mill and density of the paste. If the consistency is too thick the entire charge moves as a mass and there will be no individual movement of balls and no grinding action takes place. If the paste is too thin there will be excessive wear on balls and mill lining, resulting in discoloration of the batch by abraded material, contamination and heat build-up. If the low viscosities cannot be avoided then small grinding media should be used. The range of the viscosities of the paste, handled by the various grinding media is shown in Table 1: Grinding Media |Size |Viscosity of paste (cp) | |Flint Pebbles |1 ? † |600-1100 | |Porcelain Balls |1- ? † |600-1100 | |High Density Balls |- |1100-2100 | |Steel Balls |? ? † |1100-2400 | Table 1: Viscosity of paste handled according to grinding media and size Small size balls are used for low viscosity paste while large size balls are used for high viscosity pastes. Consistency changes with difference in ratio of pigment to vehicle and with variation in solid con tent of the vehicle. To develop maximum shear the paste should be a viscous fluid however ball mill operation does not permit high consistency. Therefore the vehicles of relatively low solid content are used with high ratio of pigment to vehicle. The sound of the mill in operation is used to determine whether the consistency is correct or not. An experienced operator is able to tell if the sound volume is too high or too low for best grinding conditions. Though a noise meter can be also used but usually it is used in grinding ore or cement and not in paint industry. The consistency is affected by temperature hence it is important to know the operating temperature and it has to be maintained uniformly from batch to batch. Many mills like steel ball mills are jacketed for water cooling and temperature control [7] [9]. CHAPTER 8- TECHNOLOGICAL ASPECTS 8. 1 Technological Aspects The various technological aspects, which have to be taken care of during ball mill operation process, are: 1. When unloading materials that do not flow well some of the vehicle is held out until most of the batch has been removed from the mill. This vehicle is then added to the mill to help in removing as much of the batch as possible [7]. 2. Small size mills are used to produce small batches of paints [7]. . Ball formation in a mill is a major problem. In this situation a mass of pigment, balls or pebbles and some vehicle form a large round ball that will roll in the mill for hours and would not be broken. It is caused due to too high a paste level, too low a pebble level and too thin a paste. Increasing the consistency of a too thin paste will eliminate the ball formation because the more viscous paste tends to pull the round mass down below the surface of the grinding medium where all the dispersing action takes place [7]. 4. One of the most successful techniques employed in the dispersion of pigment in vehicle and solvent is known as low solids grinding [9]. The advantages of this technique are: a. Dispersion is accomplished quickly. b. A greater pigment quantity can be dispersed in a mill batch. 5. There are a few pigments on which it is desirable to avoid direct impact and attrition and dispersion of pigment relies mostly on shear, such as toluidine red. Excessive grinding through impact can destroy the pigment structure thereby reducing its hiding power. To avoid excessive grinding by impact the consistency should be heavier than for normal operation and the size batch should be sufficient to induce spreading of the grinding media in order to prevent direct contact and merely induce a shearing action [9]. 6. Step loading is more advantageous than tightly packing a bulky pigment to try and get it all in the mill in one loading as excessive packing can cause reaggregation of pigment particles [9]. 7. Periodic venting of the Mill relieves internal pressures and also helps in grinding [9]. 8. The use of wetting agents has greatly increased the capacity of ball mills and pebble mills without altering the viscosity during the grind. The capacity of the mill can increase from 50% (prior to the addition of wetting agent) upto 85% of solid content by using wetting agents. The wetting agents help in reducing the surface tensions of the aggregated particles, therefore grinding operation can occur in faster time and the finished product has greater stability [9]. 9. It is important to ensure that the batch size is consistent with the allowable running time. For example: if a 25% batch takes 9 hours, this would be too long for an 8-hour shift. In that case the batch size is increased and the mill is run to the next working day. Now if a 40% batch takes 9 hours, then a slight cutback can make it possible to turn out a batch within an 8-hour working day. Hence it is better to do a little experimenting with the batch size and to try to develop a system that will work out best as per the grinding conditions. However the grinding media must be covered with paste [9]. There are occasions where additional thinning of the batch after grinding may be done to increase the yield of the Mill. For example: in case of a pebble mill of volume of 450 gallons, a minimum material charge of 25% for this Mill would be 112 gallons and the maximum charge of 60% would be 270 gallons. After grinding, if the mill were loaded to the extreme top with thinner, the yield produced would be 315 gallons or 70% of the total volume of the mill [9]. 8. 2 Technological upgradation An example of technological upgradation is the use of adjustable timers in ball mills in liquid paint processing in Asian Paints Ltd. , Kasna Plant (UP). In Kasna Plant the ball mills in liquid paint processing used to run idly after the completion of grinding time in absence of any control switchgear. Hence adjustable timers were used. Table 2(a) shows the motor capacity, power consumption and running cost before the installation of the timers, while Table 2(b) gives the motor capacity, power consumption and running cost details after the installation of the timers. It has been observed that by the use of timers an annual saving of 0. 46 lacs has been achieved. [11] |Motor Capacity |55. kW | |Power consumption |3. 64 lacs kWh/annum | |Running Cost |15. 30 lacs/annum | Table 2(a): Kasna Plant details before installation |Motor Capacity |55. 2 kW | |Power Consumption |3. 3 lacs kWh/annum | |Running Cost |14. 83 lacs/annum | Table 2(b): Kasna Plant details after installation CHAPTER 9- CONCLUSIONS The followings conclusions can be made out regarding the use of ball mill in paint industry: 1. Paint manufacture involves dispersio n of pigment into binder and solvent components. 2. Steel ball mills and pebble mills are used for this purpose 3. Ball or pebble mills are used to make pigments uniform in the finished product. 4. They are used for grinding inexpensive coarse extender pigments in the batch to give more hiding power to the paint. 5. They are used in case of agglomerated pigments resulting from storage and handling. 6. Speed of rotation, volume of grinding medium and that of batch, size and density of grinding medium and consistency of the batch affect the efficiency of ball and pebble mills. CHAPTER 10- REFERENCES 1. Paint industry information, facts and figures by National Paint Coatings Association, Washington, US, www. aint. org 2. Paint from wikipedia, www. wikipedia. org 3. Gopala Rao. M and Sittig. Marshall: â€Å"DRYDEN’S OUTLINES OF CHEMICAL TECHNOLOGY†, Affiliated Eat West Press Pvt. Ltd. , 3rd Edition 2004 Reprint, pp 307-312. 4. Chemical fact sheet on paints by Orica Limited. Copyriht 1992-98. ACN 004 145 868. 5. Grinding from wikipedia, www. wikipedia. org 6. McCabe W. L, Smith J. C. , Harriott Peter: â€Å"UNIT OPERATIONS OF CHEMICAL ENGINEERING†, McGraw Hill Book Company, 6th Edition, International Edition 2001,pp 965-977. 7. Biblac V. C. , Edgar W. S. : â€Å"PAINTS WARNISH PRODUCTION MANUAL†, 1991, John Wiley and Sons, NY, pp 40-46, 132-137, 996-1004. 8. Presentation given by P. Poornima, R. Sreenivasan, Ankit Bhatnagar in IIT-Chennai on ball mill operation. 9. Handbook of grinding by Paul O Abbe, A division of Aaoron Engineered Process Equipment, Inc. , 1994 10. Ball mill handbook by Paul O Abbe, A division of Aaoron Engineered Process Equipment, Inc. , 1994. , www. pauloabee. com. 11. Asian Paints Ltd. , Kasna Plant, UP, Unit Profile, www. asianpaints. com

Mudarse Conjugation in Spanish, Translation, and Examples

Mudarse Conjugation in Spanish, Translation, and Examples The reflexive verb mudarse means to move in the sense of changing ones residence, such as moving to a new house or apartment. For all other meanings of the verb to move, Spanish uses the verb mover. The non-reflexive verb mudar means to change, but it is not used very frequently. Mudarse is a much more commonly used verb. Therefore, this article contains mudarse conjugations in its reflexive form in the indicative mood (present, past, conditional, and future), the subjunctive mood (present and past), the imperative mood, and other verb forms. Mudarse Present Indicative The verb mudar is a regular -ar verb, so it follows the regular conjugation pattern. To conjugate mudarse, the reflexive pronoun should be included before each conjugated form. Yo me mudo I move Yo me mudo al dormitorio con mi compaà ±era. Tà º te mudas You move Tà º te mudas a otra ciudad por tu trabajo. Usted/à ©l/ella se muda You/he/she moves Ella se muda a un apartamento ms grande. Nosotros nos mudamos We move Nosotros nos mudamos a un condominio. Vosotros os mudis You move Vosotros os mudis a la casa nueva despuà ©s de la boda. Ustedes/ellos/ellas se mudan You/they move Ellos se mudan a otro paà ­s para asistir a la universidad. Mudarse Preterite Indicative The preterite tense is used to describe completed actions in the past. Yo me mudà © I moved Yo me mudà © al dormitorio con mi compaà ±era. Tà º te mudaste You moved Tà º te mudaste a otra ciudad por tu trabajo. Usted/à ©l/ella se mudà ³ You/he/she moved Ella se mudà ³ a un apartamento ms grande. Nosotros nos mudamos We moved Nosotros nos mudamos a un condominio. Vosotros os mudasteis You moved Vosotros os mudasteis a la casa nueva despuà ©s de la boda. Ustedes/ellos/ellas se mudaron You/they moved Ellos se mudaron a otro paà ­s para asistir a la universidad. Mudarse Imperfect Indicative The imperfect tense is used to describe ongoing or repeated actions in the past. It can be translated as was moving or used to move. Yo me mudaba I used to move Yo me mudaba al dormitorio con mi compaà ±era. Tà º te mudabas You used to move Tà º te mudabas a otra ciudad por tu trabajo. Usted/à ©l/ella se mudaba You/he/she used to move Ella se mudaba a un apartamento ms grande. Nosotros nos mudbamos We used to move Nosotros nos mudbamos a un condominio. Vosotros os mudabais You used to move Vosotros os mudabaisa la casa nueva despuà ©s de la boda. Ustedes/ellos/ellas se mudaban You/they used to move Ellos se mudaban a otro paà ­s para asistir a la universidad. Mudarse Future Indicative The future tense is conjugated with the infinitive form mudar and the future tense endings (à ©, s, , emos, à ©is, n). Yo me mudarà © I will move Yo me mudarà ©al dormitorio con mi compaà ±era. Tà º te mudars You will move Tà º te mudars a otra ciudad por tu trabajo. Usted/à ©l/ella se mudar You/he/she will move Ella se mudar a un apartamento ms grande. Nosotros nos mudaremos We will move Nosotros nos mudaremosa un condominio. Vosotros os mudarà ©is You will move Vosotros os mudarà ©isa la casa nueva despuà ©s de la boda. Ustedes/ellos/ellas se mudarn You/they will move Ellos se mudarn a otro paà ­s para asistir a la universidad. Mudarse Periphrastic  Future Indicative   When conjugating the periphrastic future, remember to place the reflexive pronoun before the conjugated verb ir (to go). Yo me voy a mudar I am going to move Yo me voya mudar al dormitorio con mi compaà ±era. Tà º te vasa mudar You aregoing to move Tà º te vasa mudar a otra ciudad por tu trabajo. Usted/à ©l/ella se vaa mudar You/he/she isgoing to move Ella se vaa mudar a un apartamento ms grande. Nosotros nos vamosa mudar We aregoing to move Nosotros nos vamosa mudar a un condominio. Vosotros os vaisa mudar You aregoing to move Vosotros os vaisa mudar a la casa nueva despuà ©s de la boda. Ustedes/ellos/ellas se vana mudar You/they aregoing to move Ellos se vana mudar a otro paà ­s para asistir a la universidad. Mudarse Present Progressive/Gerund Form The gerund or present participle can be used as an adverb or to form progressive tenses like the present progressive. Progressive tenses often use the auxiliary verb estar. There are two options for placing the reflexive pronoun in the present progressive tense. It can be placed before the conjugated verb estar, or attached to the end of the present participle. Present Progressive ofMudarse se est mudando / est mudndose Is moving Ella se est mudando a un apartamento ms grande. Mudarse Past Participle The past participle is often used in perfect tenses like the present perfect. The present perfect uses the auxiliary verb haber. In this case, the reflexive pronoun must be placed before the conjugated verb haber. Present Perfect of Mudarse se ha mudado Has moved Ella se ha mudado a un apartamento ms grande. Mudarse Conditional Indicative The conditional tense can used to talk about possibilities. It is conjugated using the infinitive form and the conditional endings. Yo me mudarà ­a I would move Yo me mudarà ­aal dormitorio con mi compaà ±era si hubiera espacio. Tà º te mudarà ­as You would move Tà º te mudarà ­as a otra ciudad por tu trabajo si te dieran la promocià ³n. Usted/à ©l/ella se mudarà ­a You/he/she would move Ella se mudarà ­a a un apartamento ms grande si lo pudiera pagar. Nosotros nos mudarà ­amos We would move Nosotros nos mudarà ­amosa un condominio, pero no tenemos suficiente dinero. Vosotros os mudarà ­ais You would move Vosotros os mudarà ­aisa la casa nueva despuà ©s de la boda, pero no estar lista. Ustedes/ellos/ellas se mudarà ­an You/they would move Ellos se mudarà ­an a otro paà ­s para asistir a la universidad si les dieran la beca. Mudarse Present Subjunctive The present subjunctive of -ar verbs is formed with the endings e, es, e, emos, à ©is, en. Que yo me mude That I move La directora pide que yo memudeal dormitorio con mi compaà ±era. Que tà º te mudes That you move El jefe espera que tà º temudes a otra ciudad por tu trabajo. Que usted/à ©l/ella semude That you/he/she move La familia quiere que ella semude a un apartamento ms grande. Que nosotros nos mudemos That we move Carlos quiere que nosotros nos mudemos a un condominio. Que vosotros os mudà ©is That you move El abuelo recomienda que vosotros os mudà ©is a la casa nueva despuà ©s de la boda. Que ustedes/ellos/ellas semuden That you/they move La profesora sugiere que ellos semuden a otro paà ­s para asistir a la universidad. Mudarse Imperfect Subjunctive The imperfect subjunctive can be conjugated in two different ways. Option 1 Que yo me mudara That I moved La directora pedà ­a que yo memudaraal dormitorio con mi compaà ±era. Que tà º te mudaras That you moved El jefe esperaba que tà º temudaras a otra ciudad por tu trabajo. Que usted/à ©l/ella semudara That you/he/she moved La familia querà ­a que ella semudara a un apartamento ms grande. Que nosotros nos mudramos That we moved Carlos querà ­a que nosotros nos mudramosa un condominio. Que vosotros os mudarais That you moved El abuelo recomendaba que vosotros os mudarais a la casa nueva despuà ©s de la boda. Que ustedes/ellos/ellas semudaran That you/they moved La profesora sugerà ­a que ellos semudaran a otro paà ­s para asistir a la universidad. Option 2 Que yo me mudase That I moved La directora pedà ­a que yo memudase al dormitorio con mi compaà ±era. Que tà º te mudases That you moved El jefe esperaba que tà º temudases a otra ciudad por tu trabajo. Que usted/à ©l/ella semudase That you/he/she moved La familia querà ­a que ella semudase a un apartamento ms grande. Que nosotros nos mudsemos That we moved Carlos querà ­a que nosotros nos mudsemosa un condominio. Que vosotros os mudaseis That you moved El abuelo recomendaba que vosotros os mudaseis a la casa nueva despuà ©s de la boda. Que ustedes/ellos/ellas semudasen That you/they moved La profesora sugerà ­a que ellos semudasen a otro paà ­s para asistir a la universidad. Mudarse Imperative To give orders or commands you need the imperative mood. Notice that in positive commands, the reflexive pronoun is placed after the verb, while in negative commands, the reflexive pronoun is placed before the verb. Positive Commands Tà º mà ºdate Move!  ¡Mà ºdate a otra ciudad por tu trabajo! Usted mà ºdese Move!  ¡Mà ºdese a un apartamento ms grande! Nosotros mudà ©monos Let's move!  ¡Mudà ©monos a un condominio! Vosotros mudaos Move!  ¡Mudaos a la casa nueva despuà ©s de la boda! Ustedes mà ºdense Move!  ¡Mà ºdense a otro paà ­s para asistir a la universidad! Negative Commands Tà º no te mudes Don't move!  ¡No te mudes a otra ciudad por tu trabajo! Usted no se mude Don't move!  ¡No se mude a un apartamento ms grande! Nosotros no nos mudemos Let's not move!  ¡No nos mudemos a un condominio! Vosotros no os mudis Don't move!  ¡No os mudis a la casa nueva despuà ©s de la boda! Ustedes no se muden Don't move!  ¡No se muden a otro paà ­s para asistir a la universidad!