Paradise Lost And Frankenstein Theology Religion Essay

Paradise Lost And Frankenstein Theology Religion Essay Despite being written more than a century apart, Paradise Lost and Frankenstein, share the idea of individuals limitations. As classic science fictions, both books seek to express individuals over the control of a higher authority. In Paradise Lost, John Milton, questions the religious idea of predestination that says every individuals life is perfectly designed by God, and therefore one should happily accept his or her identity. During the 18th century, England empowered churches and priests as messengers of God, and Milton despised the corruption and injustice he saw in these Catholic churches. Through Paradise Lost, Milton celebrates individuals who challenge a higher authority and are willing to shape their own identity. Under the influence of John Milton, Mary Shelley wrote Frankenstein in 1818 in which people are armed with science technology to challenge authority of nature or God. Although both books celebrate protagonists strong will to search and shape their identity, the b ooks still reflect the authors concerns that individuals cannot actually shape their identity that had been already determined by predestination or a higher authority. In Paradise Lost, although Satan declares a revenge on God by ruining his plan on humanity, God always has Satan under his eyes and has authority to trump anything Satan has done. Unlike Satan, the creature in Frankenstein is not always under control or watch by his creator, Victor, but ultimately fails to change his identity of being a monster regardless of how hard he tries to be like a human being. As these books assert the existence of a God or creator, the books depict that individuals in any part of human history cannot shape their authentic identity given by a higher authority because although characters who perceived predetermination attempts to change it by doing what they can do the best, the predestined identity and fate remain still regardless of their best attempts. Although Satan is known for his evilness, his evil identity is conspicuously designed by Miltons God who eliminates all Satans choices except committing sins. In Miltons Paradise Lost, God is the most authoritative figure and often expressed as the will of whole universe. Satan, who desires to escape from God, has to make a false vision in order to reject the influence from God. After his fall from heaven, Satan made a speech to gather and encourage his fellow-demons. During his speech, Satan suggests that it is tyrannical for the  Son to rule over the angels, because the angels are self-begot, self-raisd / By our own quickning power (5.860-61). This is first deception Satan creates to cancel the fact that God is the creator of all angels. This false expression indicates while Satan knows he is ruled by God, he pretends to be out of Gods influence. Swayed by this false sophistry, the demons, and even Satan himself are deluded to believe the false belief. Miltons God does not taking their strengths when defeated. Giving hope that Satan and devils still have chance to overcome God, God rather prevents devils from repenting and receiving forgiveness. By choosing to follow Satans false reasoning, the rebel angels lose all choice in whether they will repent to return to Heaven, and perhaps do not even realize that they are given a chance of repentance. Under Gods machination, they do not have choice because Gods false hope makes them chose to have no choice, but commit sins. The demons wills are not conquered by God but instead their wills are voluntarily surrendered to Him. Satans false claiming that the angels are self-created further deprives Satans will by making him a creator of sort that his creation is a privation. Sin is his self-begotten creation, and with Death, they compose an unholy, sinful trinity. With Sin and Death, Satan, as an inversion of God, is prevented from creating anything good and allowed to create only Miserie, uncreated till the crime (6 .268-69). As Satans choice to be good is initially limited by God and evilness is what Satan is entirely composed of by his false claim, the destiny of Satan is already shaped to be nothing but evil. Despite the fact that Satan is limited by careful designs of God, he still shows a sign of independence by using material objects to support him. Raphael explains to Adam and Even that Gods creations are more refined, more spirituous, and pure, / as nearer to him placed or nearer tending (5.475-476). If Raphael is true, then conversely, Satan must become less refined, spirituous, and pure once Satan turns away from God. However, in the hell, Satan is still ambitious and willing to challenge against   God with his spear and shield. As Satan takes his material arms in a war against God, these weapons are symbols of Satans unconquerable will against Gods will. Using his spear as a crutch to support [his] uneasy steps, as he moves around in hell, Satan, instead of returning to God and seeking for forgiveness, puts his faith in his material things (1.295). Falling with his weapons in hell, Satan never loses faith that his unconquerable will is capable of contravening Gods will. Satans unconquerable will to interrupt Gods plan is also highlighted when Satan enters Eden as a cormorant and wolf and approaches to Adam and Eve first as a lion, tiger, then as a serpent (4.402-08). The change of Satans physical appearance might indicate that Satan is actually being less refined, spirituous, and pure as he turns more against God. However, it also signifies that despite the insignificant physical shape of Satan, he does accomplish his own goal of corrupting Adam and Eve. In addition, Miltons God is omniscient, knowing all that happens and all that will happen, but consequently, God can be seen as tyrannical and cruel in not preventing evil. The success of Satans mission might reflect that God allows Satan to execute his free-will of ruining Gods plans. However, Satans belief in freewill is rather a delusion that he cannot act apart from God and all acts he performs serve Gods service. When Satan returns to hell after corrupting Adam and Eve, he does not receive victory cheers. Instead, he hears a universal hiss as he and his fellow devils transform into serpents. Punished by God, Satan receives punish in the shape he sind, and the rest of the rebels are like in punishment, / As in thir crime (10.516, 544-5). The punishment of this group of sinners reflects that as a poetic justice, Gods justice dispenses punishments that are appropriate to the crimes they committed. The punishment by God further suggests that the rebels punishments are fitting as they choose to be governed by Satan and refuse to be governed by God. The fact that God punished them for their decision indicates that although their actions seem free from God, the result of their actions, the poetic justice, is always held by God. In this sense, a demon gets what he wil ls, but having his will accomplished is always followed by a punishment because what he wills falls short of Gods will. Another instance that Satans freewill actually does not exist is Miltons description of Satan through Paradise Lost. Milton began his epic with pseudo-heroic size of Satan as that of Typhon or Leviathan (1.201). Although Satan is a fallen angel, Milton left his majesty and glory as archangel to provide God with a worthy adversary. However, all the appearances he takes on after fall lesson this angelic nobility; he transforms into a cormorant, lion tiger, toad, and at last serpent. As Satan chooses to appear baser as time progresses, there is gradual decrease in a sinful wills power. His transformation displays an unregenerate aspect of the sinner. Satan did will to be a serpent, and his followers willed for him to corrupt Adam and Eve. However, once they commit sins, their wills are slavishly subjected to the sin that there is no chance of way-out from the sin. Thus, they repeat their sins involuntarily, reminding the results of devils decision to have no choice. Ultimately, the poet shows the abysmal fate of Satan that his will is annihilated as one becomes further enveloped in sin, for his will cannot be redirected from sin after God prevents him from being good. With all these careful plans by God, God not only has the power to trump what Satan uses evil actions of Satan as a part of his plan. By the end of the book, Raphael opens the idea of the fortunate fall, that the corruption of Adam and Eve is also in a way an act that brings more goodness to creation, for it leads to the coming of the Messiah who makes evil turn to good (12.471). Although Satan initially attempts to corrupt Adam and Eve to create evil and disorder in the universe, his will of creating evil actually falls under Gods plan of salvation for humanity. Therefore, when it comes to Satans proud action, it is really Gods will being done, not his, though Satan never realizes this fact. Finally, Satans belief in free-will is rather a delusion that he cannot act apart from God since all acts are performed in Gods service. Satan is rather a very tragic figure whose actions against God in exchange of his own punishments are actually used to serve Gods plans. While Miltons God is almost impossible to overcome, in Frankenstein, the creature seems to have more control over his situations. However, the creature, too, falls to the victim of predetermination by his creator, Victor. Since the time of being created by Victor, the creature is rejected by his creator and world and does not seem to have a place in the world. Since the beginning of his life, the creature is be already abandoned before he knows anything about the world he enters. When the creature muttered some inarticulate sounds, and his hand was stretched out to his creator, Victor refuses to listen and escapes the laboratory (59). In this scene, the creature is portrayed like a baby, who cannot speak a word, but stretch his hands to father for a protection. The rejection by his creator, Victor, indicates that there is already a gap between the actual creature and the imagined creature by the creator. This gap, which the creature does not perceive yet, already reflects the creature as unwanted life and abortion from Victor and his world. Victors first idea of creation and rebirth is somewhat ideal and beautiful, an art work only allowed to God. When Victor with knowledge of science created a life, the created life is rather false and ugly, pointing out that peoples imaginations that sound really appealing can be horrific when brought to the world. The rejection of Victor is therefore significant that the monster is not only rejected by his deformed physicality but also rejected by the fact that he is a resemble of false, imaginative ideas that must only stay in unreal world, in peoples imaginations. In this Mary Shelleys world of science fiction, the creature is able to be brought to the real world with scientific imagination, but since the creature is a false product of scientific imagination, he has no place to belong in the world. The creature is an outlier in the world and cannot shape his identity because his identity is free to be changed only in unreal world and in imagination of Victor. The view of the creature as the unwanted becomes more evident as the creature makes inarticulate sounds like a baby to communicate with his creator. Victors refusal to understand or co mmunicate with the creature suggests that the creatures link with Victor, which is the only connection the creature is born with, can easily fall apart, leaving the creature with no connection to the world, and therefore isolating him from the real world. Regardless of the creature is able to perceive or not, there is again a gap or loss of connection between the creature and the world. In addition to Victors rejection, even the nature of the real world seems to reject the creature. When the narrative is turned to the creature, he describes his experience of first entering the world: The light became more and more oppressive to me; I sought a place where I could receive shade (105). In Frankenstein, light is often a symbol of virtue and life which people use it to celebrate a new birth or goodness. The creature, however, finds more comfort in darkness than light, evidence that he does not seem to fit into the world. Light is rather a torture or discomfort for him that nature does not welcome him for entering the world. As the creature is rejected both in terms of nurture and nature, he clearly does not belong to the world. The idea that the creature does not belong to the world continues even after the creature becomes conscious of his surroundings. After gaining knowledge and human sense, the creature realizes that Satan had his companions, fellow-devils, to admire and encourage him, but [he] is solitary and abhorred (133). The creatures attempts for self-extension, for connection with community do not seem to work at all; as Satan has evilness to have fellow devils and belong to hell, the creature has labeled identity of a monster to belong to its category. It is a tragic irony that while ones original identity guides one to ones original community, there is no such thing as original community for the creature, who does not initially belong to the world. For the creature, the chance of belonging to this world is never given because it is Victor and society that attributes his labeled identity, forcing him to belong somewhere else. Despite his initial rejection from his creator and the world, the creature develops hope to be part of community. Without help of his creator, the creature educates himself to be closer to humankind. The creatures desire to be accepted and assimilated is apparent when he speaks his feelings toward cottagers: The more I saw of them, the greater became my desire to claim their protection and kindnessà ¢Ã¢â€š ¬Ã‚ ¦ to see their sweet looks directed towards me with affection was the utmost limit of my ambition (134). His desire to be a part of the cottagers lives, to have them accept and love him, illustrates a tangible connection felt between the creature and the rest of the humanity. The creature goes on to say I required kindness and sympathy; but I did not believe myself unworthy of it (134). The creature believes himself capable and even worthy of both emotional and psychological reciprocation and by extension, capable of existing in harmony with the rest of humankind. The creature confirms his belief by educating himself, showing that at least there is an opportunity for him to assimilate to the morals and ethics of humankind. The product of his self-education seems fruitful when the creature talks with Victor persuasively: my food is not that of man; I do not destroy the lamb and the kid to glut my appetite; acorns and berries afford me sufficient nourishment (148). Without the teaching from his creator, the creature is able to discern moral right and wrong. The creature is able to form his own code of behavior on example and the behavior he views from others despite the lack of formal education. This is notable that his instinctive sense of morality comes without any help of creator, and although his morality is not inborn, it is obtainable by the creature. Further knowledge on virtue and vice is given to the creature through the books: I read of men concerned in public affairs governing or massacring their species. I felt the greatest ardor for virtue ris e within me, and abhorrence for vice (131). The presence of a creator is again absent from his education, yet he is capable of developing a thoroughly structured sense of morality and ethics. His ardor for virtue and abhorrence for vice is a basis for strong intellectual development, as well as, being skillful in human relations, the end goal of the creatures self-education. His capability of changing himself by learning indicates that the creature is not an incommunicable evil monster by inherent constitution. He is rather born unformed without any shaped identity. Therefore, as he absorbs the characteristics of humans, he feels to be closer to mankind. Despite the creatures effort to be closer to mankind, his constructed inner-personality is easily overridden by his deformity, and ultimately cannot depart from predetermination by his creator, Victor. The fall of his inner-personality occurs when the creature is shot by a boy after the creature saves a girl. The feelings of kindness and gentleness which I had entertained but a few moments before, gave place to hellish rage and gnashing of teeth. Inflamed by pain, I vowed eternal hatred and vengeance to all mankind (143). The sudden turnover of creatures personality from kindness and gentleness to hatred and vengeance suggests how easily his constructed virtue and inner-personality to be a person can be replaced as if his efforts are worthless. Regardless of his efforts in creating his inner-personal identity, the labeled physical monstrosity overlaps his self-construction and even brings him back to his initial status, a rejected and isolated life from the world. The insignificance of his self-education becomes more apparent when Victor replays his rejection to the creature: Begone! I will not hear you. There can be no community between you and me (103). The repetition of Victors rejection is evidence that there is not much change in the creatures connection to the world after his self-education. Although the creature learns the value of virtue and community, Victor denies the creatures needs when he insists that there is no community. As the creatures efforts turn out to be futile, the creator, Victor, seems to be the only one who can save the creature from misery. Even though the creature renounces all his virtue and passion to revenge on Victor after destroying his mate, Victors death, the loss of creator, does not allow him to be independent from misery: in his murder my crimes are consummated; the miserable series of my being is wound to its close (221). While Victor is the creatures source of agony, Victor has been the only relationship he actually has i n the world. The death of Victor represents the loss of core link between the creature and the world, which allows him at least to stay in the world. His demise, in fact, brings the complete isolation of the creature in the world and therefore his own annihilation in the world. The classic science fictions reflect that overcoming the creator or a higher authority is near impossible, and even if one defeats ones creator, what left is ones self-annihilation because one is directly connected with the creator. The scientific imaginations from classic science fiction do not provide actual freedom or extension of independence beyond the limit of the world. In classic science fictions, the freedom of imagination rather brings down the individual by imagining a higher authority in form of supernatural. Therefore, at the time of classic science fiction, the ideas of science fiction are powerful tool to erase existing boundaries in oneself, but seem to paralyze one by giving new boundaries, that are taller than the old boundaries.

Celie :: essays research papers

Celie   Ã‚  Ã‚  Ã‚  Ã‚  In section three of The Color Purple, the main character is Celie. In this section she gains a little more control over her life, begins to express herself through creativity and also becomes more free and independent. Her decision to leave with Shug to go to Tennessee and begin her own pants business is good examples of these things. This section shows how much progress she has made in herself. We learn about Celie through different situations and dialogues she has throughout this section.   Ã‚  Ã‚  Ã‚  Ã‚  On page 183, Celie decides to leave with Shug Avery to go back to her home in Tennessee. Previously in one of the lost letters from her sister Nettie in Africa, she read that her Pa wasn’t really her Pa at all. All of a sudden her world is shook when she discovers the real truth about her parents. â€Å"My daddy lynch. My momma crazy. All my little half brothers and sisters no kin to me. My children not my sister or brother. Pa ain’t Pa (Walker 183).† She realizes that everything she was told since she was a child was a lie and decides to just get away from it all with Shug. No one was there to hold her back. In leaving, she is gaining more control of her life. She is moving on to do better things for herself for once in her life.   Ã‚  Ã‚  Ã‚  Ã‚  Also in this section, Celie begins her own pants business. Making these pants is more than just simply constructing pieces of fabric together for her. For Celie it’s a new road to her own freedom and independence. We learn through her that she has a creative flair and is actually quite good at making theses pants. She uses her creative abilities to make a living. We see that she begins to that she begins to feel that she has more of a purpose. She isn’t so dependent on Shug as she used to be and learns to depend more on herself. Shug says to Celie at the end of this section, â€Å"You making your living. Celie, she say, Girl, you on your way (Walker 221).† We can obviously see that she definitely is on her way to being more self-reliant and independent.

The Growth of Marietta in Barbara Kingsolvers The Bean Trees Essay

The Growth of Marietta in The Bean Trees Barbara Kingsolver, in the novel The Bean Trees, portrays the story of a young woman, Marietta Greer, learning about love, responsibility, friendship and the human condition. All of us can relate to the struggles of every day life; however, it is when we must deal with issues that we would rather run from that show our true character. Sooner or later, we all have to confront issues that life bestows on us. Â   Marietta embarks on her journey west in a 1955 Volkswagen with a pledge to get away from Kentucky. She fulfills a promise she has made when she changes her name to "Taylor" after passing through a town named Taylorville. While traveling in Oklahoma, she acquires a three year old she names "Turtle." It is when Taylor's car breaks down in Tucson that she and Turtle begin their new life together. Through their travels, they meet up with people who draw them in and provide love and support. Their new friends, Lou Ann, who becomes their roommate, and Mattie, Taylor's new boss, convince Taylor to return to Oklahoma to find Turtle...

Analysis of Hydrated copper sulphate Essay

Aim – To determine the molecular formula of hydrated copper sulfate. Requirements – Hydrous copper sulfate Electronic balance Evaporating dish Glass rod Tripod stand Bunsen burner Crucible Procedure – First I weighed 3g of hydrous copper sulfate on electronic balance and began heating it in an evaporating dish on top of a Bunsen burner. After the reaction was complete I measured the new weight to find a change in mass. Qualitative data – After the reaction was complete, the colour changed from blue to white due to a loss of water crystals. Faint green tinge became evident and fine white powder was formed from crystals. Continued heating led to formation of oliver green colour. Quantitative data – Original weight of hydrous copper sulfate – 3g Error in electronic balance –  ± 0.001g (provided by the teacher) Data collection – Trial 1 1.96g Trial 2 1.87g Trial 3 1.94g Data Processing – To minimize the errors I conducted three trials and averaged the readings to find a more accurate answer. = 1.93 g  ± 0.001 Change in mass = (3  ± 0.001) – (1.93  ± 0.001) = 1.07  ± 0.002 The change in mass was due to the loss of water crystals. Water (H20) has a molar mass of 18g. Therefore the change in mass must be equal to the mass of water present in copper sulfate. No of moles of water evaporated = = 0.059  ± 0.002moles The molar mass of anhydrous copper sulfate is 159.6g. No of moles of = = 0.012  ± 0.001moles In the equation I took the no of moles of water as x because it is unknown. CuSO4.xH20 → CuSO4 + xH2O According to the equation the mole ratio between copper sulfate and water is 1: x. Therefore 1:x = 0.012  ± 0.001: 0.059  ± 0.002 x = = 4.9  ± 0.588 Conclusion – Hence the x value can be rounded off to 5 to get an integer answer. This means that in 1 molecule of hydrous copper sulfate there are 5 atoms of water present as crystals. The result is also equal to the literature value which was provided by the teacher and there seems to be no deviation because the answers are taken as integer and decimal points are excluded. The only systematic error present was in electronic balance. Moreover random error could have been caused during heating of the salt i.e. overheating or underheating. This error depends on the sight of colour change, therefore this is a very hard random error to eliminate. Evaluation – As the answer is taken as integer, there seems to be zero error however still a lot of errors are possible while conducting this experiment. During the heating of hydrous copper sulfate there maybe some water crystals still left due to inappropriate stirring and overheated or underheated salts could have also caused error. Main error which is inevitable is the hydration of crystals after being heated. The reaction is reversible and the after heating there could have been water vapour in the air which could have combined with the salt. Hence these can also lead to deviations in results. To improve upon these errors we must make sure that after the salt is heated, its weight must be measured immediately so that there is very less time gap between it. Furthermore proper stirring and care taken during heating can also minimize errors.   

African influence on Western Culture Essay

Africa, a continent with a not so peaceful history, has always been mysterious and amazing, all at the same time. â€Å"Afri† was a Latin name used to refer to the Carthaginians who lived in Northern Africa from the 9th century B.C to the 7th century A.D when the last Punic culture was destroyed in the Arab conquest. Before I start recounting my general point of view on the topic above, I would like to share a brief opinion about multiculturalism. Defining it is not that simple. Some people refer to multiculturalism as a word that describes society where many different cultures live together in peace. But is it always like that? What about inherent racism and fear? Over the last few years, lots of people have been exploiting it in order to abuse other cultures and discriminate people who are different from them. In a normal world, they would be reprimanded and heavily fined. In most countries, that’s not the case and even the authorities do not care about them. On the other hand, all cultures deserve respect, including the African ones. Cultures have been developed over centuries to allow people to live together, reasonably and peacefully. Multiculturalism can mean a country accepting some practices it tends to object to, but it can also mean that a culture becomes exposed to other ways of living, which could have quite a bad impact on the other dwellers. In conclusion, we must learn that accepting people as they are is of great importance. It is important to respect each other, and one should know that living by moral standards is one irreplaceable thing.

The Impact Of Personality And Gender Of Branding Decisions

Personality and gender have an impact on branding decisions and reactions by consumers. Therefore, it would serve businesses well if products and services are shaped around customer preferences, knowing their unique and particular needs, and their sense of aesthetics. An evidence to support this contention is a study called ‘visual marketing’ in which participants were shown a slide containing stimuli for testing while an eye-tracking equipment monitored their eye movements. Afterwards, they were asked to indicate how much they liked/disliked the stimuli.Results showed that there is a clear correlation between the number of fixations on an image and subsequent spontaneous and prompted recall of that stimulus. There is also a better recall of images the participants had liked. This means, therefore, that when advertising or branding a product, the emphasis should be the need to know and understand the target audience, and what they like to see. Factors like space, color, imagery or details were found to have an effect on the beholder.For example, children would associate dark colors with negative emotions while happy emotions for bright ones. They would also prefer large figures to smaller ones. While the marketing rule stipulates that the costumer should always be the focus, however, the factor of the creator and the â€Å"production aesthetic† may deter the accomplishment of this end. Creatives tend to impose their personalities in their creations. Each creative has his/her own sense of self which always, consciously or unconsciously, come out through the work.Behind the brands out there in the market could be the reflection of personalities of the creatives who made them. An implication of this is that creatives will tend to produce work that reflects their own career aspirations, creative impulses, ethics and beliefs. They would produce advertising that appeal to themselves. They would produce work that they find appealing and interesting to them instead of to the consumers, contradictory to the marketing idea that the consumer preferences should take precedence over that of the creatives.Aside from aesthetic preferences, the gender of the creative also affects the branding of products. Gender affects the graphic expression of the individual. One’s shape, color, detailing and perspective preferences are usually associated with the gender one belongs to. To ensure that the product or service appeals to the target consumer, the ‘production aesthetic’ and the ‘preference aesthetic’ should be the same.The personality and gender of the creatives should be aligned with the consumers. Recruiters should hire marketing staff members whose personalities and genders are congruent to the external stakeholders. In an era of high competition, delivering products that appeal to specific customer segments is a high priority. Reference for the journal: Authors: Moss, Gloria Source: The Journal of Bra nd Management, Volume 14, Number 4, 1 April 2007 , pp. 279-300 Publisher: Palgrave Macmillan

Meiosis and Genetic Diversity in the Model Organism

4 November 2013 Section 24 TA- Erik Ohlson Meiosis and Genetic Diversity in the Model Organism, Sordaria flmicola Introduction Research groups from the Imperial College of Science, Technology and Medicine and the Institute of Evolution at the University of Haifa have been studying the model organism, Sordaria fimicola, in regards to controlling cross over frequency in response to environmental pressures. Sordaria fimicola is a good model organism because it has a fast life cycle and elongated asci that are easily seen under a microscope.In addition, there are multiple different combinations of ascospore olors due to recombination during meiosis. Evolution Canyon is the research model for this experiment because of its exceedingly differing slopes. The South facing slope (SFS) receives high temperatures and droughts due to the high solar radiation. On the other hand, the North facing slope (NFS) exhibits shadier, cooler, and more humid climates. Asexual filaments were collected from e ither slope and grown in the lab.Wild type spores(black spores) were acquired from self-cross between the asexual filaments and spore color mutants (tan spores) were obtained from wild type trains that produced non-black spores that arose spontaneously within each population. They made crosses with wild type vs. tan spores from differing slopes (NFS-SFS) and found that cross over frequencies between the differing slopes was great (Hass and Ward, 2010). Contrary to previous belief, cellular mechanisms were influenced by environmental conditions; this tells us that differing environments can lead to different recombination frequencies.In our part of the experiment, we created a control where the spores were grown under the same optimal lab conditions. The combinations of ascospores we observed include, 4:4, 2:2:2:2, and 2:4:2. During meiosis, 4 ascospores are produced after crossing over occurs. Then the spores undergo a series of mitosis where 8 spores are then created. In a 4:4 reco mbination, there could either be 4 tan then 4 black or 4 black than 4 tan. In the 2:2:2:2, there could be tan, black, tan, black or vice versa. In the 2:4:2, there could be tan, black, tan and so on.Therefore, 6 different combinations asci classes can occur. Our goal for this experiment was to identify the different spores, cross over frequency, and mapping distance. However, there were challenges in preparing the squashes, and then identifying the different spores. Methods We divided the petri dish into four sections, where the wild black type samples were diagonal from each other and the tan type samples were also diagonal from each other hyphae side down onto mating agar to increase the possibility of crossing over to occur.After two weeks, using an inoculating loop, we scraped some perithecia from the center of the dividing lines where we believed crossing over occurred. We then placed them on slides with a drop of water to observe the crossing over requencies under a microscope . Pressure was applied to the coverslip in order to release the asci from within the perithecia in order to count the frequency of each asci type. To calculate cross over frequency and map distance, we used the formulas: 1. % Cross Over=( # of recombinant asci/ total # asci) x 100% 2.Map Distance= % cross over/ 2 *Note that map distance accounts for all spores, but in our experiment only half crossed over, we divide by 2. Results Table 1. Individual Data. This illustrates the number each recombination found within our picture we were provided. Non-recombinant Recombinant Total # of Asci Total # Recombant Asci (B+C) # of Type A Asci # of Type B Asci # of Type C Asci 8 5 3 4 Table 1 illustrates the number each recombination found within our picture we