Ferdinand I

start of world war I was brought on by several different contributing factors. The most important cause were militarism, alliances, imperalism, and nationalism. Among those causes, the world war I break out also had a lot to do with the assassination of Archduke Franz Ferdinand and his wife, Sophie. Archduke’s death quickly set off a chain of reaction of events culminating in the the outbreak of world war I. As you read this essay you will learn about the start of world war I and the assassination

Although the assassination of Archduke Franz Ferdinand of Austria-Hungary was not the sole cause of World War I (WWI), it acted as the trigger which set off tensions that had been building for decades (Stokesbury, 2002). According to Stokesbury, the archduke was “Inspector-General of the Armed Forces and he proposed to view the troops on summer maneuvers and then…tour the provincial capital, Serajevo,” (pg. 23) in June of 1914. The day reserved for the archduke’s visit, June 28, corresponded with

In 1914 Gavrilo Princip, a member of the Serbian Black Hand, assassinated Archduke Franz Ferdinand, heir to the Austro-Hungarian Empire, instigating an immediate cause of World War I. As the third largest European power by area, the Empire was a powerful presence leading up to World War I, with a population of over fifty million people and an army of 400,000 soldiers. The conflicts among European powers and the disorder in the Balkans in the 19th and 20th centuries led to a situation in which

In his publication about western culture in the journal Das Andere, Adolf Loos tells a story about a master saddler. In this story, the saddler hears about the rise of the Secession in the city, and how they praise the creation of a modern style. Showing one of his saddles to one of the leaders of the movement, a professor, he finds that his saddles aren't modern. Despite his best attempts, the saddler couldn't create a saddle that would meet the high expectations of the professor. This professor

begin, the scene, Act I Scene ii, opens with Ariel singing, “Come unto these yellow sands, And then take hands. Curtsied when you have, and kissed The wild waves whist./ Foot it featly here and there,/ And, sweet sprites/ bear The burden/ Hark, hark!…Hark, hark!/ I hear The strain of strutting chanticleer”(Act I, Scene ii, 375-381, 385-387). Ariel is singing to Ferdinand, son of King Alsono, who has landed on an island after a shipwreck. Prospero ordered Ariel to guide Ferdinand to him, so Ariel sings

the turmoil that Ferdinand is suffering via the manipulation of lighting, sound, and visual props, all of which embody Ferdinand’s sensory overload while he searches for solace in the wake of his father’s death. To begin, the scene, Act I Scene ii, opens with Ariel singing, “Come unto these yellow sands, And then take hands. Curtsied when you have, and kiss'd The wild waves whist./ Foot it featly here and there,/ And, sweet sprites/ bear The burden/ Hark, hark!…Hark, hark!/ I hear The strain of

dukeship out of a thirst for power is on a ship which Prospero has caused to wreck with a storm, on the island where he and his daughter live. This is part of Prospero’s plan to have Miranda become the next heir of Naples by marrying Alonso’s son, Ferdinand, King of Naples. In Act Two, Antonio and Sebastian, Alonso’s brother, believe everyone else not with them has died in the shipwreck and conspire to kill Gonzalo, a lord, as well as Alonso to make Sebastian the next heir of Naples. Throughout Act

one should establish the scope of the first two thirds that Prospero mentions. In act 4, scene 1, Prospero has given Ferdinand his daughter Miranda in marriage. In doing so

Empire Charles V was the most powerful and influential monarch in European history. He was the son of Philip I from Castille, heir to the Holy Roman Emperor Maximilian I and Mary, Duchess of Burgundy, which gives Charles V jurisdiction over the German nation (1519) and Habsburg Netherlands (1506). His mother Joana the Mad was the third child of the Catholic Monarchs Isabella and Ferdinand II, earning him the authority over the Spanish Empire (1516). Born in Ghent on September 24, 1500, he was exalted

important interactions that outline his change in character are the ones between his brother Antonio, and the King of Naples, Alonso. Prospero takes the initiative and forgives his brother, twice. He confronts Antonio, “I do forgive thee, / Unnatural though thou art” (V.i.88-89) and, “I do forgive / Thy rankest fault, all of them” (V.i.151-152). Lines like these show an overview of Prospero's new character at the end of the play. The first of change is admitting the wrongs and moving on from the past