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Supplemental essay的写作类型解析

2018-11-30 17:19:49 | 日記
在众多国外大学的申请者中,彼此的条件都是差不多的,所以为了从众人之中夺得一席之位,还得靠大家自己争取。而Supplemental essay就是这种机会,同学们可以在Supplemental essay中告诉招生官一些他们不知道的事情,以此来说服他们。当然,Supplemental essay的写作类型是不同的,下面就给大家讲解一下。

Supplemental essay写作类型1. Why“This” College? Essays

不管是简单的“Why XX University”还是询问学生会如何为校园做贡献,学校都希望看到经过仔细调研,充满细节的文章。这篇文书是我们告诉招生官,这个学校是我首选的机会。

在Supplemental essay里简单地说“我想去某个学校因为她很棒”或者“某学校是我的最爱”是不够的。在评估这些文章时,学校希望看到学生真的做了功课去了解学校,并且认真思考了自己是否能融入校园文化。

在回答这类问题时,建议同学们一定用具体的事例。我们可以列举感兴趣的课程,展开描述契合我们目标的校园活动,并讨论校园文化的哪方面让它成为我们的最佳选择。这篇文章一定要尽可能具体,但要注意,写的东西要和我们的兴趣和爱好有关。想要随便列一些课程来让招生官惊艳是不可能的。记住:要有理有据。我们要用事实例证为什么某个学校是我们想要的。

Supplemental essay写作类型2. Why “Major”? Essays

有些学校想知道学生的学术兴趣是什么,和他们为什么想在这个学校学习这个专业。就像“Why this College”这类问题的回答一样,这个题目的答案也要有关于学校项目和学生兴趣的具体信息。这些具体信息可以包括出国交换的机会,教授的研究项目,课程要求,学院新闻,最新研究等等。但要记住,所有的信息最后都必须回归我们自身,和我们的目标:职业目标,深造计划,学习目标等等相关。我们也可以结合自身相关经历阐述为什么想学一个专业。

分享为什么想要学习一个专业可能很难,因为其背后原因大同小异。这没关系。大家可以阐述这个学校的特别之处,以及喜欢在这个学校学习这个专业的原因。文书的第一步,是头脑风暴自己会如何充分利用学校的项目和课程。

Supplemental essay写作类型3.“Quirky” Essay Prompts

这是一道越来越流行的Supplemental essay题目:特立独行的文书。从有关“YOLO”和蜘蛛的问题,到询问学生会如何设计课程,许多学校会询问学生一些奇怪的问题。对很多学生来说,这些文书题目让人望而生畏,常常有同学在写一篇有创意的文书和写一篇干巴巴的文书中挣扎。

面对这类奇怪的问题时,我们要牢记Supplemental essay写作首要原则:展现被隐藏的特质。这些文书关注学生和他们的思考,而不是他们对学校想听什么信息的推测。大家一定要牢记自己的兴趣!同样需要牢记的是学校在寻找适合自己的学生。这时候,可以回头去看学校的使命,了解背后的原因和过去什么样的学生被录取。

Supplemental essay写作类型4.“Short” Supplement Questions

有些Supplemental essay只要求写一些单词或一句话。对这些问题,建议大家进行深入挖掘和思考,但记住我们的答案不需要和问题看起来一样特别,所有的回答都只需反应我们的性格和热情。

以上就是关于Supplemental essay写作类型的讲解,一篇出色的Supplemental essay可以为学生的申请材料增添色彩,并且增大被录取的几率,所以大家一定要努力写好这份文书。

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作业代写:The influence of multimedia skills

2018-11-30 17:19:22 | 日記
下面为大家整理一篇优秀的paper代写范文- The influence of multimedia skills,供大家参考学习,这篇论文讨论了多媒体技术的影响。多媒体技术的诞生,让平面设计形成了静态图像,打破了其不能够传达更多内容的单一性,不能够更加丰富视觉形式的单调性。让静态变成了动态化的表意和传递媒介,在视觉美感上也将平面设计作为一个基础并且发展延伸,动态的包装使之更容易达到其艺术效果。

The connotation of modern design is to integrate the thoughts of the author with the needs of The Times, so that the work reflects the functionality, aesthetics and cognition, so as to realize its value. With the help of multimedia technology, the realization of this value will have impact. Multimedia makes graphic design more vivid and its meaning more acceptable to the public. Therefore, multimedia technology is the best auxiliary tool for the design connotation.

When we talk about visual media today, it is easy to think of colorful and dynamic video or multimedia films and television works. At this time, we found that it was no longer possible to use a simple word or two to describe the visual carrier we saw. At this time, because the visual carrier has been integrated into our lives bit by bit, it provides us with almost all the information in life. The great enrichment of this visual carrier is mainly promoted by the development of computer technology, which leads to the unprecedented progress of multimedia technology. Since multimedia makes graphic design "dynamic", the two have been closely combined. People have thought that graphic design can show its connotation dynamically and realize the communication between graphic design and people with the power of science and technology, among which 2d dynamic software of computer can realize people's dynamic demand for graphic design. It can be seen that the so-called graphic visual art and graphic design in the past cover fields including packaging, books, posters, posters and brochures. These traditional visual carriers of plane have become another more dynamic visual carrier driven by multimedia technology.

The most important effect of multimedia technology on graphic design is to make graphic design into an operable interface. To be precise, some graphic design becomes a part of visual experience and interactive operation. Its prominent function is the interaction between visual experience and operation. This is the man-machine interaction realized by multimedia technology, but the function of modern design cannot be ignored in such a process, that is, graphic design makes the picture become an acceptable visual image, while multimedia technology makes it become a more vivid and interactive dynamic carrier.

To put it simply, the essence of icon or design is the result of graphic design, and multimedia makes it add operable functions and feedback the merits and demerits of design. Take the icon, an icon is equivalent to the plane design of a logo design, it must be able to reflect a certain functional, and to identify a certain concept, the connotation of sex, this is design specific explanation is design must express a certain meaning, and let people to recognize the connotation of its voice resonate, this is the connotation of the design. Originally of graphically creative graphic design, content can be used as a good foundation, and extend to the multimedia production, then the graphic style combined with creativity and the function of the new constraints is produced with functional operation and have visual creative icon, the aesthetic feeling of design is still in it, but it is no longer on paper we become creative graphic symbols.

Modern design aesthetic function is through the vivid image, beautiful artistic conception, the expression of rich connotation and health in a specific meaning to the viewer or reader, or read to admire can obtain aesthetic pleasure or cognitive information, and the function of aesthetic pleasure people body and mind is the function of modern design to the connotation of the performance in the first place. The functional sex of the modern design is the appearance of a product and/or structure is also the designer needs to consider the design of the level, because in the United States no actual functional creativity, is of no significance, visible graphic design connotation of its design should also have such aesthetic and functional, aesthetic and functional, but sometimes in adornment such as graphic design is functional and aesthetic fuses in together, namely, aesthetic effect to achieve is to realize its function. Sometimes, it will also become two levels. For example, in the icon mentioned above, it is necessary to reflect the two connotations of function and aesthetics, that is, it can achieve the purpose of pleasing the public and also achieve certain functions. So the connotation of modern design is the unity of function and aesthetics.

All designs have a specific cognitive function, that is, expressiveness. This kind of ideation is to reflect the designer's intention through the design work, so that the public can understand the meaning and function of his design from the middle. All designs are endowed with different contents and meanings, and every designer would like to use various forms of expression to make its connotation easily recognized by the public. It can be seen that one of the prominent aspects of the connotation of modern design is the connotation of recognizability and desire to be recognized.

In the design work, its main elements are color, line, form, etc., among which color as an important factor of design, namely the main elements of graphic design. Color is not only the important role that adorns life, it also is a knowledge. Want to use color flexibly in design work, clever, make the work achieves all sorts of wonderful effect, can more vivid to the expression of the design, form certain contrast. At the same time, contrast can produce a stronger visual effect, or clear, or positive, or strong, so that the individual with a deeper impression. The multimedia mentioned above can not only make graphic design move, but also make the color of the design come to life. With dynamic changes, it can highlight the changes of the color of the work, and of course, it can better reflect the profound meaning of the work and the expected aesthetic and cognitive functions.

The meaning of multimedia is to bring the static design to life. At the same time, additional elements such as music and animation can also be attached to it, which is to make the design dynamic. These multimedia elements can better show the original graphic design concept, according to the characteristics of the works of the original graphic design for the dynamic analysis for the plane design on the new carrier, which is a new vitality, this change will be continually updated development and it is also the trend of the integration of multimedia technology and graphic design. Because such updates will be the main form of design in the future digital age.

In a word, multimedia makes the static image formed by graphic design break the monotony of its inability to convey more content and enrich the visual form. Static into a dynamic expression and transmission of the media, in the visual aesthetic sense of graphic design as a basis and development and extension, dynamic packaging makes it easier to achieve its artistic effect.

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英文论文的写作要求

2018-11-30 17:19:01 | 日記
对于中国留学生来说,写作英文论文会有一定的难度。原因是中国留学生的母语并非英语,所以用英语写作会非常不习惯,还会导致很多问题。所以说,我们非常有必要了解英文论文的写作要求,只要大家按照要求去写,就可以避免出现写作上的错误。那么英文论文的写作要求有哪些呢?下面就给大家讲解一下。

1、标题的运用

关于较长的论文的标题页,次序依次是标题、名字、日期,都需求居中,有的还需写上某一门课程的导师的职称、课程的编号等;打印时,如无特殊要求,每一行均需double space,即隔行打印,行距约为0.6cm。若篇幅较短,可将标题页的内容做些排版调整即:打在正文第一页的左上方。其他如上次序,左右皆为2.5cm,打印时隔行打印即可。

2、引证处理技巧

依据引证的多少:一般拟引证的文字与论文无关的要删掉,剩余的若引文缺乏三行,能够将引文有机地融入论文中;不然就要分隔,可是引文不需加引号,结尾的句号应标在最终一个词后。 插注:一般不选用脚注和标示,因为关于多篇文章的排版这种办法简单出问题,一般选用的是在引文中直接插注,可是要直接接在被注释的词后边,并且要运用方括号。 出处:若引文出自同一作者的两篇或两篇以上的著作,除注明引文作者及页码外,还要注明著作名。若是一部多卷书,要注明卷号。引证日报上的英文论文有必要一起注明报纸出版的年、月、日。

3、学会处理参考文献

在文末的参考文献中,姓前名后,并且用逗号离隔,两个作家合著的则用and连接;三个或三个以上的,前面的用逗号隔,最终一个用and连。假如文献是图书,书名用斜体;文献是期刊或期刊中的文章,文章名用正常字体,期刊或报刊名用斜体;假如文献是网页,则尽量包含作者、年份、标题、网址和检索时刻。

以上就是关于英文论文的写作要求讲解,相比于国内大学的写作,国外大学的要求严格很多,所以同学们在写作的时候千万不能马虎。

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Paper代写:Space rhythm and sound and picture rhythm in animation films

2018-11-30 17:18:41 | 日記
本篇paper代写- Space rhythm and sound and picture rhythm in animation films讨论了动画电影中的空间节奏和声画节奏。空间节奏和声画视听节奏在动画影视作品中不是孤立存在的,它们之间存在着同步与对位的关系,是统一体。动画影视作品能抓住观众的不光是画面中精彩的情节、镜头的运用和场景色彩的变化,很关键的一环在于空间与声画的配合。从视听感受的角度而言,影视是视听艺术的统一体,影片通过画面和声音直接诉诸于观众的视听感官,给人以艺术享受。本篇paper代写由51due代写平台整理,供大家参考阅读。

From the perspective of audio-visual experience, film and television are the unity of audio-visual art. The film directly appeals to the audio-visual senses of the audience through pictures and sounds, giving people artistic enjoyment. Spatial rhythm and audio-visual rhythm of sound painting are not isolated in the animation film and television works, and there is a relationship between synchronization and rump, which is a unity. The spatial rhythm of the picture must be closely coordinated with the rhythm of sound and painting, so as to maximize the subjective intention of the film and increase its artistic appeal.

The purpose of the film is to create harmonious and perfect audio-visual effects and increase the artistic appeal. Animation film and television works can catch the audience is not only the wonderful plot in the picture, created suspense, the use of the lens, scene color changes, a key link lies in the space and sound painting cooperation. This paper takes the combination of spatial rhythm of animation film and television and the rhythm of sound and painting as an example. Based on the characteristics of animation film, this paper analyzes the combination of spatial rhythm of animation film and the expression form of rhythm of sound and painting according to the characteristics of animation film.

Rhythm, as an organic movement, is one of the most basic and active elements in various arts. Rhythm of the grasp of art works to ensure the vitality of life, the creation of perfect art forms, stimulate the appreciation of aesthetic enthusiasm, ensure that the transfer of art information is appropriate for sensory and psychological acceptance, the realization of art works creators and appreciation of the smooth exchange of ideas and feelings.

In a good film, the sense of rhythm is very important. If the sense of rhythm of a film is not strong, the audience will feel that there is not much tension and the atmosphere will be very dull. In animated films, rhythm is more important. As an artistic form of expression, the tension of animation determines the style of the film. Therefore, the rhythm theory in animation films has become the basis for the grasp of space rhythm and sound and picture rhythm, and the development of animation films will be to find new breakthroughs on the basis of the application of these two rhythms.

The height of the animation film assumption, so it can on the concept of space, beyond the reality of animation, film and television art space in the rhythm of the physical space and general film in the limitations of space, the space arrangement, configuration, and use as well as to the art processing such as the change of the footage has great freedom, for the structure of the animation style and artistic performance has provided a broad heaven and earth. This determines that the precondition is to control the spatial rhythm of the film, which requires the film to have a clear understanding of the overall characteristics and requirements of narration, and have a deep understanding of the physiological and psychological mechanism of the audience, so as to truly understand the role of spatial rhythm in the film.

For example, in the Chinese ink and wash animation film "landscape", there is no dialogue, in the black and white blend of space flow, let you feel that melodious piano sounds seem to be contained in the painting. It is as if we can hear or feel the wind, water and heavy mountains in nature. The natural sound of nature and the sound of the piano echo each other, giving you an ethereal feeling. All these leave you infinite imagination space, in the wordless expression of everything, implicit and free and easy, really achieve the feeling, scene, sound integration of the implication of the space, the profound meaning of the space consciousness to show incisively and vividly.

In the period of silent films, sound plays the role of rhythm in the projection and completion of films in the form of music. When a film evolves from silent film to sound film and becomes a complete audio-visual art, sound plays an important role, and it also plays an important role in speed and rhythm. Music and sound play an important role in rhythm, coordinating and regulating. The magnificent, beautiful, sad and various ethnic features of music are the best lubricant for the film to enter people's hearts. The ease and tension are undoubtedly revealed in the speed and rhythm of music.

With the progress of film and television equipment and the improvement of the modernization of editing technology, music is more convenient to cooperate with pictures. Whether the traditional music is used to match the picture or music is used to paste the picture, the purpose is to complete the perfect cooperation between the picture and the sound, so as to achieve the audio-visual effect that the sound and the picture complement each other. In animation, due to the fact that it is not filmed in real time, there is no artificial error in the sense of rhythm of actors during performance, thus avoiding the waste of multiple filming.

The highest principle of all art is to express beauty, so the purpose of creating rhythm should also be to express beauty. Only on the basis of truly understanding beauty, can we better use rhythm to create high-grade film and television works. In the film, not only the images within the picture are in motion, but also the movement between the pictures is constantly changing to generate rhythm. Together with other narrative elements of the film, the audience can achieve the understanding of the theme of the film and gain artistic enjoyment in this understanding. Film is an art combining time and space. The breakthrough of time and space has become a powerful weapon for narrative expression in animated films.

For example, human beings are always full of expectations for flying in the sky. The pressure of work and life is overwhelming human beings. Each of us fantasizes about being able to breathe freely and feel what it is like for our bodies to glide lightly across lakes, meadows and houses and clouds to float lightly across our cheeks. Both of the flights in miyazaki's animated film city in the sky are from a bird 's-eye view, highlighting the strong visual effects of a fall. From the perspective of rhythm, the falling speed and overall atmosphere of the flying stone are alleviated when the flying stone exerts its magic power. The darkness of the night sky and the darkness of falling into the mine enhance the contrast with the light of the flying stone, which makes the audience feel the magic power of the flying stone. Miyazaki jun animation with a strong Oriental implicit beauty, meaning profound, intriguing. The movie "city in the sky" is an effective use of space rhythm and form expression, in the space to create different feelings, also shape different characters character, different rhythm changes, different psychological feelings. Bring the audience spiritual satisfaction.

The arrangement, configuration and application of changing and moving space, picture and music are the special skills and means of film thinking. Space rhythm and sound and picture rhythm are a kind of formal factors in film art. The attention and grasp of them must be aimed at serving the theme of the film, and the significance of serving the theme of the film is that they play an irreplaceable role in narration.

In a word, the created spatial rhythm and sound and picture rhythm must be subject to the internal content of the plot. This requires the director to delve into the nature of the play to be presented. Only with a deep understanding of the original meaning of the play can it be expressed in an appropriate rhythm. Only in this way can a successful film be made.

As one of the spiritual civilization construction of the film and television animation, a long way to go, we should base on the reality of the animation industry, adhere to the pursuit of high quality, adhere to the market and the way of education balanced, serious research including spatial rhythm and sound rhythm and other modern forms of combination and its film and TV technology in animation film analysis, widely into the Chinese market and international market, the animation is a row over the landscape of extraordinary splendour.

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Essay代写:The repeal of the corn laws

2018-11-30 16:05:14 | 日記
下面为大家整理一篇优秀的essay代写范文- The repeal of the corn laws,供大家参考学习,这篇论文讨论了谷物法的废除。英国谷物法的对象包括小麦、蚕豆等在内的一般粮食。工业革命时期,英国变为粮食输入国,谷物管制变为限制进口。拿破仑战争之后英国便颁布了限制进口的谷物法,但该法案引起极大争议,除土地所有者支持外,工业资产阶级和工人强烈反对。政府多次下调关税仍不能使民众满意,最终谷物法被废除。该法的废除体现了国际政治经济学的社会联盟理论,即国际经济政策和国内政治分化的相互作用原理。

The British grain law covers general crops, including wheat and broad beans. Britain has a long history of grain trade regulation. Although Britain had abundant grain before the 18th century, its grain trade policy was to encourage exports and restrict imports due to the prevalence of mercantilism. With the development of the industrial revolution in Britain, steam engine increased productivity. The population of Britain increased sharply but the arable land was limited. The acceleration of urbanization leads to the flow of labor force to cities. Britain became an importer of grain, and grain control became a restriction on imports. After the Napoleonic wars, England enacted grain laws restricting imports.

The corn act banned imports of grain when the price of a quart in Britain was below eighty shillings. The amendment of the corn act of 1822 to allow imports of grain at a price between 70 and 80 shillings per quart, when the average domestic price was only 44 shillings, was of no practical significance.

This bill caused great controversy. Apart from the support of landowners, the industrial bourgeoisie and workers strongly opposed it. In 1846, both houses of parliament passed prime minister peel's proposal to repeal the corn law. The corn laws were officially repealed. The repeal of the law reflects the social union theory of international political economy, that is, the interaction principle between international economic policy and domestic political differentiation. Among them, the abundance and mobility of domestic factors determine the form of domestic political differentiation and struggle.

According to the "inverted second image", international economic links affect domestic structures, and international trade has an income distribution effect on domestic interest groups.

According to the theory of factor endowment: from the most basic factor of a country, the owners of abundant factors will benefit from free trade, while the owners of scarce factors will suffer. And vice versa.

According to the specific factor model, free trade will reduce the real income of the import competition sector, and the real income level of the export-oriented sector will be relatively increased.

The former believes that this distribution effect is reflected in the formation of domestic class alliances based on mobile factors while the latter believes that industry alliances based on specific factors will be formed. Hicks put forward the concept of factor mobility, combined the two theoretical models, and improved the theory of social union.

He argues that the effectiveness of both models depends on the mobility of domestic factors. "A high degree of factor flow is more likely to form class-based political alliances, while a low degree of factor flow is more likely to form industry-based alliances."

The response of domestic structure to the international economy depends on the abundance and mobility of domestic factors. Since the industrial revolution, grain has been cheap and milk expensive, much arable land has been turned into pasture land, and machinery has driven industrial development and population growth. Britain became the strongest economic power at that time, with abundant capital, abundant labor force and scarce land. It follows that British Labour and capital owners will support free trade while landowners oppose it.

In addition, we will discuss the mobility of domestic factors at that time, which is mainly measured by inter-industry wage and profit margin differences, years of work, enterprise r&d income and human resource turnover.

In short, in the 19th century, wage and profit margin differences between different industries in the UK were reduced and human resource mobility was improved.

At this time, the British industrial revolution was basically completed, and new technologies such as steam were easily applied in different industries, saving labor. The advent of production lines has increased the demand for unskilled Labour, making it easier for industrial workers to move between industries. Technological innovation has reduced the productivity gap in the labor force, thus reducing the wage gap, and technological popularization has reduced the profit gap between domestic industries. The smaller the wage and profit difference between industries, the lower the cost of inter-industry factor transfer and the higher the liquidity. In addition, urbanization accelerated in Britain. By 1830, the population of urban and rural areas was roughly equal, and people were no longer fixed by arable land. The emergence of steam engine makes the transportation system get a qualitative development and reduces the cost of factor flow.

Between 1815 and 1846, the variation coefficient between the weekly wage of manual workers and that of skilled workers was not high, indicating that the wage difference between workers was not large and the degree of human resource flow was high.

To sum up, land is scarce in Britain, labor and capital are abundant, and various factors flow to a high degree. According to the cited theory, it is concluded that social differentiation in Britain should be based on class alliance based on labor and capital to fight for free trade, and landowners support the grain law. The domestic struggle to repeal the corn laws in Britain in the 19th century roughly coincided with this reasoning.

After the corn laws were enacted, landowners strongly defended them, while manufacturers demanded reforms because the corn laws seriously damaged the interests of the industrial bourgeoisie.

Britain was the leading exporter of industrial goods, while other countries exported agricultural products. If Britain does not repeal the corn laws, then other countries will inevitably impose high tariffs on British industrial products, and the sales of British industrial products will be blocked. If grain were freely traded, prices would fall and workers would have more purchasing power to buy industrial goods. In addition, the repeal of the law can also reduce the cost of raw materials for industrial production.

However, abolishing the grain law would hit British agriculture, because the influx of foreign grain would lead to a sharp drop in food prices and lower land rent, which would lead to the decline of British agriculture. This will seriously damage the interests of the land aristocracy and farmers.

Some manufacturers in 1838 established the alliance of the corn laws, Richard cobb is one of the representative. The class alliance was supported by the Labour force. The union of the two classes constituted the main body for abolishing the corn laws. Its capital comes from industrial and commercial bourgeoisie.

The anti-corn law union became the most important group to repeal the act. Its main activities included:

In 1832, the landlord demanded that "everyone who owned property worth 40 shillings" should have the right to vote to strengthen his class. But the coalition helped townspeople buy property and vote, increased the number of working people, turned the middle class into an important political force and changed the structure of parliament, leading to the emergence of new political parties -- conservatives and liberals -- that were important reasons for the repeal of the corn laws.

In 1837, the union sent its own representatives to campaign for parliament and put the repeal of the corn laws into public debate. Between 1843 and 1844, the union was heavily involved in municipal elections and in campaigns to educate voters about free trade. In addition, through the election, members of the coalition entered parliament and were able to directly promote the anti-corn law to the house. These lawmakers held hearings on the repeal of the corn law, causing concern in parliament and public opinion.

A series of conferences were organized in covent garden. The economist was founded to explain the harm of corn laws to the middle class, working class and enlightened aristocracy, which led to more people's opposition to corn laws. Cobb even claimed under the religious banner that "the corn laws are against the will of god."

All in all, the anti-grain law activities of the alliance took a "bottom-up" route: first, they affected the masses, then they entered the election, and finally they worked together to influence the rulers on the stage of parliament, which was of the nature of a quasi-political party.

In the process of abolishing the law, great changes took place in the British political parties. Around 1833, the Tory party and the whig party were renamed the conservative party and the liberal party.

From the perspective of the historical development of Britain, the changes of political parties conform to the trend. Around 1830, the industrial revolution was basically completed, and the social class structure of Britain changed, forming two classes -- industrial bourgeoisie and proletariat, which inevitably led to changes in the British parliament.

At this time, the tories not only represented the land aristocracy, but also began to absorb the conservative forces of the financial aristocracy and big businessmen. The land aristocracy was also divided. Some of the land aristocracy began to operate mines and build roads, which were gradually separated from the single agricultural operation. Therefore, the reformed conservative party developed from a simple landowner to a party with land aristocracy as the core and other classes.

The liberals still represent the interests of the financial and business classes, and are centered on free trade factory owners.

What led directly to the rebranding of the two major parties was parliamentary reform, which increased the political influence of the middle class and the working class. To win them over, the tories changed and began to embody the interests of some businessmen and workers.

Therefore, although the conservative party still took the land aristocracy as the core, some representatives of the industrial and commercial classes emerged. This made the conservative party in the process of abolishing the law appeared a serious split, reached the peak after peel came to power. But this division is exactly the result of class struggle, which perfectly reflects the prosperity of the British class alliance and the struggle between the land aristocracy and workers and capitalists.

After the reform, more middle class and coalition members entered parliament, and the fight for free trade emerged in parliament. The liberals support the anti-corn bill coalition, and the conservatives, still dominated by the land aristocracy, are generally opposed to the free-trade bill. Between 1815 and 1846, when the repeal of the corn laws was highly partisan, the vote showed a high average party cohesion index: 78.6 in 1834 and 84.1 in 1842, compared with 67.9 and 58.4 for other votes in parliament during the same period.

Free traders urged parliament to investigate import tariffs in 1840. The liberals want a flat rate to replace the regulatory tax. But the conservatives argued that the country's sugar must be protected against sugar producing countries that used slaves. This gave the conservative position a moral advantage, defeating the liberal government's proposals and winning the 1841 election that formed peel's cabinet. That was the struggle between the two parties when peel came to power.

But peel himself had invested in the cotton industry, and was described by the anti-grain law union as "bleeding merchant blood". Maintaining the corn laws also hurt his private interests.

Peel first amended the grain act in 1942, lowering import taxes on grains and thereby lowering prices. In 1844, import duties on goods continued to be cut. In 1845, the suspension of import duties on grain was proposed, but was not approved by parliament. This was when the leader of the liberal party issued his famous "Edinburgh letter" calling for the immediate repeal of the corn laws. This prompted peel to formally introduce a bill to repeal the corn laws to the house of Commons. 1946 a parliamentary debate began over whether to repeal the corn laws. Peel gave five long speeches in the heat of the debate. In June 1846 bills were finally passed in both houses of parliament.

Peel's firm stand on free trade has split the conservative party. There are pro-peel industrialists and anti-reform landowners. They were divided over whether to repeal the corn laws, which accused peel of being a traitor to the conservatives, even as a majority of peel's supporters were ostracised and gradually defected to the liberals. Peel himself resigned as prime minister. Nearly a third of conservatives voted in favor of the bill, leaving the party's cohesion at 45.1. The liberal party, on the other hand, is highly consistent, with a cohesion of 96.4.

Peel's personal interest is not enough to justify his repeal. He also knew that his insistence on free trade would inevitably lead to a split in the party, and he would be accused of being a "traitor within the party".

Social union theory alone does not adequately explain the repeal of the corn laws. This theory has its own defects: it pays too much attention to social differentiation and ignores the autonomy of the state in dealing with the relationship between the state and society. According to the theory of nationalism of schoccheffer, the state is a set of administrative and military organizations headed by executive authority and harmonized by executive authority. Countries can set and pursue their own goals and achieve their own will. This is a good complement to peel's behavior.

As the head of a country, peel is more likely to act on behalf of the overall national interest rather than on behalf of partisanship. In a speech to parliament, he said: "unless the corn law is consistent not only with agricultural prosperity and the interests of landowners, but also with the interests of the nation as a whole, it is virtually over."

Abolishing the grain law was an objective requirement for the economic development of the UK at that time. At that time, the UK was rich in coal and iron resources, abundant capital and advanced science and technology, and the productive forces had made great progress. It was equipped with the conditions for the transformation from protection trade to free trade. History has shown that only after the transition from protection trade to free trade did the British economy take off and enter the "Victorian" era.

Domestic conditions also necessitated the repeal of the corn laws. From 1838 to 1842, due to natural conditions, British agriculture generally failed, resulting in a large-scale famine. The city's economy is in a slump, and a fifth of Birmingham's people live on welfare. The potato blight of 1845 left four million people in poverty. This threatened social stability and was a direct reason for peel's determination to repeal the corn laws.

Peel was not subject to the fierce struggle between parties and interest groups at that time, but had a certain degree of autonomy.

Through the investigation of the degree of factor flow in Britain in the first half of the 19th century and the abolition of the grain law, it is found that this case is roughly consistent with the social union theory, and the nationalist theory also complements the social union theory, which better explains the reason why prime minister peel sticks to free trade.

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