Make Ectoplasm Slime for Halloween

You can make this non-sticky, edible slime from two easy-to-find ingredients. It can be used as ectoplasm for Halloween costumes, haunted houses, and Halloween parties. Ectoplasm Slime Materials You only need two ingredients to make the basic slime, though you can add coloring to make the slime any combination of colors that you like or to make it glow in the dark. 1 teaspoon soluble fiber (e.g., Metamucil psyllium fiber)8 ounces (1 cup) waterFood coloring (optional)Glow paint or pigment (optional) Make Your Ectoplasm Pour the water and fiber into a large microwave-safe bowl.Microwave the ectoplasm on high power for 3 minutes.​Stir the ectoplasm. Return it to the microwave and heat it for another 3 minutes.Stir the ectoplasm and check its consistency. If you want drier ectoplasm, microwave the ectoplasm another minute or two. Continue checking the ectoplasm and microwaving it until you achieve the desired consistency.Add a drop of food coloring and/or some glow paint, if desired. Youll get an interesting effect if you incompletely mix the coloring into the ectoplasm, such as multicolored ectoplasm or ectoplasm slime with glowing streaks.Store the ectoplasm in a sealed baggie to prevent dehydration. The slime will last for a week or longer, as long as you keep it from drying out. Safety and Clean Up Made with fiber, water, and food coloring, the ectoplasm slime is safe enough to eat (but might not taste great). If you make the slime glow, check the product details to determine the safety of the slime. If will likely be non-toxic, but not edible. This slime is not sticky, so clean up should be as easy as wiping it off surfaces. If it gets onto clothing or carpets, use warm, soapy water. Bleach may be required to remove stains caused by food coloring,

Animal Farm Analysis - 1217 Words

Animal Farm is an allegory written by George Orwell that reflects the corrupt politicians during the time of the Russian Revolution through the use of animals. It satirizes their rhetoric, ability to manipulate others, and their insatiable lust for power. The allegory follows a group of farm animals who overthrow the rule of a tyrannical man only for him to be replaced by one of their own who turns out to be a more vicious ruler. Napoleon and the pigs are presented as the epitome of power-hungry individuals who mask their actions with the excuse of the betterment of the farm. The pigs throughout the novel use propaganda to create a revolution that eventually leads to their dictatorship and rule over the farm. Squealer through his†¦show more content†¦He effectively gains their total agreement by subtly suggesting that if the pigs aren’t well fed than they will be unable to protect the other animals, possibly leading to the return of the hated Mr. Jones. When once aga in the pigs violate one the seven commandments of not sleeping in beds the other animals realise and were confused but Squealer once again expertly justifies this by claiming â€Å"a bed merely means a place to sleep in† the rule was against sheets and the pigs had removed the sheets before sleeping. The animals once again were too naà ¯ve enough to realise that they were being taken advantage of because of the way Squealer manipulated his words and so the animals could not speak out against it as it would be like speaking out against Old Majors teachings. Squealer twists and turns around his words to suit his own benefit in order to justify the reasoning of the pigs. The pigs aim to instil fear and terror into the animals in an attempt to silence their questions and force their compliance. The pigs take advantage of the animal’s fear of Jones returning as a tool to justify their own wrong actions. Whenever they sense that the animals were slacking and were complaining the constant phrase â€Å"surely, comrades, you do not want Jones back?† is used to control the animals. For whenever they were presented with the possibility of Jones returning they would accept the idea as they would do anything to keep the tyranny of Jones returning. Napoleon alsoShow MoreRelatedLiterary Analysis : Animal Farm1050 Words   |  5 PagesLiterary Analysis Mollie In Animal Farm there are many controversial figures who also have interesting connections to the Russian revolution. Mollie is among these controversial members of the mythical animal run society. She has connections to the rich prissy people in Russia that when the revolution took place who immediately looked for an easy way out as soon as they had to do work to earn their due. 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In George Orwell s Animal Farm all of the animals are mistreated by Farmer Jones, but they wish to be treated as equals and live in a utopia so they rebel and take over the farm. The animals first write commandments to avoid chaos, but the leader pigs selfishly modify the commandments in their favor. In the end, the farm is worseRead MoreLiterary Analysis Of Animal Farm By George Orwell1405 Words   |  6 PagesLiterary analysis of Animal Farm The rebellion was to escape from people and their cruel ways, but can they escape the death-grip of their own kind? The animals of animal farms are mistreated and have no rights. Mr and Mrs. Jones were the owners of Manor Farm, the human oppressors, and authoritarians of the animals. The animals rebel against the Jones and take over the farm. 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Crisis 439 Essay Research Paper Vandals take free essay sample

Crisis 439 Essay, Research Paper Vandals take control of Carthage, North Africa? debatable as used to feed population of Rome? trial, could Aetius halt atomization or merely decelerate it down, 441, East and West force ready to travel, Huns alteration place and stops epeidtion. 440 ideal of Hunnic power? Attila and Belda centralization and development? now non merely helping Romans but launch invasions across the Danube. ? Consequence: Vandals given richest states in Roman Empire, Aetius statute law shows marks of financia crisis. Direct Hunnic menace non as of import a job of when they left? neer came close to get the better ofing either half of the Empire out right. Atilla? s decease 453 civil war, groups subject to Huns confirm their independency, by late 460s leftovers of Attila? s Huns seeking refuge in Eastern Empire, prostration Hunnoic power bought concluding crisis for the Roman Empire in Western Europe. Hunnic military power could no longer be used to implement a cover policy of military containment towards immigrants already established in Western Europe. ? Could the Romans face actioning the Huns, or afford them NOT USED after Aetius decease? alterations basicss of the political game. Players of old century still exist: eastern Empire, Roman Armies, senators: after 450 add major independent Barbarian group, clairvoyance. Peasants and Burgundians and Vandals? Huns used antecedently to incorporate these groups and urb their political influence? with Hunnic power gone merely pick was to include some or all of them in western Empire? s organic structure politic? station 454. Government of Avitus? gets endorsing from Goths foremost? governments no longer independent of immigrant groups, direct consequence of the Huns disappearance. ? Immigrant groups want some sort of oay back? engagement in authorities and the imperium, Burgundian Kings take Roman rubrics Attraction of the imperium to Barbarian leaders? military might an overall wealth? wagess given to new Alliess after 454, money or land the footing of power, shrunk an already decreasing base? Gaul, Spain and Britain off from Imperial control. Too many groups quibbling over shriveling fiscal base? ever plenty groups in he cold, afer division of spoils, to undermine predominating political config, more and more gifts with each leader? concentration on internal dealingss leads to less resources for the defense mechanism from other, progressively independent and organised folks? Franks in the North for illustration. Two most successful swayers Majorian 457? 62a and Anthemius 467? 72 realised either need to cut down figure of political participants or increase cardinal resources, therefore we see doing reconquest Vandal Africa major precedence, wealth from richest lands and decrease if the figure of participants. Victory would hold extended life of the Empire, support from Gallic nobilities, # 8211 ; thought of imperium grew meaningless as figure of groups grew, Franks more powerful, and resources declined. ? 460s and 470s each group gaining that Empire no longer value deserving contending for? Roman province in Western Europe now an mistiming. Euric Visigoth launches series of wars on Spain as see no opportunity Western Empire recovering land 475? Gallo-Romans transportation allegience toi Euric at same clip? 474 Eastern Empire gives up on the West by subscribing peace with Vandals. THREE MAIN POINTS OF HEATHER? S ARGUMENTS 376 and 405-8 points of individual crisis, outgrowth Hunnic power peripheries of Europe, integrity and coherency to 35 old ages of instability along frontiers. 65 year to Romulus Augustlus subvert? slow working-out political effects of invasions, loss district, los of gross, loss of power, landholders see whose truly in charge Attila? s glorification no more than a sideshow in the western prostration, other major consequence is disappearing of aid in 453? West bereft of military aid. Sacred Rhetoric internal, soial, psychological factors explicating imperial prostration, balance of power broking by progressive debilitation of Roman frntier power Not monocausal? were internal jobs? if sufficiently big and affluent population would hold fended off Hunnic jobs? visual aspect barbaric groups within imperium opened up preexistent mistake between imperial Centre and Roman and-owning elite? arrival Barbarian powers undermines Centre? s ability to honor and restrain loyalt. ? local landholders feud new ways to vouch elect position.

Ritual into a drama Essay Example For Students

Ritual into a drama Essay Might we find answer to the question from rituals that are still present? Might there be a piece of theatre that has turned into a ritual as time passed by? Perhaps marriage, ritual that is still performed widely and in various ways in all different religions. It may have been just a piece of performance of two people joining and making a family, but by the time it has become more important and it has been developed into a ritual and simultaneously gained its religious context? The slaughter of twelve bigs and a bull during carnival, in Venice became ritualized into an elaborate allegory of justice and domination. In this case performance gained more contexts and became a ritual just like the example about the marriage. It seems that in ritual the content is more serious and meaningful than in theatre, although theatre can be religious, glorify someone or something, or educate. If we would rely on written evidence, where should we start looking for a beginning of the modern western drama, as we know it now? The ancient Egyptians had performances that might be called drama or ritual depending on the viewpoint. Why, well if one would look a people having a Holy Communion in the Church of England wouldnt that be a ritual? But if you imagine you wouldnt know anything about Christianity and you saw the Holy Communion served would that look like a piece of performance to you? But as we know by the knowledge achieved from the hieroglyphics that they had a religious context in the rituals they performed, that is why I think they didnt perform theatre but ritual. And the ritual was performed annually on the first day of spring, which indicates towards ritual as well. Why didnt Egyptians develop their ritual into a drama? What didnt the Egyptians do that Greeks did so that they are considered the first who performed theatre, as it is known in Europe nowadays? As we look at the civilisation in Egypt we notice that it stayed about the same for 3,000years not changing much. That suggests that their civilisation resisted change and that was the reason why they didnt develop theatre into a similar way as the Greeks did. Finally I would like to do what Oscar G. Brockett suggests that we do in order to find the beginnings of theatre, imagine time before theatrical elements were discovered. That would take us back as far as before The Ice age about 30,000 years ago. Man hunted mastodons and climate was generally cooler than it is now. What such man would do to invent rituals or theatre? I assume that people as social beings had by that time discovered that it is beneficial to group up so that you could specialise yourself to certain task. Now there for certain were people who were hunters and the ones who gathered food from the ground, but were there poets? Dramatists? Probably not. So what might have ignited such behaviour? Could it have been the fact that spoken language was still yet to be discovered? Theatre or mime was needed in order to communicate.  Ã‚  Perhaps at wintertime, what probably was bit similar that I have experienced in Finland, people got bored and told stories of past summers hunting trips to each other and made them more vivid by acting the movements and creating some costumes to imitate the game. Or was there a medicine man that acted out rituals as he tried to order the bad spirits to leave the sick person? Perhaps the spoken language was invented, what kind of occasions might they have had to create theatre or ritual? It is well known that many of the ritual takes place in spring for example the Mephite Drama performed by Egyptians in 4000BC. Spring was time of celebration for anyone who has spent time in a cold snowy environment for a whole winter. The winter season was probably the worst hunting season, what made living bit uncertain, but as spring came there was food to gather and people could get hunting again. That certainly would be occasion worth celebrating, perhaps that celebration became a ritual that glorified spring and the spirits that took the cold relatively dangerous winter away. .u8563fc6c7b7f8e5f483b70bafb613d3e , .u8563fc6c7b7f8e5f483b70bafb613d3e .postImageUrl , .u8563fc6c7b7f8e5f483b70bafb613d3e .centered-text-area { min-height: 80px; position: relative; } .u8563fc6c7b7f8e5f483b70bafb613d3e , .u8563fc6c7b7f8e5f483b70bafb613d3e:hover , .u8563fc6c7b7f8e5f483b70bafb613d3e:visited , .u8563fc6c7b7f8e5f483b70bafb613d3e:active { border:0!important; } .u8563fc6c7b7f8e5f483b70bafb613d3e .clearfix:after { content: ""; display: table; clear: both; } .u8563fc6c7b7f8e5f483b70bafb613d3e { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u8563fc6c7b7f8e5f483b70bafb613d3e:active , .u8563fc6c7b7f8e5f483b70bafb613d3e:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8563fc6c7b7f8e5f483b70bafb613d3e .centered-text-area { width: 100%; position: relative ; } .u8563fc6c7b7f8e5f483b70bafb613d3e .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8563fc6c7b7f8e5f483b70bafb613d3e .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8563fc6c7b7f8e5f483b70bafb613d3e .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u8563fc6c7b7f8e5f483b70bafb613d3e:hover .ctaButton { background-color: #34495E!important; } .u8563fc6c7b7f8e5f483b70bafb613d3e .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8563fc6c7b7f8e5f483b70bafb613d3e .u8563fc6c7b7f8e5f483b70bafb613d3e-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8563fc6c7b7f8e5f483b70bafb613d3e:after { content: ""; display: block; clear: both; } READ: How does Shakespeare make the audience feel about Juliet and her parent in Act 3 Scene 5 EssayOne way or the other I think that theatre and ritual are so closely connected that they have had influence on each other somehow as they have developed. Whether ritual was the origin that theatre grew apart from one can only speculate, play with the idea, agree with Frazer and his colleague anthropologists or take a imaginary journey to the past time before time and see what you might find?