Was ist die molare Masse, wie lautet ihre Formel und wie kannst du sie berechnen? Das alles erklären wir dir genau hier oder direkt in unserem Video !
Mit der molaren Masse beschreibst du, wie schwer ein Mol eines Stoffes ist. Mol ist die Einheit der Stoffmenge und gibt an, wie viele Teilchen in einem Stoff vorhanden sind. In einem Mol sind das immer 6, 0022 · 10
Merke: Da du beim Berechnen der molaren Masse in der Chemie oft mit sehr kleinen Mengen arbeitest, gibst du die molare Masse in der Regel mit der Einheit Gramm pro Mol (g/mol) statt in Kilogramm pro Mol (kg/mol) an.
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Schritt 2 : Suche dir jetzt aus Tabellen, wie zum Beispiel deinem Periodensystem, den Zahlenwert der molaren Masse für jedes Element heraus.
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Schritt 3 : Jetzt kannst du die molare Masse der Verbindung berechnen, indem du die molaren Massen der Elemente addierst. Hier musst du darauf achten, dass du die Elemente mit ihren Indexzahlen multiplizierst.
Du kannst die jeweilige molare Masse chemischer Elemente ganz einfach aus dem Periodensystem entnehmen. Hier sind ein paar Beispiele für Elemente und Verbindungen zusammengestellt.
Einen Spezialfall stellt die Luft dar. Da diese ein Gasgemisch ist, kannst du die molare Masse nicht ohne weiteres bestimmen. Um dennoch ein Ergebnis zu erhalten, wird in so einem Fall die molare Masse über die mittlere molare Masse bestimmt.
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Dabei integrierst du den Stoffmengenanteil des jeweiligen Elements oder Moleküls in die Berechnung mit ein. Für die mittlere molare Masse Luft musst du also die Zusammensetzung der Luft kennen.
Die molare Masse kann dir dabei helfen, die Stoffmengenkonzentration c herauszufinden! Sie gibt an, was für ein Anteil ein bestimmter Stoff in einer Stoffmischung hat. Wenn du noch mehr über die Stoffmengenkonzentration wissen möchtest, dann schau dir dazu unser Video an!
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Wenn du nicht weißt, wie du deinen Adblocker deaktivierst oder zu den Ausnahmen hinzufügst, findest du hier eine kurze Anleitung. Bitte lade anschließend die Seite neu.Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been?”, first published in 1966, has often been read as a ‘story of initiation’. According to Freese, a ‘story of initiation’ is characterized by the fact that the initiate undergoes an irreversible, existential change.
However, this definition can be criticized in two points. First, it is based on the plot. Second, this story type solely focuses on the young person’s development. It takes the society as the
In contrast, a fairly different story type, the ‘coming-of-age story’, will be favored in order to analyze the story. In the ‘coming-of-age story’ the major conflict of the story lies in the adult world. Rather than focusing on the change of the youth, in the latter story type the youth character is exposed to a confrontation with the adult world. In Oates’s story this confrontation consists of the fact that the youth world (Connie) is getting overpowered by the adult world (Arnold Friend). As a consequence, the ending of the story implies strong criticism of society in general where violence, brutality and inhumanity are prevalent. In Sullivan’s words the story “is an interlude of terror: it builds fearfully toward a violence so unspeakable that it must happen offstage.”
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At the beginning of the story, in the title, the reader is confronted with a twofold question pointing in two directions. “The very title of the story calls attention to duality: a future (where are you going) and a past (where have you been).”
Therefore, in this term paper the following thesis will be examined: “The concept of duality is a basic feature of the ‘coming-of-age’ story.” It will be shown that in Oates’s “Where Are You Going, Where Have You Been?” one distinctive feature of creating the story type of the ‘coming-of-age’ story is the concept of duality. While following the twofold pattern of analyzing the representation of the youth world and the adult world, further major techniques of creating duality in Oates’s story will be discovered, such as irony, ambiguity, grotesque, parody, allusions, deception, and allegory.
When analyzing the illustration of the youth world, which is mainly represented by Connie, the concept of duality is quite obvious. Connie, a typical teenage girl, whose “mind was all filled with trashy daydreams” (35), lives inside two roles: “[T]here is Connie-at-home, and there is Connie-with-her-friends. Two fifteen-year-old girls, two finely honed styles, two voices, sometimes but not often overlapping.”
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Furthermore, Connie’s two-sidedness can literally be seen as she dresses differently depending on the role she takes on: “She wore a pull-over jersey blouse that looked one way when she was at home and another way when she was away from home. Everything about her had two sides to it, one for home and one for anywhere that was not home” (36). On the one hand, Connie is determined to live a normal middle-class life and to be “plain and steady” (35) like her twenty-four-year-old sister June. On the other hand, Connie lives in a dream world: She spends the nights at the shopping plaza walking through the stores, going to the movies, hanging out in a drive-in restaurant, listening to music and meeting boys. Her fantasy world which she has created herself in order to find idols and define her identity is predominantly embodied by the music world. “Connie is in the process of defining herself through a counterideology […] that contradicts the belief systems of her parents.”
When Connie starts to have increasing thoughts about sexual love her concept of love is consequently strongly influenced by music. She believes in romantic love with boys “sweet, gentle, the way it was in movies and promised in songs” (39). In addition, the mirror scene emphasizes that Connie has no clear self-concept at all and still searches for defining her identity: “[S]he knew she was pretty and that was everything” (34). Therefore, it can be agreed that “Connie’s identity is split: one part of her displays her emerging sexuality; the other part conforms to what the authorities in her life consider proper.”
Connie’s mother was pretty once too and beauty seems to be the only value that counts within the family. As a result, not only Connie’s outer appearance but also more importantly her interior world is twofold, torn apart, and undefined; this makes her extremely vulnerable. As will be discovered later in the story, “young, inexperienced Connie’s lack of self-identity is the pivot on which the story turns and the reason she becomes Friend’s prey.”
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The adult world, which is complex, displays the concept of duality on at least two levels. On a first level, there is the bipolarity between Connie’s parents with her older sister June and Arnold Friend with his accomplice Ellie. On a second level, the character of Arnold Friend incorporates duality, ambiguity, and deception himself.
First, attention will be drawn to analyze the concept of duality on the first level mentioned above by characterizing the complex adult world in Oates’s story. The main point about Connie’s adult family members is that they are all weak characters.
Her twenty-four-year-old sister June still lives at home, works as “a secretary in the high school Connie attend[s]” (35) and is praised by her mother all the time for being “plain and steady” (35). In addition, the name “June” might be read as an allusion to the Roman goddess “Juno” who personifies women and marriage and thus further stresses the conservative role June assumes in accordance with the American middle-class values.
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Connie’s father is “away at work most of the time” and has no interest in family life and the needs of his daughters at all: “He didn’t bother talking much to them […]” (35). As a consequence, “Connie’s father plays a small role in [Connie’s] life, but by paralleling repeated phrases, Oates suggests that this is precisely the problem. [H]e can hardly ask the crucial parental questions, “Where are you going?” or “Where have you been?”
The relationship between Connie and her mother is that of a typical teenager and her mother. While her mother keeps picking at Connie, her older sister June is praised by her mother all the time basically because she acts according to the conventional middle-class values. The weakness of Connie’s mother becomes apparent in the fact that the only real connection between Connie and her mother is the beauty her mother once had and Connie exhibits now. “In other words, to Connie and her mother, real value lies in beauty.”
However, according to the value system of the female characters within the family, “[Connie’s] mother and sister are not attractive, so they do not really count.”
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In contrast, moral values are
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