Innocence in William Blakes The Divine Image Essay

Innocence in Blakes The Divine Image Blake was both a poet and an artist and he created many Illuminated works which combined the two. These forms, each powerful in their own right are even more so when used together as in The Divine Image. In analyzing this piece I will be looking at the elements and principles of art, the corresponding ‘elements and principles of poetry and how they support one another to convey William Blakes idea of Innocence. Elements are the fundamental building blocks used in either art or poetry. In art they are line, shape/form, value, texture, colour (which I wasnt able to deal with in this case as the only reproduction was black and white) and space. In poetry one might classify the elements†¦show more content†¦Without much use of form there isnt a need for deep space which is the illusion which makes the observer think the picture extends far beyond its true two dimensions. This is notable in its absence because it makes the use of negative space much more interesting (Negative space being the area around the actual objects in a piece). In this image the negative space becomes an interesting shape. I say line and shape are the most important of the elements, not just because they were used often but also because of how they contribute to the principles. The focal point in the picture is the flame-like object along the right edge of the print. It is the first thing to catch ones eye as it is the most complex area of the picture, having been built up with a lot of line and showing the most form of anything in the print. It is also the most ink filled part of the image and has very little space. It is the part of the picture which seems most solid. From the focal point we arrive at the first sort of movement which is the actual path ones eye tends to follow. Here line plays the distinctive roll of defining that path. Ones eye moves very quickly from the focal point to the title of the poem and then either down the poem itself or down the flame-like object to the figures in the bottom right-hand corner of the page. From there the vinesShow MoreRelatedThe Human Abstract Essay1196 Wo rds   |  5 Pagesmanifestations in Blakes manuscripts, reading it against A Divine Image, a poem w hich was never finally published by Blake, or comparing it to its Innocence counterpart, The Divine Image. Most critics seem to agree that The Human Abstract represents a philosophical turning point in The Songs of Innocence and of Expe rience, and in Blakes work as a whole. In 1924, Joseph H. Wicksteed observes that this difficult poem, originally called The human Image, represents Blakes attempt to summarizeRead MoreAN ANALYSIS OF WILLIAM BLAKES SONGS2960 Words   |  12 PagesAN ANALYSIS OF WILLIAM BLAKE’S SONGS OF INNOCENCE AND OF EXPERIENCE AS A RESPONSE TO THE COLLAPSE OF VALUES TIMOTHY VINESâˆâ€" Blake’s Songs of Innocence and of Experience are a much studied part of the English canon, and for good reason. Blake’s work depicts a quandary that continues to haunt humanity today: the struggle of high-order humanity against the ‘real’ rationality and morals of institutionalised society. This essay seeks to explore both Blake’s literary reaction to the Enlightenment and theRead MoreA Comparison of Blake’s Poems â€Å"the Divine Image† and â€Å"the Human Abstract†1090 Words   |  5 PagesErich Nolan CMLT-C205 3/19/12 A Comparison of Blake’s Poems â€Å"The Divine Image† and â€Å"The Human Abstract† William Blake (1757-1827, London) is considered the first of the great English Romantic poets; he was also a master engraver, a printer, and a painter. Blake was not widely known during his life and it wasn’t until some time after his death that his poetic works became widely read. Two of his best-known works â€Å"Songs of Innocence† (SoI) and â€Å"Songs of Experience† (SoE) contain the poemsRead MoreEssay on Innocence and Experience in William Blakes Literature485 Words   |  2 PagesInnocence and Experience in William Blakes Literature William Blake focused on biblical images in the majority of his poetry and prose. Much of his well-known work comes from the two compilations Songs of Innocence and Songs of Experience. The poems in these compilations reflect Blakes metamorphosis in thought as he grew from innocent to experienced. An example of this metamorphosis is the two poems The Divine Image and A Divine Image. The former precededRead MoreAnalysis Of Alasdair Gray s Songs Of Innocence And Of Experience1583 Words   |  7 Pages(1981) and in comic books or ‘graphic novels’ by writers such as Alan Moore and Neil Gaiman. With regards to English Romantic poet William Blake, both his lyrical Songs of Innocence and of Experience (1789-94) and his prophetic poems of epic length were conceived as an intermedial work made up of text and illustration. Blake’s collection of poems; Songs of Innocence and of Experience Showing the Two Contrary States of the Human Soul (1789-94) seemingly concerns contradictory ideas. It is intendedRead MoreWilliam Blake And The Divine Image Essay2209 Words   |  9 PagesWilliam Blake, a transitional figure in British literature, was the first romantic poet to focus on content instead of form. Blake is one of the great mystics of the world, like Henry More and Wordsworth; he lived in a world of glory, of spirit and of vision, which, for him, was the only real world. His devotion to God expresses through his lyrical poetry collection Songs of Innocence and Songs of Experience. This collection contains 51 poems where the poems of Innocence are counter part of the poemsRead MoreWilliam Blake s The Lamb And The Tyger1493 Words   |  6 Pagesthe natural world, William Blake explores the concept of life’s dualities and how this concept applied to life in 18th Century Britain, as well as to the relationship between the body and spirit, in his most popular works, Songs of Innocence and of Experience: Showing the Two Contrary States of the Human Soul (1794). Two standout poems, â€Å"The Lamb† and â€Å"The Tyger,† respectively taken from Songs of Innocence and Songs of Experience, demonstrate Blake’s meditation on how innocence and experience in lifeRead MoreAnalysis of A Poison Tree Essay1370 Words   |  6 Pages In his work, Songs of Innocence and Experience: Shewing the Two Contrary States of the Human Soul, William Blake uses the aforementioned contrasting states of being to illustrate his unique view of the world around him. Through this work, Blake lays bare his soulful views of religion and ethics, daring the reader to continue on in their narcissistic attitudes and self-serving politics. While Blakes work had countless themes, some of the most prevalent were religious reform, social change, andRead MoreThe Unification Of Innocence And Experience1933 Words   |  8 PagesThe Unification of Innocence and Experience Many peer-reviewed sources believe it is â€Å"essential† to understand the historical contexts of William Blake’s lifetime in order to accurately interpret Songs of Innocence and of Experience (Blake 23). I present opposing questions to this theory: (1) why is it necessary to try and adopt a perceptional adaptation of Blake’s historical perspective in order to comprehend and interpret his work; (3) is Songs of Innocence and of Experience a timeless work ofRead MoreInnocence Of The Lamb By William Blake1705 Words   |  7 PagesInnocence of the Lamb â€Å"The Lamb† is one of William Blake’s famous poems from his book Songs of Innocence published in 1789. â€Å"The Lamb† is also known as â€Å"Little Lamb† but better known by the former name. This poem is a didactic poem reflecting spirituality from a Christian point of view. â€Å"The Lamb† is a question and an answer type of poem and has a sense of innocence as the speaker is a child questioning a lamb’s existence. In â€Å"The Lamb† William Blake uses metaphor, symbolism and imagery to express

Essay on Obsession With Looks and Appearance in the Hunger...

Appearance and fashion are important factors that drive our societies today. We live in a world where people are judged by the way they look, dress and carry themselves. This phenomenon is display by Suzanne Collins in her New York Times bestseller trilogy the â€Å"Hunger Games†. In this book, Collins presents a dystopian world, a world that is awful and terrible. The different themes used in this book are violence, corruption, obsession, inequality and physical appearance and they somehow related to our world. She compared Panem with our world. The goal of the book is to warn people that if we don’t used resources efficiently, if we don’t help each other, if we still obsessed with money we will end up killing each other. During the games,†¦show more content†¦A boy and a girl are chosen from each one of the twelve districts and brought to the arena where they have to fight to death where there is only one winner. The game is filmed and projected live on television. Despite the roughness and hard environment, appealing to the viewers and sponsors with looks and personality could result in a victory by itself. After all, it is on television, and though the people of Panem are forced to watch it anyway, they still attempt to make it seem like an entertaining show to watch. During the game, the players are fighting for their district and their own life so appearance should not be as important as it seems but when you add the camera, the sponsors and the public, it takes a whole other level. The player don’t want to look scared, they don’t want to appear weak because showing your weakness and losing mentally. We have this in the 2nd chapter, â€Å"â€Å"Prim, let go, I say harshly, because this is upsetting me and I dont want to cry. When they televise the replay of the reapings tonight, everyone will make note of my tears, and Ill be marked as an easy target. A weakling. I will give no one that satisfaction.† (2.11) After the reapings, katniss is dealing with her emotions but don’t want to have the look of someone who is ready to quit, someone who is not a warrior so she doesShow MoreRelatedComparison Between Rich And Poor, Power, Violence, And Terrorism1398 Words   |  6 Pagesterrorism, seen in the film The Hunger Games. The film industry ranks among the most profitable industries the world over. Every year new films are rolled out to quench the thirsts of an ever-widening fan base. Through the consistent production of movies, followers of this genre of entertainment keep up with the latest developments in the film industry (Collins, 2012). Apart from entertainment, movies help in relaying important messages to the wider masses. The Hunger Games (Dir. Ross) provide an ostensiblyRead More Anorexia Nervosa and Bulimia Nervosa Essay examples2484 Words   |  10 Pagesto the point of death. Imagine throwing up repeatedly after every meal. 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Such a body image has become perfection. This is not only seen on televisionRead MoreObesity in America Essay5140 Words   |  21 Pages Week 5 Assignment- Obesity in America GEN499: General Education Capstone Instructor: Mark Bowles Final Paper: Obesity in America Obesity in America is real and profoundly alarming when you look at the major impact it has on our communities. Major health concerns like diabetes, heart disease and high blood pressure cases are at an all time high. Specifically, the disparity between low-income urban inner cities in regards to obesity as comparedRead More Men’s Conflict With Food, Weight, Shape Appearance Essay3937 Words   |  16 Pagesdoes the general public believe only women are victims of body image and eating disorders? Adolescent to adult males are dangerously preoccupied with the appearance of their bodies. The difference between men and women are men almost never talk openly about this problem. Society has taught them that they shouldn’t be concerned about how they look. But countless numbers of men are sacrificing important aspects of their lives to working out compulsively. This leads to distorted body images, which tiesRead MoreAdonis Complex4044 Words   |  17 Pagesdoes the gen eral public believe only women are victims of body image and eating disorders? Adolescent to adult males are dangerously preoccupied with the appearance of their bodies. The difference between men and women are men almost never talk openly about this problem. Society has taught them that they shouldn t be concerned about how they look. But countless numbers of men are sacrificing important aspects of their lives to working out compulsively. This leads to distorted body images, whichRead MoreIbsen11859 Words   |  48 Pagesmore than you think you can spare; then one of these days I’ll buy something with it† (45). 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So, we play the game of guess what I need from you. You’re inability to guess just feeds our feelings of worthlessness. K. Martel’s description does not necessarily describe shame, but more how she resorts to internalizing her feelings and the effect it has on herRead MoreAsk the Dust by John Fante13686 Words   |  55 Pagesauthor. Having moved from a small town in Colorado, Bandini rides a roller coaster of emotions as he tries to make a life for himself in the big city. Arturo forms a stormy relationship with a Mexican waitress named Camilla Lopez, who becomes an obsession for him nearly as powerful as his career. Their mutual love and hatred for one another, and for themselves, provides an intensely dark comedy that exposes their inner conflicts, their racial bigotry and their low self-esteem as they struggle to survive

Jewish, Early Christian, Byzantine and Islamic Art Free Essays

Teri Wilson March 1, 2010 Professor Hollinger Module 5 JEWISH, EARLY CHRISTIAN, BYZANTINE AND ISLAMIC ART Every religion has its own approach to art and architecture. An assessment between different traditions can offer an illuminating insight into the varying religious outlooks and theologies. Architecture, as well as art, is influenced by a number of forces in society, in the environment, in the psychology of the people who produce it, and in different institutions. We will write a custom essay sample on Jewish, Early Christian, Byzantine and Islamic Art or any similar topic only for you Order Now It is an expression of inner feelings and beliefs and so naturally is influenced by religion in many societies. Religious architecture is created to experience the sacred, to provide a place into which spiritual energies flow and reflect a sense of the divine. Some religions speak of art directly or have tenets which influence what can and cannot be depicted in art. The scriptures of these religions are the theological basis and shape the way people in express themselves, and this includes how they express themselves through art and architecture. The architecture in Judaism, Christianity, Byzantine, and Islam has important similarities and differences that are a result of the teachings of these faiths. In the first centuries C. E. , Jewish communities could be found in every corner of the Roman Empire. The archaeological remnants and literary attestations of more than 150 synagogues throughout the empire make clear that Jews were integral to the urban landscape of late antiquity, well beyond the borders of Roman Palestine. Asia Minor, in particular, was one of the most prosperous, Jewish communities (Stokstad, 164) The third-century synagogue in the Roman garrison town of Dura-Europos, Syria, like the Christian meeting house and the shrine devoted to the Persian god Mithras that stood just yards away, was adorned with sumptuous painting. The Wall of Torah Niche had splendid murals with narrative scenes from the Bible covered the synagogue’s walls; painted tiles of zodiacal symbols ornamented its ceiling (Stokstad, 165). Plaques with dedicatory inscriptions give some indication of the individuals and families who funded the building of such synagogues. In building their monuments, Jews often embraced the Greco-Roman practice of paving the floor with elaborate mosaics, many of which demonstrate an understanding of the second commandment injunction against image making that may surprise today’s viewer. In early Byzantine synagogues such as Hamman Lif in North Africa and Beth Alpha, Hammath Tiberias, and Sepphoris in Israel, specifically Jewish symbols—shofarot (ram’s horns), menorot (branched lamps), and Torah shrines—might appear alongside pomegranates, birds, lions, and fountains (metmuseum. rg). Zodiac wheels with human figures also find a prominent place in the pavements of several synagogues, dated from the fourth to the sixth centuries, as do scenes drawn from the Bible or allegorized images of the River Nile. After the destruction of the Second Temple by Roman emperor Titus in 70 C. E—an event commemorated on the Arch of Titus in Rome and in Jewish liturgy—images of the Temple’s furnishings, especially the celebrated gold menorah, or seven-branched lamp, became emblematic of Jewish religion. Marble sarcophagi favored by wealthy Romans were adapted for Jewish use by incorporating a stylized relief image of a menorah (metmuseum. org). In the catacombs of Rome, Jews placed gold glass disks representing the menorah and Torah arks at their tombs, as well as symbols of the festival of Sukkot just as Christians placed glass disks showing saints All these images reference the destroyed Temple and invoke a hoped-for messianic age when the Temple would be restored. So wide-ranging are the contexts for the menorot that it is clear the symbol frequently served merely to distinguish a Jewish monument or a Jewish patron. Seven-branched candlesticks appear in Roman and Byzantine art: in graffiti in the catacombs, inscribed on plaques, as a motif on seals, as decoration on glass bottles and on clay lamps all further testimony to the integration of Jews into late Roman and early Byzantine society (metmuseum. org). With the adoption of Christianity as the official religion, art was able, so to speak, to come above ground in the old pagan city of Rome, and painting, instead of being restricted to the decoration of the walls of the Catacombs or of small chambers and chapels, came into use on a large scale in the new churches that were at once set up. At the same time patronage moved from the hands of the poorer classes to the richer, and artists of outstanding quality came to be employed as well as those of obscurer character, who would work for small fees (www. religion-online. org). To wall painting was added the more luxurious art of mosaic; numerous sculptures were done, and minor objects, often in expensive materials, were in addition produced in the service of the Church, so that art production became at the same time both more extensive and more luxurious (www. religion-online. org ). A great deal of the work that was done at this time has of course perished, more especially that in fragile materials, such as textiles or paintings on panels, but a few mosaics of the fourth century and a good many more of the fifth survive in Rome, and there is quite a lot of sculpture, both on a large scale in stone and on a small in ivory. Something has already been said about the ivories, more especially the Consular diptychs, which necessarily form a part of the general picture, though it is not always easy to be sure of where they were made, as they are in a diversity of styles (www. eligion-online. org). Here we are concerned not so much with these things as with works which are essentially Christian and also undoubtedly Roman, such as the mosaics and wall painting, which are necessarily immovable or stone sculptures on a large scale in a material which was carved on the spot and quarried in the neighborhood. The earliest of the mosaics are those in the church of Sta Constanz a, which was built as an octagonal martyrium or tomb sanctuary between 306 and 337. It was converted into a baptistery in the fifth century, when the lateral apses were added. Only the mosaics on the roofs of the vaulted aisles are of the same date as the original building. This roof is divided into eight compartments, and there are different designs in each, though only those on the three sets on each side survive; they are in pairs, balancing one another on each side. These mosaics, which consist in the main of scrolls and other diverse motifs shown in isolation against a white ground, are very classical in character; they are virtually floor mosaics transferred to the roof. The mosaics which decorated the central dome have not survived, though there is a sixteenth century painting of them in the Escorial. They included scenes from the Old and New Testaments, bordered below by a river and separated one from another by caryatid figures, not unlike the dividing panels in the Baptistery of the Orthodox at Ravenna. In the apses which terminate the sides of the octagon to the north and south are figural compositions of a rather different character, depicting the â€Å"Traditio Legis†, where Christ conveys future responsibility for preaching on one side to Peter and on the other to Paul. Our Lord stands in the centre of each apse, with the Apostle before Him, against a background of trees (catholic-resources. org). The mosaics are probably to be assigned to the time of the building’s conversion for use as a baptistery in the fifth century. They have, however, been very much restored at subsequent dates, and to-day appear somewhat clumsy (catholic-resources. org). Those in the dome probably belonged to the same date as those in the vaults of the octagon. Another similar church of this kind is the Church of Santa Sabrina, a fifth-century basilica in Rome. The basilica, constructed by Bishop Peter of IIyria between 422 and 432 BC, is another must see (Stokstad, 170). Santa Sabrina, exterior is typical of the time, which is severe brickwork. In contrast, the interior displays a wealth of marble veneer and 24 fluted marble columns with Corinthian capitals acquired from a 2nd century building (Stokstad, 170). Christianity subject matter is the prime source of art up to the modern era. We find religious art in all styles and the major artists used Christianity in most of their paintings and built structures for Christian churches. In conclusion, it can be seen that art is not just one thing. It is a combination of devices which have taken thousands of years to grow and develop, through different religions, and through time. I personally feel that art is not something that we can define or even begin to describe. Art is to much a part of life to single out on its own or define, especially, religious art. Trying to write a summary on a general view of what art is is virtually impossible. Art, inside of every person is seen as something different and unique making the definition of art diversified for every person. Works Cited 1. www. metmuseum. org 2. www. catholic-resources. org 3. www. religion-online. org 4. Our book, â€Å"Art: A Brief History† by: Marilyn Stokstad How to cite Jewish, Early Christian, Byzantine and Islamic Art, Papers

Internal Combustion Engine Fundamentals †Free Sample to Students

Question: Discuss about the Internal Combustion Engine Fundamentals. Answer: Introduction: Dimethyl Ether (DME) is an organic isomer of ethanol, it is chemically represented as CH3OCH3 (Semelsberger, Borup and Greene 2006). It is a colorless, volatile, non-poisonous, liquid compound used as fuel, aerosol, propellant, solvent and refrigerant (Semelsberger, Borup and Greene 2006). When DME burns a blue flame is observed (Semelsberger, Borup and Greene 2006). Both liquid petroleum gas (LPG) and diesel could be replaced by dimethyl ether. A variety of raw materials like natural gas, crude oil, residual oil, coal and waste products have been used to produce DME (Azizi, Rezaeimanesh, Tohidian and Rahimpour 2014). Among these raw materials natural gas management is the prominently used as it is widely available (Azizi, Rezaeimanesh, Tohidian and Rahimpour 2014). DME is synthesized either using the direct route by directly synthesizing DME from syngas using a single stage bi-functional catalyst or the indirect route by producing methanol from syngas and then purifying it and converting it to DME (Azizi, Rezaeimanesh, Tohidian and Rahimpour 2014). The advantages and disadvantages of using DME are that it has a high cetane number (Huang, Wang, Chen, Zhou and Jiang 1999), due to which it has better combustion quality than diesel management. Therefore, an engine designed to run on DME would have better efficiency and mileage. DME has no carbon-to-carbon bonds (Huang, Wang, Chen, Zhou and Jiang 1999) as shown in Fig.1 so it reduces particulate emissions (Sorenson and Mikkelsen 1995) and eliminates the need for costly diesel particulate filters. DME requires a fuel tank twice in size as that needed for diesel because it has half the energy density of diesel (Semelsberger, Borup and Greene 2006). DME has lower viscosity than diesel which increases leakage in pumps and fuel injectors (Semelsberger, Borup and Greene 2006). The lubrication issues present while using DME causes premature wear and failure of pumps and fuel injectors (Semelsberger, Borup and Greene 2006). In a diesel engine fuel mixed with air ignites under high pressure and temperature (Taylor 1966). This type of combustion is heterogeneous and takes place at constant pressure (Taylor 1966). Unlike spark ignition engines, compression ignition engines have no tendency to knock, hence they can operate at significantly higher compression ratios and have better efficiency (Heywood, 1988). In diesel engine fuel is injected at the end of the combustion stroke and burns mostly as a diffusion combustion which enables lean burn, thereby improving the thermal efficiency (Taylor 1966). A three-way catalyst cannot be used for after treatment due to the lean burn mode which complicates the after treatment system, thus increasing the cost and emissions (Heywood, 1988). GT-suite is a popular simulation software developed by Gamma Technologies which is predominantly used for 1D simulation studies. It is used to study gas exchange rate and combustion simulations using a 1D unsteady, non-linear Navier-Stokes equation. It finds application in understanding the effects of combustion, heat transfer, evaporation, turbulence and so on. There are two kinds of combustion models in GT-Power. Non predictive combustion model:- In this model the burn rate is imposed and does not depend on the in cylinder conditions to characterize combustion and emission patterns (Gamma Technologies, 2015). It has fast simulation time and is used to evaluate the concepts that do not have an impact on the burn rate characteristics, but is not used to study the concepts that have an impact on burn rate like injection timings (Gamma Technologies, 2015). Predictive combustion model:- In this model the burn rate is calculated for each cycle based on the in cylinder conditions. It is used to study the concepts that have an impact on the burn rate but requires longer simulation time (Gamma Technologies, 2015). Phenomenological predictive combustion models make use of zone modelling, where the combustion is modelled to take place in single or multiple zones. In single zone combustion model injection, evaporation, mixing and subsequent burning of fuel happen in a single zone (Barba, Burkhardt, Boulouchos and Bargende 2000). Whereas multi zone models work by dividing injected fuel packets into multiple zones, each of these zones are treated as open systems (Jung and Assanis 2001). Multi zone combustion provides better spatial resolution compared to single zone models thereby enabling better prediction of performance and emission related parameters (Jung and Assanis 2001). GT-suite software used to model diesel engine is discussed in the su cceeding section. GT-Suite software has two specific multi zone combustion models for diesel engines namely DI-Jet and DI-Pulse (Gamma Technologies, 2015). DI-Jet Combustion model:- It is a multi-zone, multi-phase, quasi-dimensional model wherein the injected fuel is divided into a number of axial splices, each containing five radial zones (Gamma Technologies, 2015).. Each zone is further subdivided into subzones containing liquid fuel, vapour-air mixture and burned gas (Gamma Technologies, 2015). This type of multi zone approach yields better prediction about emissions of the engine. DI-Pulse Combustion model:- It is a phenomenological, multi-zone combustion model used for predicting in-cylinder combustion and emission parameters for direct injection diesel engine (Gamma Technologies, 2015). It is a three zone combustion model which is significantly quicker than DI-Jet model (Gamma Technologies, 2015). This is achieved by dividing the cylinder volume into three discrete thermodynamic zones, namely the main unburnt zone, the spray unburnt zone and the spray burnt zone each with its own temperature and concentration (Gamma Technologies, 2015). Therefore, GT-Suite is a powerful software for conducting simulation studies in diesel engines. It has the requisite tools to evaluate the performance and emission characteristics of any diesel engine. Literature indicates that DME improves the emission characteristics of diesel engine without compromising on performance. GT-Suite could be used as an effective tool to validate the same. Research has to be carried out in reducing the size of the fuel tank, elimination of leakage in pumps and fuel injectors and improving DMEs lubrication properties so as to reduce the wear and tear of pumps and fuel injectors. References Semelsberger, T.A., Borup, R.L. and Greene, H.L. (2006). Dimethyl ether (DME) as an alternative fuel. Journal of Power Sources, 156, pp. 497-511. Azizi, Z., Rezaeimanesh, M., Tohidian, T. and Rahimpour, M.R. (2014) Dimethyl Ether: A Review of Technologies and Production Challenges management. Chemical Engineering and Processing, 82, pp. 150-172. Huang, Z.H., Wang, H.W., Chen, H.Y., Zhou, L.B. and Jiang, D.M. (1999). Study on combustion characteristics of a compression ignition engine fuelled with dimethyl ether. Proceedings of the Institution of Mechanical Engineers, Part D: Journal of Automobile Engineering, 213(D), pp. 647-652. Sorenson, S.C. and Mikkelsen, S.E. (1995). Performance and Emissions of a 0.273 Liter Direct Injection Diesel Engine Fueled with Neat Dimethyl Ether. SAE Technical Paper, 104(4), pp. 80-90. Taylor, C.F. (1966). The Internal-Combustion Engine in Theory and Practice. Cambridge: The MIT Press. Heywood, J.B. (1988). Internal combustion engine fundamentals. New York: McGraw-Hill. Gamma Technologies. (2015). GT-SUITE: Engine Performance Application Manual version 7.5. Westmont: Gamma Technologies. Barba, C., Burkhardt, C., Boulouchos, K. and Bargende, M. (2000). A Phenomenological Combustion Model for Heat Release Rate Prediction in High-Speed DI Diesel Engines with Common Rail Injection. SAE Technical Paper. Jung, D. and Assanis, D. (2001). Multi-Zone DI Diesel Spray Combustion Model for Cycle Simulation Studies of Engine Performance and Emissions. SAE Technical Paper. 110(3).