Why America Needs Hydraulic Fracturing - 1876 Words

Why America needs hydraulic fracturing Hydraulic fracturing also called fracking has been around for many years despite the recent events of controversy to continue fracturing or not. With the earth’s resources depleting rapidly every year and no sufficient replacement for energy humanity needs fracking. The process of fracking has been around for more than six decades. Fracking has been around since the 1940s and was created to increase the removal flow of oil and natural gas. In the words of chemical engineer Robert Rapier â€Å"Fracking involves pumping water, chemicals, and a proppant down an oil or gas well under high pressure to break open channels in the rock holding the oil or gas (Rapier).† A proppant can be different materials,†¦show more content†¦Therefore with resources becoming scarce humanity needs to extract the most from what the earth has. In fact from adding gasoline to your vehicle, to power plant facilities using natural gas instead of burning coal to power homes, to compu tes and cell phones, almost everything in our lives depend on an oil based product and fracking is the solution for the depletion of fossil fuels. Three controversial issues with hydraulic fracking are nearly everything people use daily has a petroleum based product, contamination of drinking water also the surrounding soil, and the financial impact on the economy. Many people in America do not realize the positives that comes with fracking. It is a great way to help the economy in the United States. Fracking decreases the price of all petroleum products including the price in gas. When gas prices decrease it allows other products such as food, plastics, and other petroleum goods to also go down in price. With these savings being passed down to the consumers it makes the cost of living in America much easier for many people who are living with a minimum wage budget. Minimum wage going up in Oregon and gas prices declining creates a stir in people making them spend more and b uilds consumer confidence on what is spent. In turn this rapid spending creates a boom in the American economy. With fracking producing nine million barrels a day and decreasing prices by forty five

The Life of Billy Pilgrim in Vonneguts...

The Life of Billy Pilgrim in Vonneguts Slaughterhouse-Five or The Childrens Crusade Marked by two world wars and the anxiety that accompanies humanitys knowledge of the ability to destroy itself, the Twentieth Century has produced literature that attempts to depict the plight of the modern man living in a modern waste land. If this sounds dismal and bleak, it is. And that is precisely why the dark humor of Kurt Vonnegut, Jr. shines through our post-modern age. The devastating bombing of Dresden, Germany at the close of World War II is the subject of Vonneguts most highly acclaimed work, Slaughterhouse-Five or The Childrens Crusade: A Duty Dance with Death. Vonneguts experience as an American POW in Dresden†¦show more content†¦Vonnegut was there, and his compulsion to tell about it urged him to eventually find a way. Ironically, it was the cool meat locker of Slaughterhouse-Five in Dresden, three levels beneath the earth, that saved Vonnegut and a handful of POWs from the bombing that killed the thousands of men, women and children above ground in the German town. While exchanging memories with an old war buddy, Bernard V. OHare, Vonnegut sensed Mrs. OHares obvious rage. Her livid commentary on Vonneguts attempt to write about Dresden inspired the subtitle The Childrens Crusade: You were just babies in the war-like the ones upstairs! . . . Youll pretend you were men instead of babies, and youll be played in movies by Frank Sinatra and John Wayne or some of those other glamorous, war-loving, dirty old men. And war will look just wonderful, so well have a lot more of them. And theyll be fought by babies, like the babies upstairs (18). Vonnegut explains his vow to Mary OHare to set out against any machoistic depiction of the massacre at Dresden, hence the name, The Childrens Crusade: A Duty-Dance with Death. His narrative begins with the simple Billy Pilgrim who has come unstuck in time (29). The pilgrimage of Billy Pilgrim does not begin at Dresden or end with his death decades later. Billy is unstuck in time, and the moments of hisShow MoreRelated The Theme of Time in Slaughterhouse-Five Essay1065 Words   |  5 PagesThe Theme of Time in Slaughterhouse-Five Many writers in history have written science fiction novels and had great success with them, but only a few have been as enduring over time as Kurt Vonneguts Slaughterhouse-Five. Slaughterhouse-Five is a personal novel which draws upon Vonneguts experiences as a scout in World War Two, his capture and becoming a prisoner of war, and his witnessing of the fire bombing of Dresden in February of 1945 (the greatest man-caused massacre in history). 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Kant and the Prolegomena to Any Future Metaphysics Free Essays

According to Kant metaphysics is the â€Å"occupation of reason with itself†. In more concrete terms, it is the mind making logical connections between a priori concepts and coming to an objective truth thereby, without reference to experience.[1] The question posed by him in the Prolegomena is whether such an objective truth is at all possible. We will write a custom essay sample on Kant and the Prolegomena to Any Future Metaphysics or any similar topic only for you Order Now The conclusion derived in the end is that there is indeed such an objective truth, which is effected through pure reason. But equally important in the assertion is that such metaphysics is beyond human understanding. The title â€Å"Prolegomena to Any Future Metaphysics† suggests that Kant does indeed anticipate an irrefutable metaphysics to be in the grasp of men in the future, but he never makes such a claim in the text itself. The thing that Kant aimed for was clarity in the field of metaphysical endeavor, and this is the ‘future metaphysics’. ‘Future’ can be interpreted in two ways here. First in the sense already suggested, so that metaphysical thinking is founded on a scientific basis, in which the terms and strategies it employs are well defined. But it can also be hinting at transcendental possibility, that by which all contradictions are resolved through â€Å"pure reason†. Scientific clarity is the aim, and thus Kant justifies the labor involved in Critique Of Pure Reason (1781), of which the Prolegomena was a sequel meant to make more accessible. He is at pains to point out that there is a moral obligation involved here. People cannot surrender themselves to unreason, because reason is the very make-up of the human, so postulates Kant. The suggestion that reason be abandoned was made by David Hume, who had spelt out a comprehensive theory of empirical skepticism. All our knowledge is through sense perceptions, therefore are entirely subjective, and cannot be tied into an absolute whole through the application of reason. It is merely by the means of custom that we acquire a coherent worldview, he maintained.[2] Kant saw this as a capitulation to unreason. It was not just Hume’s personal viewpoint that mattered. It was indeed a wider crisis in metaphysics that he was addressing. When Newton’s physics could not be subsumed under any metaphysics, this engendered an intellectual confusion, and Hume’s solution was that metaphysics be abandoned as impossible. Kant enjoined that it is impossible to abandon metaphysics, for man reasons by necessity. Instead of finality we must aim for metaphysical clarity, and this is absolutely contingent upon us, indeed a moral obligation. He made what seem to be boastful claims about the crucial importance of the Critique in the history of metaphysics, but a closer examination will show that it is not from conceit, but rather from moral outrage. The true nature of metaphysics is laid out with scientific clarity in the Critique and the Prolegomena, and this is the essence that Kant wants to convey, not the final outcome. He takes Hume to task in the very opening of the Critique:  Although all our knowledge begins with experience, it does not follow that it arises entirely from experience. For it is quite possible that our empirical knowledge is a compound of that which we receive through impressions and that which our own faculty of knowing (incited by impressions) supplies from itself.[3] When considering sensual perception he first makes the distinction between a priori and a posteriori, the first suggesting an innate facility of the mind, and the second is a facility borne after the event. The second distinction is between analytical and synthetic propositions. In an analytic proposition the predicate is contained within the subject, such as â€Å"the flamingo is a bird†. In a synthetic proposition the predicate adds something new to the subject, such as â€Å"the flamingo is pink†. The pinkness is not in the definition of flamingo, but rather has to be got from observation, and therefore it is also a posteriori. Synthetic a posteriori propositions are employed in the field of natural science. On the other hand all mathematical truths are innate, i.e. we ascertain their truth before sensory perception. They are also synthetic: when we say â€Å"3+4=7†, then ‘7’ is a new concept, not contained in either ‘3’ of ‘4’. Mathematics holds the key to metaphysics, according to Kant. It demonstrates that synthetic a priori propositions are possible, which is contrary to normal expectation. We feel that whatever is innate is necessarily analytical. We are what we are, separated from the objective natural world beyond us. Against this instinctive point of view, Kant contended that we are not passive observers of an external world separated from us, but that with our innate faculties we â€Å"synthesize† our own subjective reality. The first stage of this synthesis is when we intuit objects in our perception. â€Å"Things in themselves† can never appear to us; we only have subjective sensory data to work with. It is a meaningless jumble of light, sound, touch, taste and smell, but then our faculty of sensibility intervenes and creates order out of this chaos. This faculty is synthetic a priori, and makes use of pure intuitions. Space is one such pure intuition. Newton had maintained that space is an external, absolute and inviolable reality. Kant counters that, no, space is pure intuition. Time is another such. Through the faculties of sensibility we come to make a judgment of perception. Thus far it is an entirely subjective viewpoint, with no objective framework to relate to that would link our views with those of others. This is the function of our judgment of experience. It too is synthetic a priori, and links the objects of perception into a rational order that facilitates understanding. This is done through pure concepts of understanding, and causation is one of them. Through this faculty we know that one event is cause to another, and thus wise we have come across Hume’s impasse, where he could find no rational construct that could link a effect to a cause when confined to empirical sense data.[4] â€Å"Cause and effect† is thus a concept of human understanding. Such understanding is composed of components that are a priori and synthetic, and it is meant to make the world intelligible to us. Just because the world is made intelligible, it does not imply that we do not meet contradiction. When we think we do so discursively, i.e. we think by making propositions in terms of subjects and predicates. But each subject we introduce is the predicate of another subject in an infinite chain. Because the absolute subject is beyond our grasp, discursive reason naturally leads to fallacies. In fact each truthful proposition will be found to have an equally valid refutation, which together are described as pairs of antimonies. Kant cites four cosmological antimonies, one of which places infinite space against a limited one. He goes on to show that there is no contradiction in essence. As originating in the judgment of perception space does indeed have a beginning. But as regards human understanding space is necessarily infinite. The conflict arises from metaphysics failing to distinguish the noumenal (thing in itself) from the phenomenal (as appears to human understanding). Thus far does metaphysics gain clarity, but not finality. The human mind cannot help ponder on the questions of metaphysics, but it must come to terms with the fact that it is ‘bounded’. Human understanding is meant to make the outer world intelligible, and thus proves inadequate when the focus is redirected to the inner essence of the mind, which is the object that metaphysics must study. But the overriding lesson of metaphysics is that pure reason subsumes all. One must not despair of human reason, for one must know that it originates in pure reason and is overcome by it in the end. Subservience to pure reason is indeed a moral obligation. Other than clarity in metaphysics, which is not suitable for all, Kant advanced his categorical imperative: â€Å"I ought never to act except in such a way that I could also will that my maxim should become a universal law.†[5] We cannot help noticing that this is only a rewording of the golden rule of Christianity: â€Å"Do unto others as you would they should do unto you.†[6] Thus through clarity in metaphysics Kant can be said to have arrived at religious doctrine too. References Hume, David. An Enquiry Concerning Human Understanding. Ed. Eric Steinberg. Boston: Hackett Publishing, 1993. Jeffrey, David L. A Dictionary of Biblical Tradition in English Literature.  Grand Rapids, MI: Wm. B. Eerdmans Publishing, 1992. Kant, Immanuel. Critique of Pure Reason. Trans. Werner S. Pluhar. Ed. Eric Watkins. Boston: Hackett Publishing Company, 1999. Kant, Immanuel. Groundwork of the Metaphysics of Morals. Ed. Mary Gregor. Cambridge: Cambridge University Press, 1998. Kant, Immanuel. Kant’s Prolegomena to Any Future Metaphysics. Whitefish, MT: Kessinger Publishing, 2005. [1] Immanuel Kant, Kant’s Prolegomena to Any Future Metaphysics, Whitefish, MT: Kessinger Publishing, 2005, p. 92. [2] David Hume, An Enquiry Concerning Human Understanding, Ed. Eric Steinberg, Boston: Hackett Publishing, 1993, p. 29. [3] Immanuel Kant, Critique of Pure Reason. Trans. Werner S. Pluhar, Ed. Eric Watkins, Boston: Hackett Publishing Company, 1999, p. 1. [4] Hume, Enquiry, p. 49. [5] Immanuel Kant, Groundwork of the Metaphysics of Morals, Ed. Mary Gregor, Cambridge: Cambridge University Press, 1998, p. 16. [6] David L. Jeffrey, A Dictionary of Biblical Tradition in English Literature,  Grand Rapids, MI: Wm. B. Eerdmans Publishing, 1992, p. 314. How to cite Kant and the Prolegomena to Any Future Metaphysics, Essay examples

Academic Writing on Riders to the Sea Essay Example For Students

Academic Writing on Riders to the Sea Essay Edmund John Millington Synge ( 1871-1909 ) . an Irish dramatist. wrote ‘Riders to the Sea’ . one of his first two one-act dramas ( the other one is ‘The Shadow of the Glen’ ) . ‘Riders to the Sea’ ( 1904 ) is Synge’s dramatic response to the experience of his frequent visits in the Aran Islands. ‘Riders to the Sea’ dramatizes the archetypical battle of adult male against the hostile natural forces and rends man’s inevitable licking in the struggle against predestination which brings out a tragic consequence at the terminal of the drama. We will write a custom essay on Academic Writing on Riders to the Sea specifically for you for only $16.38 $13.9/page Order now This one-act drama is a calamity that portrays a tight and synthesized image of hopeless battle of an Aran adult female and her weakness against the destiny. Ernest A. Boyd ( American critic and writer ) in ‘The Contemporary Drama of Ireland’ provinces that ‘Riders to the Sea’ . sums up the kernel of the â€Å"constant battle of the Aran island-dwellers against their relentless enemy. the sea. † The supporter in J. M. Synge’s one-act drama Riders to the Sea. Maurya. is an old Aran fisher-woman. whose name echoes the Grecian word moria. intending destiny. Riders to the Sea does non suit the cast of authoritative Grecian calamity. as Aristotle defined it. for its cardinal character is a provincial. non a individual of high estate and she does non convey about her ain ruin. Maurya is therefore clearly different from the classical supporters such as Oedipus. Agamemnon or Antigone. all of whom are highborn. While classical and Renaissance tragic supporters undergo enduring owing to their ‘hubris’ or ‘hamartia’ . Maurya appears to be a inactive and incapacitated victim in the custodies of the destructive sea. In Maurya’s instance. no profound inquiry seems to be raised about the complicated relationship between homo will and predestination. Yet. she resembles the great traditional supporters in her epic power of endurance and the religious transcendency over her agony. In J. M. Synge’s drama. Riders to the Sea. the audience is confronted with a narrative of an Aran female parent of eight kids populating on an island off the western seashore of Ireland. When the drama opens. we find out that she has lost her hubby and five of her six boies to the sea. which is necessary for support as agencies of conveyance to the mainland and besides for engagement in the fishing industry. Her two girls. Cathleen and Nora. are besides present. The lone boy. Bartley. needs to take the Equus caballuss to fair across the bay. and Maurya begs him non to go forth. But Bartley insists that he will traverse the mainland in malice of air currents and high seas. Mad and aggravated at Bartley for non listening to her supplications. Maurya allows him to travel. nevertheless. without her approval. Cathleen and Nora persuade their female parent to trail Bartley with the nutrient they forgot to give him and to give him her blessing regardless of her frights. Maurya returns horrified with a vision she has seen of Michael siting on the Equus caballus behind Bartley. When the misss show her Michael’s apparels her lone response is that the good white boards she had bought for his casket would function for Bartley alternatively. Even as she speaks. the adjacent adult females troop in. their voices raised in the â€Å"keen. † that humdrum Irish chant of heartache. Work forces follow conveying the organic structure of Bartley. The drama crawls to the terminal through Maurya’s fatalistic entry. They’re all gone now and at that place isn’t anything more the sea can make to me. † She can kip now with no concern but that of famishment. In the ageless conflict between the life-giver and the destroyer. between the female parent and the destructive sea. Maurya. at last. ironically. is exultant. Having lost all her boies. she has been liberated from the everlasting rhythm of agony and heartache. .u4aa6e7249376479748489b09da023726 , .u4aa6e7249376479748489b09da023726 .postImageUrl , .u4aa6e7249376479748489b09da023726 .centered-text-area { min-height: 80px; position: relative; } .u4aa6e7249376479748489b09da023726 , .u4aa6e7249376479748489b09da023726:hover , .u4aa6e7249376479748489b09da023726:visited , .u4aa6e7249376479748489b09da023726:active { border:0!important; } .u4aa6e7249376479748489b09da023726 .clearfix:after { content: ""; display: table; clear: both; } .u4aa6e7249376479748489b09da023726 { 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; } .u4aa6e7249376479748489b09da023726:active , .u4aa6e7249376479748489b09da023726:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4aa6e7249376479748489b09da023726 .centered-text-area { width: 100%; position: relative ; } .u4aa6e7249376479748489b09da023726 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4aa6e7249376479748489b09da023726 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4aa6e7249376479748489b09da023726 .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; } .u4aa6e7249376479748489b09da023726:hover .ctaButton { background-color: #34495E!important; } .u4aa6e7249376479748489b09da023726 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4aa6e7249376479748489b09da023726 .u4aa6e7249376479748489b09da023726-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4aa6e7249376479748489b09da023726:after { content: ""; display: block; clear: both; } READ: Hurricane Andrew EssayAt this point. she seems to retreat her understanding from the community of world when her disenchantment compels her to province – â€Å"I won’t care what manner the sea is when the other adult females will be lamenting. The concluding stage of Maurya’s enduring reveals a passage from wretchedness to a profound tragic transcendency. Like the Sophoclean supporters. she achieves cognition and enlightenment out of wretchedness and heroically accepts her tragic muss. Tragic wisdom illuminates her head into the apprehension that decease is an indispensable episode in the cosmopolitan rhythm of life. Alternatively of impeaching God. s he reconciles to her destiny courageously and gracefully and accepts her wretchedness as the sublime will of God. Reconstructing a broken life into a new being of religion and selflessness. she achieves tragic self-respect and lift in the eyes of the audience. She invokes God’s approvals upon all – â€Å"†¦ . may He hold mercy on my psyche. Nora. and the psyche of everyone is left life in the universe. † Maurya. as portrayed by J. M. Synge in ‘Riders to the Sea’ . is genuinely an unforgettable character who wins our esteem by her unusual power of endurance. by her capacity to defy her bad lucks. and by her dignified behavior at a clip when she has suffered the most painful mourning of her life. Finally. she gives look to her stoical credence of her and destiny in the undermentioned memorable words— â€Å"No adult male at all can be populating everlastingly. and we must be satisfied. Declan Kiberd. an Irish author and bookman in his ‘Synge and the Irish Language’ ( Macmillan: London 1979 ) notes that Synge’s dramatic linguistic communication attempts to let the Aran island-dwellers â€Å"to speak straight for themselves. † showing that Maurya’s celebrated words . â€Å"No adult male at all†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ . must be satisfied† ( III. 27 ) . are translated about straight from a missive to Synge from an Inishmaan friend. Maurya is drawn to be regarded as tragic character in the proper sense of the word. After all we are reading a one-act drama in which an detailed portraiture was non possible. Besides. there is no existent struggle either in Maurya’s head or between Maurya and fortunes. She has merely to stay inactive because there is no other pick for her. ‘Tess’ in Thomas Hardy’s celebrated fresh ‘Tess of the D’urbervilles’ is a tragic character because she puts up a brave battle against inauspicious fortunes. but cipher can contend against the sea which is the cause of the calamity in Synge’s drama. The terminal comes necessarily and this once more is traditional. Dunbar’s ‘Lament for the Maker’s’ may stand to encompass them all. So to cite: â€Å"Since for the Death remeid is none. Best is that we for Death dispone. After our decease that unrecorded may we: Timor Mortis conturbat me. † The play by virtuousness of being a one-act drama inescapably limits Synge’s range. But. in that limited range Synge has achieved singular consequence of tragic impact. The consequence is one of the most deeply traveling calamities of all time written. W. B. Yeats on Synge’s construct of manner provinces â€Å"The first usage of Irish idiom. rich. abundant. and right. for the intent of originative art was in J. M. Synge’s Riders to the Sea† ( Plays in Prose and Verse Written for an Irish Theatre. London: Macmillan 1922 ) .