Thomas Paine :: essays research papers

Library: Historical Documents: Thomas Paine: Rights Of Man: Part The First -------------------------------------------------------------------------------- Order The Rights of Man now. Part The First Being An Answer To Mr. Burke's Attack On The French Revolution -------------------------------------------------------------------------------- George Washington PRESIDENT OF THE UNITED STATES OF AMERICA SIR, I present you a small treatise in defence of those principles of freedom which your exemplary virtue hath so eminently contributed to establish. That the Rights of Man may become as universal as your benevolence can wish, and that you may enjoy the happiness of seeing the New World regenerate the Old, is the prayer of SIR, Your much obliged, and Obedient humble Servant, THOMAS PAINE -------------------------------------------------------------------------------- The Author's Preface to the English Edition From the part Mr. Burke took in the American Revolution, it was natural that I should consider him a friend to mankind; and as our acquaintance commenced on that ground, it would have been more agreeable to me to have had cause to continue in that opinion than to change it. At the time Mr. Burke made his violent speech last winter in the English Parliament against the French Revolution and the National Assembly, I was in Paris, and had written to him but a short time before to inform him how prosperously matters were going on. Soon after this I saw his advertisement of the Pamphlet he intended to publish: As the attack was to be made in a language but little studied, and less understood in France, and as everything suffers by translation, I promised some of the friends of the Revolution in that country that whenever Mr. Burke's Pamphlet came forth, I would answer it. This appeared to me the more necessary to be done, when I saw the flagrant misrepresentations which Mr. Burke's Pamphlet contains; and that while it is an outrageous abuse on the French Revolution, and the principles of Liberty, it is an imposition on the rest of the world. I am the more astonished and disappointed at this conduct in Mr. Burke, as (from the circumstances I am going to mention) I had formed other expectations. I had seen enough of the miseries of war, to wish it might never more have existence in the world, and that some other mode might be found out to settle the differences that should occasionally arise in the neighbourhood of nations. This certainly might be done if Courts were disposed to set honesty about it, or if countries were enlightened enough not to be made the dupes of Courts.

The Creation of Disneyland Essay -- Walt Disney 1950s

The Creation of Disneyland Walt Disney: The Early Years Walter Elias Disney was born on December 5, 1901. He was the fourth of five children born to Elias and Flora Disney. Elias was a fairly unsuccessful businessman, who moved the family from city to city in search of financial success. When Walt was four, they moved from their home in Chicago to a farm in Marceline, Missouri. Walt's time in Marceline provided him with the vision for Main Street USA (Francavigilia, 1981). His frequent associations with animals would also become evident in his later cartoons (Bryman, 4). In 1910, the family left Marceline and moved to Kansas City. Elias was a strict taskmaster who often beat his children. This led to Walt's two oldest brothers deserting the family. Another brother, Roy, left to go help an uncle on a farm. Although they were no longer living together, Roy and Walt remained close. In 1919, Walt got a job as a cartoonist at a commercial art studio in Kansas City. That job did not last long, and following a failed attempt at starting his own business, Walt began to work for the Kansas City Film Ad Company. During this time, he seriously explored the world of animation. Success, however, did not come easily to Walt, and he soon decided that he had to leave Kansas City. In 1923, he carried just $40 in his pocket and left for Hollywood. Walt's brother Roy, who was already living in Los Angeles, provided Walt with some financial backing and contacted a distributor about Walt's first animation Alice's Wonderland. Working together with Roy, the brothers opened "Disney Bros. Studio" (It would later be known as Walt Disney Studio). Roy handled the business operations and Walt specialized in the animated productions. Although produ... ...jects. James Rouse, an accomplished architect has credited Walt Disney for providing much of his inspiration. In addition to suburban malls, Rouse has created Baltimore's Harborplace and Boston's Faneuil Hall Marketplace (Hine, 152). Although Walt Disney died in 1966, his ideas can still be found across the globe. Works Cited Adams, Judith A. The American Amusement Park Industry. Boston: Twayne, 1991. Bryman, Alan. Disney and his Worlds. New York: Routledge, 1995 Francavigilia, R.V. (1981) "Main Street USA: a comparison / contrast of streetscapes in Disneyland and Walt Disney World", Journal of Popular Culture, 15: 141-156 Justdisney.com. 18 Apr. 2004 http://www.justdisney.com/disneyland/history.html Thomas Hine, Populuxe (New York: Knopf, 1986), 152. Works Consulted Marling, Karal Ann. Designing Disney's Theme Parks. New York: Flammario, 1997.

Mold level control devices and systems

IntroductionContinuous casting of steel is a procedure with many factors involved. If any of those factors are non controlled it can hold inauspicious effects to both the steel produced and the equipment bring forthing it. This paper will briefly travel over the demands and equipment needed to adequately command the degree of steel in a uninterrupted casting cast every bit good as jobs that arise if non decently controlled.Reason For ControlThe steel ‘s semilunar cartilage ( top of liquid ) needs to be monitored and controlled for a figure of different grounds. The most obvious grounds are to forestall the steel from overruning the cast or from the cast going drained. Both of those instances would ensue in liquefied steel falling onto the equipment below the cast, doing harm and halting of the procedure. Steel over the cast will slop out and it will besides forestall lubrication from come ining the cast pit. In the instance of excessively small steel nowadays in the cast, the s um of clip the steel is in contact with the cast will be excessively short. If the outer part of the steel does non pass adequate clip near the cast walls, a shell of equal thickness to incorporate the internally liquid steel will non be formed. This would do a jailbreak, leaking molten steel and holding production every bit good. If it was merely those two extremes mentioned above, the allowable degree in the cast would be big and merely necessitate a simple method to keep steel degree within that scope. But it has been noticed industrially that fluctuations in the semilunar cartilage degree can hold noticeable effects on the surface quality of the ensuing product1,2. The formation of laps and bleeds on the steel surface every bit good as deepened oscillation markers have been accredited to limitations on lubrication flow caused by traveling semilunar cartilages. Laps and bleeds are proposed to be caused when lubrication is blocked and the outer steel shell is allowed to touch the cast wall1. That contact bonds the two surfaces together doing cryings to organize in the steel tegument let go ofing liquefied steel. Even the cause of lubrication loss can be its ain job. If the limitation is caused by the semilunar cartilage making the scoria rim, the rim can do denting in the steel surface and can be broken off onto the steel surface through scratch ( Fig. 1 ) . The deepness of oscillation Markss formed by the cast ‘s oscillation is related to the fluctuation way of the meniscus2. Since oscillation Markss are a byproduct of the speed differences between the cast and steel during denudation, a alteration in the semilunar cartilage degree would alter the comparative speed between the two. So, when the semilunar cartilage rises, more steel progresss per oscillation shot which increases the distance between markers but besides increasing the deepness of the marker ( Fig. 2 ) . On the other manus, when the steel degree in the cast lowers, the antonym is seen and the markers are closer together but each is shallower because of it.Equipment To MonitorThe basic mold degree control systems relied merely on feeling devices at the cast to supervise the degree of the steel within it. Two chief options for the finding of steel degree are thermally supervising the cast or optical review of the meniscus1,3. The thermic method requires the installing of thermocouples within the cast above the coveted steel degree. The temperature at the thermocouples can be used to find their distance from the liquefied steel. The job with this method was complication in graduating it, since the temperature-to-distance computation would necessitate the thermocouples ‘ exact distances up the cast and within the cast every bit good as the heat transportation rate through the cast, its chilling rate and the initial temperature of the steel. A presently preferred method is an optical detector positioned above the cast that straight observes the steel degree. Other countries that require monitoring are the usher axial rotations, the tundish, and the province of the tundish-to-mold flow regulator ( either a stopper rod or a slide gate valve ) ( Fig. 3 ) 4. The set projecting velocity of the steel is monitored through the usher rolls below the cast. The tundish is monitored to find the deepness of steel in the tundish since its ensuing metallostatic force per unit area caput will impact the flow velocity into the cast. The place of the flow regulator is required so that the cross sectional country of the tundish-to-mold flow can be calculated. Many parts are needed to interact with each other to travel a flow regulator3. At the regulator itself there are motion limitation forces to see. For slide gate valves both clash with its holder and force per unit area from the fluxing steel can impact motion, while for a stopper rod clash against the liquid steel every bit good as perkiness within that liquid demand to be considered. About all flow regulators are moved by usage of a hydraulic device. The force per unit area within a hydraulic cylinder is non ever of a degree to do motion, so the hold clip to construct up equal force per unit area to travel the flow regulator should be noted. The other beginning of response hold is from the electrical detector commanding the hydraulic system. All electrical switches have a deadband value which is the minimal electromotive force signal needed to trip a response. Taken together, the holds caused from electromotive force and force per unit area build up and get the better ofing clash ca n show about half a 2nd hold between computing machine bid and physical accommodation.Computer Control MethodsAll the centripetal readings are inputted into a dynamic control system that determines what accommodations are needed to command the steel degree in the cast. The exact type of control system used presently is a closed-loop automatic control regulator ( Fig. 4 ) 5. This type of accountant does non necessitate human input, regulates the end product ( in this instance steel degree ) to a set value, and mentions prior end product readings for future determinations. The accountant is divided into two chief countries of concern: bid response and perturbation rejection3. Command response trades with doing major accommodations to the system to make the programmed steel level3. This is accomplished by executing a mass-flow balance for the mold4. This portion of the accountant modus operandi is dominate when the cast is ab initio make fulling up or when the degree of steel demands to be changed to a new set point. Once the coveted degree is reached in the cast, all that is required of this portion of the control plan is to maintain the incoming volume rate equal to the outgoing volume rate. The outgoing rate is equal to the projecting velocity from the usher axial rotations multiplied by the face country of the casting. The ingoing rate is based on the tundish-to-mold flowing velocity caused by the deepness of steel in the tundish and its corrected flow country. Adjustment is needed for computation of the ingoing volume rate since frictional forces curtailing flow alteration based on flow speed and turbulency. Disturbance rejection trades with minimising the mistake difference between the current steel degree and the mark steel level3. When the steel degree is near to the mark value, the bid response is used maintain the current mold degree while the perturbation rejection everyday Acts of the Apostless to rectify for minor fluctuations in steel degree. These fluctuations from the mark are normally the consequence of nose clogging, but can besides be caused by other things. There are two major methods for minimising mistake, through a formulated response or through an expert system. A expression modus operandi at the simplest contains a relative invariable that is multiplied by the mistake to rectify the end product system4. While this corrects for the mistake it besides can bring forth extra fluctuation in the steel degree, unless a differential invariable is besides used. By multiplying a changeless by the rate of steel degree fluctuation the rectification response is damped and will settle to the mark degree bit by bit. By utilizing this, the mark degree will non be overshoot ensuing in changeless gap and shutting of the flow regulator and seting unnecessary wear on it. Additional expression parts, like a fuzzed control term, can be used to accelerate response4,6. An expert system everyday uses pre-programmed responses for outputs7,8. It takes the input degrees, and based on anterior technology cognition, picks a predetermined action. While this everyday type is faster and simpler to make than a formula modus operandi, it does non hold the same degree of preciseness.DrumheadThe surface quality of uninterrupted dramatis personae steel can be greatly affected by motion of the steel semilunar cartilage in the cast. To acquire the best surface quality possible, the fluctuation scope of the semilunar cartilage should be minimized every bit much as possible. Through supervising the volume flow rates into and out of the cast, every bit good as the alteration in steel degree, the steel degree in the cast can be controlled. In add-on, jobs with steel flow into the cast can be corrected for by usage of computing machine modus operandis.Mentions1. S. Kumar, B. N. Walker, I. V. Samarasekera, and J. K. Brimacombe: â€Å"Chaos at the Meniscus – The Genesis of Defects in Continuously Cast Steel Billets† , 1995, 13th PTD Conference Proceedings, pp.119-141 2. B. G. Thomas, M. S. Jenkins, and R. B. Mahapatra: â€Å"Investigation of Strand Surface Defects Using Mould Instrumentation and Modelling† , 2004, Ironmaking and Steelmaking, Vol.31, No.6, pp.485-494 3. H. L. Gilles, J. A. Stofanak, I. W. Whiteman, and J. W. Brunicon: â€Å"Dynamic Modeling of Slab Caster Mold Level Control† , 1995, 13th PTD Conference Proceedings, pp.263-277 4. D. Lee, Y. Kueon, and S. Lee: â€Å"High Performance Hybrid Mold Level Controller for Thin Slab Caster† , 2004, Control Engineering Practice 12, pp.275-281 5. G. F. Franklin, J. D. Powell, and A. Emami-Naeini: Feedback Control of Dynamic Systems, 4th Ed. , 2002 6. E. J. Saarelainen, P. Lautala, M. Inkinen, and J. Johansson: â€Å"Steel Caster Mold Level Control Using Fuzzy Logic† , 1995, 13th PTD Conference Proceedings, pp397-402 7. Y. S. Kueon, and S. Y. Yoo: â€Å"Mold Level Control in Continuous Caster Via Nonlinear Control Technique† , 1997, Automation in the Steel Industry 8. T. Watanabe, K. Omura, M. Konishi, S. Watanabe, and K. Furukawa: â€Å"Mold Level Control in Continuous Caster by Neural Network Model† , 1999, ISIJ International, Vol.39, No.10, pp.1053-1060

Do Not Go Gentle Into That Good Night

C. S. Lewis once said, â€Å"no one ever told me that grief felt so like fear. † In Dylan Thomas’s villanelle, â€Å"Do not go gentle into that good night,† written within the Emerging Modernist Period, illustrates a man grieving his old and dying father to rage at death for people should look over their lives and have confidence of having accomplished the defining moments by taking risks and having no fear before death is upon them. Within the first tercet, a young man reacts to the closeness of death with a fighting approach as to rebuke the acceptance of the end.Throughout the poem, the repetition and rhyming of the last words helps to allow the reader to understand the making of a form of writing know as a villanelle. One of the two key phrases within this villanelle, â€Å"do not go gentle into that good night,†(1) occurs several times to emphasize the plea against death the speaker has toward men in old age and the personification â€Å"of Glouceste r’s son Edgar† (Cyr) from William Shakespeare’s play King Lear.The diction of â€Å"gentle†(1) is an adjective in place of an adverb making the â€Å"less grammatically correct†(Hochman) â€Å"gentle†(1) an epithet for his father and involving the relationship shared between the two men through their personal background. The second key phrase, â€Å"rage, rage against the dying of the light,†(3) gives insight towards Thomas’s following poem, the â€Å"Elegy,† when the detail of the relationship between a young man, Dylan Thomas, and his father.Furthermore, the metaphor of â€Å"the dying of the light†(3) conveys the history of one of Thomas’s favorite poets, W. B. Yeats and his military background within the phrase â€Å"†Black out†Ã¢â‚¬ (Cyr) helps to clarify that death draws near. Within these two lines, the author uses words such as â€Å"gentle† and â€Å"rage,† â€Å"dyingâ €  and â€Å"good,† and â€Å"night† and â€Å"light† as a contradictory term within the diction.Likewise, the alliteration and the consonance of the â€Å"g† in â€Å"go gentle†¦ good†(1) and â€Å"rage, rage against†(3) help to signify as the â€Å"chorus†(Overview: â€Å"Do Not Go Gentle into that Good Night†) within the remainder of the villanelle. Within the next four tercets, the achievements of four different kinds of men in old age neglected to lessen the gloom within their surroundings. â€Å"Wise,†(4) â€Å"good,†(7) â€Å"wild,†(10) and â€Å"grave men†(13) are metaphors for men who have â€Å"failed to enlighten the dark world in which they live. †(Hochman)Thomas uses the metaphors of â€Å"at their end,†(4) â€Å"last wave by,†(7) â€Å"too late,†(11) and â€Å"near death†(13) to stand as the appearance towards death. The imagery within the vill anelle, â€Å"words had forked no lightning,†(5) â€Å"danced in a green bay,†(8) and â€Å"caught and sang the sun in flight†¦ they grieved it on its way†(10-11) is that of dark descent towards a â€Å"more dangerous world†¦ of human wildness†(Hochman) which is followed by the diction of â€Å"be gay†(14) as a â€Å"state of lightness†(Hochman) to â€Å"contrast the light and dark imagery. (Overview: â€Å"Do Not Go Gentle into that Good Night†) Within line fourteen, the consonance of â€Å"bl† in â€Å"blind†¦ blaze,†(14) the alliteration of the â€Å"i† sound inside â€Å"blind eyes†¦ like,†(14) and the assonance of the â€Å"z† sound in â€Å"eyes†¦ blaze like meteors†(14) helps to explain the syntax of the tercet.In addition, Thomas’s purpose of â€Å"grave men,†(13) serious men, who can see but have no vision now understand the capability of posses sing a serious and happy life style functions as a paradox for the men â€Å"are blind†(Overview: â€Å"Do Not Go Gentle into that Good Night†) and cannot see yet have a better understanding than a man with sight and this comprehension of sudden enlightenment continues into the final lines of this intimate villanelle.The last quatrain contains a personal request to a young man’s father to show true emotions during the hardship before death comes within the night. Thomas begins the last stanza addressing the audience, his father, which reveals to the reader an â€Å"obliquely drawn persona†(Cyr) of the personal relationship between a sickly father and his caring son. Following, the author uses â€Å"on the sad height†(16) as a metaphor towards death as well as a paradox to enlighten the aspect of life achievements.Thomas’s use of the â€Å"religious overtones†(Welford) in â€Å"on the sad height, curse, bless†(16-17) relates to the imagery in the book of Deuteronomy in the Bible for a â€Å"sad height†(16) is â€Å"sad†(Westphal) sense Moses cannot enter the Promised Land he dies on the summit of Mount Nebo and Joshua, his â€Å"’son,’†(Westphal) grieves at the loss of a â€Å"solid rock in his life. †(Welford) The imagery, â€Å"curse, bless, me now with your fierce tears†(17) stands as a specific plea to the audience to give the speaker the blessing of fearful and uncontrollable tears that he had not done prior and to â€Å"curse†(17) those â€Å"who will be left behind. (Hochman) The devises of the â€Å"s† sound as assonance occurring on line 17, â€Å"curse, bless†¦ fierce tears† allows the rhythm of the poem to continue the elaborate patterns throughout the poem. The final quatrain portrays the theme of the villanelle that the grieving of man at the sight of his dying father allows the fear of loss or suffering to change any perceptions towards death.

Colonial Language, Behavior and Identity Formation in Two Tempests

Colonial language, behavior and identity formation in Two Tempests Shakespeare in his last work, The Tempest tells the story of Proespero, the duke of Milan who is exiled to an island. The conflicts throughout the play arise from the desire of power over nature and people. Prospero overtakes the power from the native people on the land and is fighting for his title; that has been stolen by his brother. The influence of colonization is present in The Tempest, and is demonstrated in the characters Caliban and Ariel; who become Prospero’s servers in order to get free.Cesaire writes A Tempest, based on Shakespeare’s The Tempest, to help the reader understand its message better. The theme remains the same, but Cesaire emphasizes more deeply on the characters Caliban and Ariel. Cesaire presents them as people of the new world, who are under the influence of a foreign power, Prospero. Cesaire presents Caliban and Ariel with slightly different characteristics as Shakespeare, sh owing the important role of their language, behavior and actions.The very first change that Cesaire made in A Tempest we can see at the beginning of the play where the author mentions Ariel as a mulatto slave and Caliban as a black slave. Their change in color is significant because Cesaire expresses the post-colonial influence on the characters. The example of colonization is presented by a white conqueror, Prospero, who takes over the native people on the island, Caliban and Ariel. The two Characters, Caliban and Ariel are described differently in Shakespeare’s The Tempest and Cesaire’s A Tempest.A Tempest is a post-colonial writing, and Cesaire forms his characters with stronger and more significant characteristics. Caliban’s personality becomes more important than in Shakespeare’s play. In The Tempest, Caliban is an insolent, uneducated slave who is controlled through magic by Prospero, while in A Tempest; he becomes an aggressive and defined black ma n. In The Tempest, we can see Caliban as a child of a witch, Sycorax, who is a poor judge of character, acting like an animal and willing to get free.In Cesaire’s play the way he enters the scene is already telling us that he becomes a strong and brave character with a personality. Caliban’s word to Prospero, â€Å"Uhuru† (Cesaire 1. 2. 10-11), shows his rebellious attitude towards his master, letting him know about his eagerness to become free and independent on his island again. â€Å"Uhuru† in Swahili means freedom and for Caliban means his life. With this word, Caliban is showing to Prospero his defiance towards the situation, in which he becomes a slave of his own land.Caliban is the one who introduced the island to Prospero, and he expects to be treated with respect. Caliban is a fighter who is ready to choose death over humiliation: â€Å"Call me X. That would be best. Like a man without a name. Or, to be more precise, a man whose name has been st olen. You talk about history and everyone knows it. † (Cesaire 18) With Prosepero’s arrival to the island, Caliban becomes a slave of its own land. In spite of difficulties and his situation, Caliban does not easily admit defeat.The fact that he wants to be called X rather than Caliban, shows his fight for his free will that he has as a person. In Cesaire’s play Caliban becomes aware of his situation and he knows that a person can be considered a person, if that has the right to take decisions over himself. Prospero has power over Caliban, gives him a new name, and with that Prospero steals his identity and his whole being as a human. This contrasts with Shakespeare’s play where Caliban’s fight for his personality is less important; he just exists and obeys as a slave.Caliban represents the suppressed category of people who are under foreign intruders’ power and forced to obey their commands. The language that Cesaire uses for his characters is more aggressive and eloquent than in Shakespeare’s play. Caliban is arguing furiously with Prospero, showing the injustice of Prospero’s power over him: â€Å"You lied to me so much, about the world, about myself, that you ended up by imposing on me an image of myself. † (Cesaire 3. 5. 22-24) The way Caliban talks to his master shows the tormented relationship that they have.Caliban uses the language that Prospero taught him in a way that expresses his anger and his suffering as a slave of his land. The way Prospero treats Caliban is an example of the colonized lands where the new rulers used the native people for their advantage. The colonizer’s influence on native people is presented by Shakespeare and Cesaire too, just in different languages. For Caliban, there is no importance in speaking Prospero’s language: â€Å"You taught me language, and /my profit on’t/Is, I know how to curse. † (Shakespeare 1. 2. -4); he is forced to do that in order to obey his commands. The colonization of the island took away Caliban’s own language, his name and his home that now he calls â€Å"ghetto†. (Cesaire 13) Shakespeare doesn’t focus as much as Cesaire on Caliban’s character. The language what he uses is from 1400s, and the characters are used mostly for their role in the play and not as a symbol of the colonized lands as in Cesaire’s play. Changing the character’s color and language, Cesaire shows the essence of the diversity in people and their important role in life according to their skin and language.Ariel’s change is substantial, too. He is presented as a mulatto slave, which is another character of colonized lands. His identity is totally different from Caliban’s; he is the naive and obedient slave and not the fighter like Caliban. Ariel is representing the category of people who are ready to obey the master’s command and waiting for changes to happen. Ariel knows that Prospero uses him for his own purpose, and despite of all that, he approaches his tasks with enthusiasm, reporting any activities that he observes.Even though Shakespeare describes Ariel as a sprite, he has human qualities; he is longing for his liberty. He is invisible, but his actions are important, and he reflects human emotions: â€Å"ARIEL. If you now behold them, your affections / would become tender. / PROSPERO. Dost thou think so, spirit? / ARIEL. Mine would, sir, were I human. † (Shakespeare 5. 1. 35-39) Throughout the play, Ariel, the mulatto slave, is described as a compliant server and is treated in a nice way comparative to Caliban, who is treated horribly and threatened.The different treatment of slaves shows us that even between slaves are classifications, and they all have their place in world according to their skin color. In contrast with Shakespeare, Cesaire represents the two characters on a deeper level and focuses more on their personal ities. Throughout the play, Cesaire describes Caliban and Ariel as two servants with different desires and places in the colonized land. Caliban is ready to fight for what belongs to him, including his identity, in contrast with Ariel, who accommodates to the situation and waits for a better future.

Complexity of the Tourism Industry Essay Example | Topics and Well Written Essays - 2250 words - 1

Complexity of the Tourism Industry - Essay Example Mass tourism is the process of visiting a place by a large number of people at the same time, and the research of the impact that people can have on a specific location or destination that has been over-exposed to particular tourists frequenting the destination (Singh, 2008). The complexity of the Tourism Industry For a number of reasons, alternative tourism in local economies has been much more constrained and less effective than mass tourism. The optional projects in the developing nations are mostly weighed down by the high expenses of international tourism and the insufficient local networks within the tourist destinations. Cultural differences and differences in the living standards of the guests and hosts equally make it difficult to satisfy the needs of the tourists without comprising local norms and cultures (Brent et al., 2011). For instance, in the marginal areas of Thailand, the natives may not be in a position to converse in foreign languages at all, creating a challenge for the tourists to converse with the locals and tour around. To contain these and other challenges of alternative tourism, various proactive approaches must be taken to ensure its sustainability. These comprise lessening the number of tourists, the varying the type of tourists, creating awareness amongst all participants involved regarding the effects emanating from the new set of operations. Cutting down on the number of tourists can take two dimensions: reduction of the number of places where the concentration is high and putting a limit to the probable visitors to be in line with the ability parameters. It is, however, difficult to cut on the numbers in a situation of the liberal market without interfering with the practicality of the industry. Revenues can be anticipated to deteriorate which can lead to unemployment and lowering of the living standards (Rebecca; et al, 2009). The varying types of tourists similarly make it hard to constrain or decrease the number of tourists. V arious tourists have varying preferences. When an area is developed, it is most challenging to modify the types of tourists anticipated to a type which flocked in before with an aim of obtaining an ideal tourism structure (Alan, 2008). Besides, if a tourist location targets a particular market such as culture-lovers or photographers, it experiences the actual risk of not being a big enough market or failing to be a repeat market. Tourists may make decisions that upon visiting the Canadian Arctic, they will travel to the Himalayas and then Antarctica, then Galapagos and so on. Moreover, whilst mass tourists are for the majority sedentary and fritter their money in a constrained number of destinations, most of the expenses of the alternative tourists may initially spend small amounts in a wide range of destinations (Holder IV &William, 2009).

Precautions to be taken in drafting Oil & Gas Industry Contracts Essay

Precautions to be taken in drafting Oil & Gas Industry Contracts - Essay Example This essay discusses that Oil & Gas industry is a unique industry as it involves a high risk aspect of exploitation and exploration, high capital –intensive character of the industry, geographic ambit of operations and assets, environmental issues, up-date technology needs, safeguard issues, downstream brand advertising, size and range of employee base, political predispositions,etc. Oil & Gas industry engrosses the granting many contracts like project feasibility study, construction, supplies, civil and offshore contracts, mainly through subcontracts. If the turnkey contract is implemented, then the contract has the responsibility of defining in a strict, complete and definite manner the works to be covered and risk to be borne in the contract itself. In the oil and gas sector, the definitive goal of any operator is to exploit maximum revenues by efficient and rapid discovery of petroleum and gas resources with no or minimal disruption. Contractual process in Oil and Gas (O&G ) industry is a lengthy and time-consuming process , fixing the accountability and granting damages to the affected parties is normally considered to be a hectic task given the nature of the industry which is symbolised by subcontracting. To achieve their business goal, operators in O&G industry is well aware that risks in the industry can be administered and controlled when the same has been unequivocally distributed to one or more parties. It is to be noted that risks can be covered by taking appropriate insurance policies, but this involves an additional financial burden to the operators. The easy way to shift the risk in O&G industry is to employ contractors to alter common law approach as a risk management process. (4). LOGIC of UK has published a standard contract (boilerplate contract) through its 2nd Edition, October 2004 for the oil & gas industry in UK. This is a standard contract, and the contract employs English law .However, now, all references to UK needs’ have been withdrawn, and it can be employed on a global basis. For drafting contracts for oil and gas industry , the lawyers will use boilerplate contract like the one designed by Logic .It connotes to any interchangeable ,† one size fits all† provision. While drafting the contract, more significance has to be given to the areas like the notice clauses, the choice of law clauses, the force majeure clauses, the delegation and the assignment provision. These clauses are significant as it will give a road map, informing the parties concerned their relationships and how to administer the contract. (2) Some of the main advantages of the boilerplate contracts are that it contains many clauses either override or restates the common law provisions and is being in use by the relevant companies for long time. It is having drafting efficiency and to costs fewer pounds and takes less time to input the standard clauses into the contract. By incorporating the conditions available in the bo ilerplate contracts will help to avoid errors. Further, a standard clause is well known to business and legal community, thereby minimising the costs of reassessing and negotiating the provisions, as well as fostering a analogues interpretation. (2) Some critics allege that the poorly outlined boilerplate clauses may result in issues instead of finding a solution while execution of a contract. A poorly drafted contract will no doubt will result in the litigation which is not only time-consuming and also expensive. Thus, there is a need to give more careful attention to each and every boilerplate clauses, including how it is going to be interpreted in the case of future litigation. (2) For the risk allocation, common law provision is followed in O&G contracts and, where there is no specific contract and the general law pertaining to tort, contract/delict will be applicable. With the operative word being ‘negligence†, the liability stems from the fault or infringement of d uty in such cases.