Tuesday, December 31, 2019

What Is an Ophiolite Rock

The earliest geologists were puzzled by a peculiar set of rock types in the European Alps like nothing else found on land: bodies of dark and heavy peridotite associated with deep-seated gabbro, volcanic rocks and bodies of serpentinite, with a thin cap of deep-sea sedimentary rocks. In 1821 Alexandre Brongniart named this assemblage ophiolite (snake stone in scientific Greek) after its distinctive exposures of serpentinite (snake stone in scientific Latin). Fractured, altered and faulted, with almost no fossil evidence to date them, ophiolites were a stubborn mystery until plate tectonics revealed their important role. Seafloor Origin of Ophiolites A hundred and fifty years after Brongniart, the advent of plate tectonics gave ophiolites a place in the big cycle: they appear to be small pieces of oceanic crust that have been attached to the continents. Until the mid-20th-century deep-sea drilling program we didnt know just how the seafloor is constructed, but once we did the resemblance with ophiolites was persuasive. The seafloor is covered with a layer of deep-sea clay and siliceous ooze, which grows thinner as we approach the mid-ocean ridges. There the surface is revealed as a thick layer of pillow basalt, black lava erupted in round loaves that form in the deep cold seawater. Beneath the pillow basalt are the vertical dikes that feed the basalt magma to the surface. These dikes are so abundant that in many places the crust is nothing but dikes, lying together like slices in a bread loaf. They clearly form at a spreading center like the mid-ocean ridge, where the two sides are constantly spreading apart allowing magma to rise between them. Read more about Divergent Zones. Beneath these sheeted dike complexes are bodies of gabbro, or coarse-grained basaltic rock, and beneath them are the huge bodies of peridotite that make up the upper mantle. The partial melting of peridotite is what gives rise to the overlying gabbro and basalt (read more about  the earths crust). And when hot peridotite reacts with seawater, the product is the soft and slippery serpentinite that is so common in ophiolites. This detailed resemblance led geologists in the 1960s to a working hypothesis: ophiolites are tectonic fossils of the  ancient deep seafloor. Ophiolite Disruption Ophiolites differ from intact seafloor crust in some important ways, most notably in that they arent intact. Ophiolites are almost always broken apart, so the peridotite, gabbro, sheeted dikes and lava layers dont stack up nicely for the geologist. Instead, they are usually strewn along mountain ranges in isolated bodies. As a result, very few ophiolites have all the parts of the typical oceanic crust. Sheeted dikes are usually what is missing. The pieces must be painstakingly correlated with each other using radiometric dates and rare exposures of the contacts between rock types. Movement along faults can be estimated in some cases to show that separated pieces were once connected. Why do ophiolites occur in mountain belts? Yes, thats where the outcrops are, but mountain belts also mark where plates have collided. The occurrence and disruption were both consistent with the 1960s working hypothesis. What Kind of Seafloor? Since then, complications have arisen. There are several different ways for plates to interact, and it appears that there are several types of ophiolite. The more we study ophiolites, the less we can assume about them. If no sheeted dikes can be found, for instance, we cannot infer them just because ophiolites are supposed to have them. The chemistry of many ophiolite rocks does not quite match the chemistry of mid-ocean ridge rocks. They more closely resemble the lavas of island arcs. And dating studies showed that many ophiolites were pushed onto the continent only a few million years after they formed. These facts point to a subduction-related origin for most ophiolites, in other words near shore instead of the mid-ocean. Many subduction zones are areas where the crust is stretched, allowing new crust to form in much the same way as it does in midocean. Thus many ophiolites are specifically called supra-subduction zone ophiolites. A Growing Ophiolite Menagerie A recent review of ophiolites proposed classifying them into seven different types: Ligurian-type ophiolites formed during the early opening of an ocean basin like todays Red Sea.Mediterranean-type ophiolites formed during the interaction of two oceanic plates like todays Izu-Bonin forearc.Sierran-type ophiolites represent complex histories of island-arc subduction like todays Philippines.Chilean-type ophiolites formed in a back-arc spreading zone like todays Andaman Sea.Macquarie-type ophiolites formed in the classic mid-ocean ridge setting like todays Macquarie Island in the Southern Ocean.Caribbean-type ophiolites represent the subduction of oceanic plateaus or Large Igneous Provinces.Franciscan-type ophiolites are accreted pieces of oceanic crust scraped off the subducted plate onto the upper plate, as in Japan today. Like so much in geology, ophiolites started out simple and are growing more complex as the data and theory of plate tectonics become more sophisticated.

Monday, December 23, 2019

The After World War II - 2103 Words

Shortly after World War II most of the European powers that had once held dominion over vast colonies across the globe found their grips on these territories lessened. Even before the end of the war, some of these colonies decided to begin preparations to seize their own destinies from the hands of their masters, and become sovereign entities. One of these colonies was the Dutch East Indies, which was under Dutch control for more than 150 years. The nation that would form from this freed colony would be Indonesia, and on August 17th 1945 the Indonesian people declared their sovereignty and independence from Dutch rule. After four long years of fighting and tense negotiations, the Dutch finally recognized Indonesian independence at the end of 1949. The President of this new fledgling nation was a man by the name of Achmad Sukarno, and he would lead this nation through its revolution in 1945 up until 1967 when he was forced to resign. His reign was one of founding, which demeaned the i dea of parliamentary democracy as inappropriate for the Indonesian people, and so he adopted a policy known as Guided democracy, a type of autocratic rule. But due to the diversity of both the people and radical differences of political parties within this new weak state and the uneven representation of political factions, this governmental system was doomed to fail. The instability of the new Indonesian government coupled with the attempts of Indonesia’s first president to pit differentShow MoreRelatedThe After World War II1671 Words   |  7 Pages In the late 2000s, major countries all across the world experienced a rapid decline in economic activity comparable to that of the Great Depression. The United States’ real estate market collapsing and â€Å"large amounts of mortgage-backed securities and derivatives†¦[losing] significant value† (Investopedia, LLC.) caused this Great Recession. 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Sunday, December 15, 2019

Gray and Goldsmith’s Attitudes towards Loss Free Essays

Death as man’s fate can never be controlled by anyone or by anything. This is what one can infer from the poems of Thomas Gray and Oliver Goldsmith. These poems deal about death or loss of life and all other losses humans experience in life. We will write a custom essay sample on Gray and Goldsmith’s Attitudes towards Loss or any similar topic only for you Order Now Consequently, this paper is a comparative analysis of the attitudes of Gray and Goldsmith towards death or loss in their poems. This includes a discussion of the similarities and differences of the poet’s attitude which can be deduced from the speaker’s involvement or attachment, the speaker’s feelings towards the subject and the tone of the poems â€Å"Elegy Written in a Country Churchyard† by Thomas Gray and â€Å"The Deserted Village† by Oliver Goldsmith. Obviously, both poets have similar attitudes and feelings about the subject. However, Gray communicates stronger attitudes about loss or death in his poem than what Goldsmith articulates about the subject in his poem. To begin with, Gray’s â€Å"Elegy Written in a Country Churchyard† is a poem composed of 128 lines grouped into stanzas and it focuses on the dead people buried in a country churchyard. While, Goldsmith’s â€Å"The Deserted Village† is a poem consisting of 430 lines grouped into irregular number of lines per thought and it talks of the wretchedness of a village named Auburn. These poems have the following similarities. Initially, both poets are emotionally attached to the topic on hand. Gray feels the loss as he contemplates of his own death someday. Meanwhile, Goldsmith has personally experienced the loss of happy memories in Auburn especially in the first 34 lines of the poem. Next, the poems â€Å"Elegy Written in a Country Churchyard† and â€Å"The Deserted Village† attest that death prevents humans from doing what they were used to doing and from experiencing the pleasures they used to experience. In lines 17 to 28 of Gray’s poem, the speaker cites that the dead can no longer wake up every morning with the sounds of the â€Å"swallow†, the â€Å"cock† and the horn, be with their wife and children or go to work in the farm fields. Likewise, lines 243 to 250 of Goldsmith’s poem say that those who die can no longer enjoy the different pleasures in life. Another is that according to the two poems, death or loss will come to any person regardless of his/ her social position, prestige and economic status. No one is exempted from experiencing death. It comes to the poor as well as to the rich. It comes to the kind and to the unkind. This is exemplified in the lines 33 to 40 of Gray’s poem which point that even the rich will die and their riches will not prevent death or loss from happening. It is also cited in the lines 107 and 109 of Goldsmith’s poem that man will â€Å"meet his latter end† and will go down â€Å"to the grave†. The lives of the â€Å"village preacher† in lines 140 to 187 and the â€Å"village master† in lines 196 to 240 both exemplify that death comes to anyone in the poem â€Å"The Deserted Village†. Subsequently, both poems show that a human being goes to another place after his or her life on earth is over. Gray mentions the word â€Å"heaven† found in line 124 and â€Å"God† in the last line of the poem. Goldsmith also speaks of â€Å"heaven† in lines 112 and 188. This means that both poets believe that when death comes to a person, he or she has the hope of going to heaven to be with God who is the creator of man and of the universe. Lastly, the tone of Gray and Goldsmith’s poems is similarly mournful, hopeful and wishful. Since the poems talk about death or loss, they are obviously in a state of mourning for the dead. Gray evokes an atmosphere of mourning in the first twelve lines of the poem with the images of â€Å"the parting day† (line 1), the farmer going home, and the coming of darkness. Gray also uses the wailing of the â€Å"owl† in line 10 to conjure this tone. Meanwhile, Goldsmith uses the words â€Å"saddens† in line 38, â€Å"cries† in line 46, â€Å"griefs† in line 84 among others to present this tone. But in spite of the tone of mourning in these poems, they also express the hopes and wishes of the poets that after death or loss, there will be a new life or a new beginning as alluded to in words â€Å"heaven† in lines 122 and 124 and the word â€Å"Father† and â€Å"God† in line128 of Gray’s poem. In addition, Goldsmith mentions the word â€Å"heaven† in line 188 and the phrase â€Å"worlds beyond the grave in line 374 of his poem. The differences in the attitudes and feelings of Gray and Goldsmith towards loss in their poems are the following: first, Gray seems to feel uninvolved in the poem because he uses the pronouns â€Å"them† and â€Å"their† most of the time. Perhaps, this is because he does not personally know the people who died and who were laid in the country churchyard. In fact, he was just making guesses or contemplating of possibilities of what these could have become and what could have happened to them if they did not die yet. In contrast, Goldsmith feels very involved because he uses the personal pronouns â€Å"my† and â€Å"I† for many times in the poem. This could mean that what he has written in the poem is based on his very own experiences. Second, Gray demonstrates that death prevents anyone from achieving their ambitions or from discovering their hidden potentials. This can be interpreted from lines 45 to 64 where Gray elaborates the things that those who have died could have done in their lives if they were still alive. The speaker thinks of someone who could be a â€Å"Penury† in line 51, a â€Å"Hampden† in line 57, a â€Å"Milton† in line 59, and a â€Å"Cromwell† in line 60. On the contrary, Goldsmith does not mention the what- could-have-been in his poem because he primarily talks about the loss of the simple pleasures as part of village life. Third, Gray encourages that man should be prepared to die because it is a part of the natural course of life. Just as a day in a person’s life comes to an end as literally stated in lines 1 to 4 of the poem so does a person’s life on earth ends. If there is a beginning, there is also an ending. Nothing is ever permanent in this world. Everything is temporary. What has been commonly quoted by many: â€Å"The only thing that does not change is change itself† and â€Å"There is an end to everything† are indeed true. Gray tells us in the poem that humans need to prepare for that time when they will die because it is inevitable. He even makes himself an example of a person who gets ready for his death. As a matter of fact, he includes in lines 116 to 128 of the poem an epitaph that is to be written in his own grave. However, Goldsmith implies fear or suggests dread for the day of one’s death in lines 363 to 370 of his poem. The words or phrases â€Å"sorrows gloom’d†, â€Å"look’d their last†, â€Å"wish’d in vain†, and â€Å"shudd’ring† gives an idea that the poet is not yet prepared to die if he feels that death is something that comes to everyone. Fourth, Gray presents that nothing can bring back a dead person to life. He asks in the form of rhetorical questions in lines 41 to 44 if the things he has mentioned are able to bring back a dead person’s â€Å"breath†. Since these are rhetorical questions, obviously the answer to all these is a resounding â€Å"NO†. There is really nothing that can be done or no one can do anything to make life come back to someone who is already dead. A realization can then be made based on this. A person has to do what he can do and what he wants to do while he/ she is still alive because when he dies he can never do them or he cannot return to life to do them. Goldsmith, on the other hand, does not talk about these things. Fifth, Gray feels that those who are still alive should honor and remember those who have died. This is implicitly expressed in lines 77 to 112. The words â€Å"memorial† (line 78), â€Å"tribute† (line 80), â€Å"forgetfulness† (line 85), â€Å"unhonour’d† (line 93), and â€Å"tale relate† (line 94) are some of the hints that tell us that the poet wants to be honored. He also wishes in these lines that a friend or a â€Å"kindred spirit† (line 96) would remember him when he has died. Contrariwise, Goldsmith does not refer to these hopes in his poem. Instead he has other things revealed. Sixth, Goldsmith in â€Å"The Deserted Village† presents that loss is caused by a person’s discontentment or his/ her desire for luxury and wealth. The loss specifically referred here is the loss of the â€Å"ignorance of wealth† which leads to the loss of the simple pleasures in life that is analogous to the loss of one’s own life. It can be surmised from the poem that when humans lose their desire for the simple sources of joy and happiness and instead desire for luxury and wealth, then destruction or loss of life results just like what happened to Auburn. The speaker implicitly condemns â€Å"luxury† which caused the desolation of Auburn in lines 51 to 56 and lines 385 to 390. The discontentment of the village people for the simple pleasures referred to in the words â€Å"sports† (line 18), â€Å"pastime† (line 19), â€Å"sleights of art and feats of strength† (line 22), â€Å"dancing† (line 25), and â€Å"laughter† (line 28) led the people to â€Å"leave the land† (line 50). This idea is indeed true but Gray was not able to mention it in his poem. Seventh, according to Goldsmith, loss causes pain or is very painful on the part of the person who has lost someone or something very dear to him/ her. The words â€Å"pain† in line 82, â€Å"vexations† in line 95, and the phrase â€Å"sorrow, guilt and pain† in line 172 prove that it is painful to loss someone or even something. Likewise, the loss of happy memories can be as painful as having lost one’s body part. Conversely, Gray is silent about pain in his poem. Perhaps, he does not consider a natural process of life which is death as something painful or something which causes sorrow. Eighth, Goldsmith proposes that loss comes after luxury, wealth and pleasures. So for him, one should stay away from these things. He even calls â€Å"luxury† as â€Å"curst by Heaven’s decree† in line 385. He also demonstrates through irony in lines 52 to 56 that when riches abound, men’s lives deteriorate. In addition, lines 63 to 74 support the proposition that â€Å"trade’s unfeeling train† (line 63) resulted to â€Å"mirth and manners† (line 74) being lost. Finally, the tone of Gray’s â€Å"Elegy Written in a Country Churchyard† reveals his attitude or feelings for the poor, his readiness to die and his resignation to the inevitability of death whereas; the tone of Goldsmith’s poem is a mix of happiness, sadness, irony, and condemnation. Furthermore, the tone of Gray’s poem remains constant throughout the poem. In contrast, the tone of Goldsmith’s poem changes its tone from one feeling to another such as being happy then sad, ironic then condemning. To sum it up, both Gray and Goldsmith feel that death or loss comes to every human being whether he or she is poor, rich, kind or unkind at anytime. When loss comes, one can no longer do what he or she used to do or would want to do. And that loss comes with hope of going to heaven to be with God. How to cite Gray and Goldsmith’s Attitudes towards Loss, Papers

Friday, December 6, 2019

Best Albums of 2013 by Artists Who Created Music In 2013 free essay sample

Let’s be honest, last year was a truly awful year for music albums. Sure, there were a lot of great songs; some of them are quite memorable. But albums were lacking. I only remember two albums that I liked, which were Frank Ocean’s Channel Orange and Kendrick Lamar’s Good Kid, m.a.a.d. city. They were great. The rest were pretty dumb. This year in 2013 has been a wonderful year for albums. I didn’t give ANY albums a perfect ten. The last time that happened was in 2011 with Bon Iver, Bon Iver. That album was freaking, oh my gosh, it ripped me apart emotionally. Whenever I hear â€Å"Beth/Rest† I start to cry. It’s so freaking beautiful. Anyways, the year is almost at a close. It’s Christmastime. So, here you all go. 25. Ariana Grande: Yours Truly- 6.8/10 A great first album. Wow, I thought I was going to hate it. I listened to it, and it wasn’t wildly original, but her voice is so sexy and beautiful and she sounds so pleasant it more than makes up for the rather dumb songwriting. I think it was great though. 24. Haim: Days Are Gone- 7.4/10 It was alright. It had some catchy tunes and it sounded great. I wish that had been a bit more risky, but it was a lot better than other albums. 23. Queen of the Stone Ages: †¦Like Clockwork- 7.7/10 I was impressed. It wasn’t too hard rocking. Sounded pretty good, but again if you’re near the bottom of the list, it 22. Drake: Nothing Was the Same- 6.5/10 It was an okay album. I list it only because it sold a bunch. Lots of critics liked it. I wouldn’t say it’s in my top 20 for Rap/Hip-Hop albums, but in the top 40 probably. 21. Charli XCX: True Romance- 7.9/10 It wasn’t very memorable, but she uses the computer well. I love â€Å"What I like†. 20. Foxygen: We are 21st†¦..-7.9/10 The return of psych edelic and religious imagery. Fascinating. 19. Tegan and Sara: Heartthrobs- 8/10 I liked Closer a lot. The album didn’t seem to have any filler, and I really appreciated that. It flowed well, and the vocals were amazing. 18.Deerhunter: Monomia- 8.6/10 A raw album. So good. It rocks through my ears all the time. It was such a great rock album. Rawness is king. 17. CHVRCHES: The Bones of What You Believe- 8.1/10 It was really original. The production was sweet. Not the best by any means, but pretty good when it comparison to the other albums that came out in 2013. 16. James Blake: Overgrown- 8.3/10 A great sound. So strange and eerie. The production was smooth and laid back. The track featuring the RZA was dope as hell. 15. Kacey Musgraves: Same Trailer, Different Park- 8.2/10 A wonderful country album that takes risks. She has the best vocals I’ve heard in country in such a long time, and her sound isn’t processed or overpower. Take a listen, and just sick back a nd listen to her silky vocals. 14. Volcano Choir: Repave- 8.5/10 Bon Iver without the falsetto. What’s better than that? 13. Julia Houlter: Loud City Song- 8.6/10 Imaginative and original to the extreme. Such a unique sound. 12. Mikal Cronin:MCII- 9/10 A great punk album that lyrically is so deep it gave me second thought about how much I hate punk music. (TIE) 12. Tyler, the Creator: Wolf- 7.9/10 A less dark and disturbing album that was much more listenable than Goblin. Its rb style makes it flow a lot better, and it has better editing. 11. Savages: Silence Yourself- 8.5/10 A good Brit-Rock album. Brings it back to the old post-punk revival kind of sound as well. 11. Disclosure: Settle- 9/10 A strange album that has some strange quirks. I applaud the artists. 10. Lorde: Pure Heroine- 9.2/10 A pretty amazing pop album which brings the dark to the pop. She’s beautiful by the way. 9. Deafheaven: Sunbather- 9.3/10 An amazing album that has beautiful melodies hidden under the darkness of the songs. Listen to it. NOW. (TIE) 9. Phoenix: Entertainment- 8.2/10 A good album that works out from a triumphant start. Pretty good. 8. Justin Timberlake: The 20/20 Experience- 8.5/10 Didn’t listen to the whole album. It works out great though. Songs could be shorter. 7. Laura Marling: Once I Was An Eagle- 9.5/10 A beautiful album that seems like one never ending song that falls apart so many times it seems so pure. 6. Kanye West: Yeezus- 9.5/10 A strange iconic rap album that feels so raw and pure that it just scares the crap out of you. Repeat listens are recommended. 5. Phosphorescent: Muchacho- 9.6/10 A beautiful album that excels into greatness. 4. The National: Trouble Will Find Me- 9.4/10 My favorite band made a great record. 3. Earl Sweatshirt: Doris- 9.1/10 An experimental rap album that is a great debut. He’s a talented rapper, and has a lot of skill. One of my heroes. 2. Daft Punk: Random Access Memories- 9.6/10 It sounds great. I fell in love with how beautiful and original it sounds. I can’t ever escape its scope and it’s not repetitive. I’d listen to it all day and not get bored. 1. Arcade Fire: Reflektor- 9.7/10 A double album that sounds so odd and dark that it gives some of the greatest reflection of technology and the internet. I fell in so much love when I listened to it, and it gets better with each listen. I’d listen to it all day along with Daft Punk. 1. Vampire Weekend: Modern Vampires of the City- 9.7/10 It sounds perfect. It looks perfect. It feels perfect. The first song is the only reason why it isn’t perfect. Great song, just not perfect. The rest of the album is perfect. I love it. Perfection is here!