Gasification of Pine Wood Chips with Air-Steam in Fluidized Bed

Tato práce studovala vliv použití vzduchu a páry jako zplynovacího činidla ve zkapalňovacím generátoru plynu na vlastnosti vyprodukovaného plynu (oxid uhelnatý, vodík, obsah dehtu a nízká výhřevnost). Tato studie byla založena na experimentech které byly provedeny ve fluidním generátoru plynu Biofluid 100 v laboratoři Energetického ústavu technologické univerzity Brno s použitím páry jako zplynovacího činidla a borovicového dřeva jako výchozí suroviny. Cílem této dizertační práce je stanovit nejlepší provozní parametry systému při užití vodní páry a vzduchu ve zplynovacím zařízení biofluid 100, při kterých se dosáhne nejvyšší kvality plynu. K dosažení tohoto cíle bylo provedeno mnoho experimentů studujících účinky teploty reaktoru(T101), poměru páry a biomasy (S/B) poměru páry a vzduchu (S/A), teploty dodávané páry (Tf1), ekvivalentního poměru ER,ve složení vyprodukovaném plynu, výhřevnost, výtěžnost plynu, efektivnost přeměny uhlíku a účinnost zplynovače. Výsledky experimentů ukázaly, že zvýšení teploty reaktoru vede ke zvýšení obsahu vodíku a oxidu uhelnatého, výhřevnosti, výtěžnosti plynu, efektivnosti přeměny uhlíku, efektivnosti zplynovače a ke snížení obsahu dehtu. Příliš vysoká teplota reaktoru ale snižuje výhřevnost plynu. Dodáváním páry se zvýšila kvalita plynu, vyšší H_2,LHV a nižší obsah dehtu. Přesto ale nadměrné množství páry snižuje zplyňovací teplotu a tím i kvalitu plynu. Poměr páry a biomasy při kterém se dosáhne nejlepší kvality plynu se zvýší s teplotou reaktoru. Bylo zjištěno, že kdykoli byla teplota páry (Tf1) vyšší, byl plyn více kvalitní, ale zvyšování teploty páry také zvyšuje ekonomické náklady na vyprodukovaný plyn což se při masové produkci plynu musí brát v úvahu. Efekt ekvivalentního poměru ER, byl studován postupným zvyšováním, bylo zjištěno, že nejlepší ekvivalentní poměr pro dosažení nejvyšší kvality plynu byl kolem 0.29, při ER > 0.29 byl obsah hořlavého plynu snížen a to vedlo ke snížení kvality plynu. Obsah dehtu se snižuje jak zvýšením teploty reaktoru tak poměrem páry k biomase. Podle výsledků experimentů a diskuze, bylo zjištěno, že při použití směsi páry a vzduchu se kvalita plynu zvýší, parametry pro dosažení nejvyšší kvality vyprodukovaného plynu při experimentálních podmínkách jsou: T101 =829 S/B=0.67((kg steam)/(kg biomass)) ,S/A=0.67((kg steam)/(kg air)) , ER= 0.29 and a Tf1 je nejvyšší možná teplota,při které se vodík zvýší z 10.48 na 19,68% a výhřevnost z 3.99 na 5.52(MJ/m^3 ) a obsah dehtu z 1964(mg/m^3 ) na 1046(mg/m^3 ) zvýšením z 0 na 0.67 při T101=829 .This work has been studied the impact of using of air-steam as gasification agent in fluidized bed gasifier on produced gas properties (Carbon monoxide, Hydrogen,tar content and low heating value . This study has been based on the experiments which have been done in fluidized bed gasifier called Biofluid 100, where exists in lab of the Institute of Power Engineering, Brno University of Technology, by using air-steam as agent of gasifier and pine wood chips as the feedstock. The aim of this thesis is to determine the best operating parameters of system air- steam gasification in biofloud 100 which achive the best gas quality. To accomplish this task , many experiments have been performed to studied the effect of reactor temperature(T101), steam to biomass ratio (S/B), steam to air ratio (S/A) , temperature of provided steam (Tf1) and equivalence ratio (ER)on produced gas composition , low heating value(LHV),gas yield ,carbon conversion efficiency and gasifier efficiency. The results of experiments have been shown , that the increase the temperature of reactor (T101) lead to increase hydrogen content , carbon monoxide content ,low heating value,gas yield , carbon conversion efficiency ,gasifier efficiency and reduce the tar content, but too high reactor temperature lowered low heating value of gas. By providing steam,the gas quality (H_2,LHVand tar content) has been imroved ,however excessive steam has been lowered gasification temperature and thus reduced gas quality. The ratio of steam to biomass, which achieve the best gas quality has been increased by reactor temperature. It has been found, that whenever steam temperature (Tf1)was higher , whenever the gas produced more quality, but the increase of steam temperature will increase the economic cost of the product gas,which must take into account when gas production widely. The effect of equivalence ratio(ER) has been studied with increase S/B , it has been found that the best value of equivalence ratio was around 0.29 which achieved the best quality of produced gas , where when ER > 0.29 the combustible gases content have been decreased so it led to lower the gas quality . Tar content decreases by increasing each of reactor temperature (T101) and steam to biomass ratio . According to the results of the experiments and discussion, it has been found, that by using the mixture of steam and air ,the gas quality will be improved ,and the parameters, which will achieve the best quality of the produced gas at experimental conditions are: T101 =829 S/B=0.67((kg steam)/(kg biomass)) ,S/A=0.57((kg steam)/(kg air)) , ER= 0.29 and Tf1 is the highest possible temperature, where hydrogen increased from 10.48 to 19,68 % and Low heating value from 3.99 to 5.52(MJ/m^3 ) and tar decreased from 1964 to 1046 (mg/m^3 ) by increasing S/B from 0 to 0.67 at T101=829 .

The Aesthetic Response: The Reader in Macbeth

This article seeks to explore the different strategies the Bard uses in order to evoke sympathy in the reader for Macbeth who is so persistent in the path of evil. What strategy does Shakespeare use in order to provoke such a deep emotional response from his readers? By using paradoxes in the play, the Bard creates a world of illusion, fear and wild imagination. The paradoxical world in Macbeth startles us into marvel and fear, challenges our commonly held opinions, and reshapes our thought in the process (Platt 8). As the text involves the reader in the formation of illusion and the simultaneous formation of the means whereby the illusion is punctured, “reading reflects the process by which we gain experience. Once the reader is entangled, his own preconceptions are continually overtaken so that the text becomes his present while his own ideas fade into the past. As soon as it happens, he is open to the immediate experience of the text” (Iser, The Implied Reader 290). Mesmerised by Macbeth’s powerful imagination and poetic language, the reader engages in a dialogical interaction with the play and eventually finds light in the murky world of the text. Regardless of Macbeth’s diabolical world, the reader ventures into it, shares it with him and ultimately wakes up from its dizzying stupor. In reading Macbeth, the reader leaves behind the familiar world of his experience in order to participate in the adventure the text offers him. The edifying effect of the tragedy in the end is the reward the reader reaps after eventually waking up from the nightmarish dream of the text

THE INFLUENCE OF HAFIZ ON WESTERN POETRY

This article examines the influence of the Persian mystic poet Hafi z on western poets. Interest in Hafiz started in England in the eighteenth century with the translations of Sir William Jones. In the nineteenth century, the German translation of Baron von HammerPurgstall inspired Goethe to create his masterpiece Westöstliche Divan (West-Eastern Divan). The poetry of Hafiz evoked such passion in Goethe that he referred to him as ‘Saint Hafiz’ and ‘Celestial Friend’. Inspired by Westöstliche Divan, a number of German poets including Rückert and Platen composed volumes of poetry on the model of ghazal, the popular poetic form perfected by Hafi z in Persian literature. Prominent among the German thinkers influenced and fascinated by Hafiz was Friedrich Nietzsche who repeatedly mentioned him in his works. The influence of Hafiz stretched to America in 1838 when Ralph Waldo Emerson read Goethe’s West-Eastern Divan. In Hafiz, Emerson found a man who derived pleasure in the very elements which others found mean. Under the influence of Hafiz’s Saki-nameh or the Book of Wine, he created his finest poem Bacchus which, according to Harold Bloom, set the terms for the dialectic of American poetry

THE CONTRADICTORY NATURE OF THE GHOST IN HAMLET

This article explores the contradictory nature of the ghost in Hamlet and shows how Shakespeare seeks to manipulate the reader’s response in Hamlet by using contradictions and ambiguities. The article also explores the ways in which the reader responds to these contradictions and reconstructs a palpable world in the impalpable world of the text. These contradictions compel the reader to participate in the composition of the text and make him keep changing his own approach to the work with the result that the more he reads the play, the deeper he finds himself entrenched in contradictions. As he fails to grasp the logic of events, the reader relates his own world to the text instead of relating the events of the text to his world and recreates his own world. Therefore, he can easily detach himself from the text and let his imagination run loose as the play proves too vague for him to comprehend. In reading Hamlet, the imagination runs wild and travels far beyond the text to an extent where the reader perceives things, which stand not within but utterly outside the text. Eventually, the reality achieved by the reader in the course of reading the play is only the reality which dwells in the innermost recesses of his mind

Toward an Affective Problematics: A Deleuze-Guattarian Reading of Morality and Friendship in Toni Morrison’s Sula

It might sound rather convincing to assume that we owe the pleasure of reading the novel form to our elemental repository of physical perception, to our feelings. This would be true only if mere feelings could add up to something more than just emotions, to some deep understanding of the human. After all, a moment of epiphany, where we begin to realize things that dramatically disturb our normal state of mind, is not just emotional, nor indeed a simple moment. Despite its root in the corporeal, a mo(ve)ment of affective realization reaches beyond the realm of the human and opens up the plane of virtual potentials. In this work, we intend to map out the points and relations of affective singularity that pervade the narrative of Toni Morrison’s Sula (1973). Also, we will discuss how these mo(ve)ments of sensation give form to Sula’s and Nel’s experiences and contribute to an affective transformation in morality and friendship