Metaphysics Is the Branch of Philosophy Essay Example for Free

Metaphysics Is the Branch of Philosophy Essay Metaphysics is the branch of philosophy that deals with abstract concepts. These abstract concepts include things like being, knowing, substance, cause, identity, time, and space. Over the years I have asked myself numerous questions pertaining to metaphysics. Things such as what is real? How do things such as our souls or even fate work? Do we determine our own fate or is it predetermined for us? Most people, including myself, ask a majority of these questions when they leave the nest. When I was graduating high school, I had no clue what the â€Å"real world† was like. My parents paid the bills, provided for me, and put the roof over my head. As we graduate, you ask who are your â€Å"real† friends? More importantly what is real in general? What’s a real job? As you grow older, you can reflect on what was real as a child, and I have come to the conclusion that everybody’s idea of real changes along with your age and lifestyle. For example when somebody passes away and you’re young, you don’t question if it’s real, but as you age you can’t believe when something so tragic happens and you question it. People do this every day, and for reasons that only they can explain. People talk about the spiritual world openly, but most have never experienced it. So, with that being the case it is hard to determine whether or not it is more or less real that the physical world. That’s one of those questions that as of right now I don’t have the answer to. I believe in the spiritual world whole heartedly, but to say it’s any more or less real is hard for me because I have only experienced the physical world. As of right now, I would say that they are equally real, but that is just my opinion. Going along with that, everyone has a soul, but does it live outside the body before we pass? I don’t believe so. As a Christian, we pray for the Lord to take our soul when we pass, and to protect it while we are alive. Our soul exits the body when we are done on Earth. Fate is a very complex subject. I believe that everyone has an idea of their ultimate fate. This doesn’t mean however that that is how it will end up, or that the step along the way will line up with your plan. For example, when someone dies, people say it must have been fate. I think that things like this are determined by Him, not us. When people say that when they fall in love that it’s fate, but that is determined by us making it free will. Therefore, I believe that our lives are determined by our own free will and fate. Epistemology is basically how we determine if something is a belief or an opinion. Some things are taught to us after they have been investigated, but other things are made up in our minds or families. If you ever look at the actual definition for knowledge it is pretty loosely written. Therefore, knowledge doesn’t have to be true. Your knowledge is determined by you. There are universal examples of knowledge in my opinion. However, since knowledge can be false it’s hard to say if others would believe the same. For example, 2+2=4 that seems like it would be true everywhere, might not be. Someone might be think 2+2=something other than 4. 1. Epistemology: * Is all knowledge subjective, or are there some universal truths? * What is the relationship between faith and reason? * What can artificial intelligence teach people about knowledge? * What are the limits of human understanding? 2. Ethics: * What is the right thing to do? * What does it mean to be a good person? * Does virtue lead to happiness? * Do the ends justify the means, or is a virtuous action virtuous in and of itself? * How does living in a society affect morality? * Is morality culturally based, individually based, or is there a universal morality? 3. Aesthetics: * What is beautiful? * Is beauty truly in the eye of the beholder, or are there some things that all cultures find beautiful? * What is the purpose of art? * How can a piece of art be successful or valuable? Does beauty matter? 4. Political philosophy: * What is the best kind of government? * How much power should the government have? * What kind of people should be in power? * How involved should the common citizen be in government? 5. Social philosophy: * How should humans behave in a society? * Do people give up certain rights when they choose to live in a society? * How do social values affect individual beliefs? Do people behave differently in a crowd than they would individually? * How does society affect language and other types of communication?

Wheel chair tennis :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Tennis Populations 1. Wheel chair tennis 2. Hearing impaired 3. Learning disabilities   Ã‚  Ã‚  Ã‚  Ã‚  Wheelchair tennis won’t come easy to a new comer but with practice you can only get better. I would rate wheelchair tennis not a 1 or 2 (easy) because its hard to do two things at once. Positioning yourself in a wheelchair to hit a tennis ball before it bounces twice can be difficult. I would rate this activity a 3 due to having tennis skill and wheelchair handling capability. Wheelchair tennis is for every level but to have the basics of moving around the court and learn how to hit different types of shots with a tennis racquet can be challenging.   Ã‚  Ã‚  Ã‚  Ã‚  Wheelchair tennis started in 1976, when Brad Parks introduced the potential of this new sport. Since 1976, wheelchair tennis has been the fastest growing and one of the most challenging and exciting of all wheelchair sports. It has provided opportunities for many disabled people to enjoy competitive tennis, as well as sharing experiences with both able-bodied and disabled friends of all age groups.   Ã‚  Ã‚  Ã‚  Ã‚  A little over a decade later since it was first introduced, with its fast growth and popularity, the IWTF (international wheelchair tennis federation) formed in 1988. The new sport grew throughout the country and even overseas. As fast as the sport grew one of the major problems was lack of equipment. Over the year, many players have donated their old wheelchairs to new and developing countries to help them start a wheelchair program. Wheelchair tennis has the same rules as a regular tennis game, except the only rule difference is the ball can bounce 2 times instead of once.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The Mission statement for Wheelchair Tennis: The ITF is the international governing body for tennis, including wheelchair tennis. It aims to provide, promote and develop opportunities for men, women and children with disabilities to participate in recreational and competitive wheelchair tennis at all levels from novice to the professional player. As the governing body of tennis, the ITF provides a leading role in the administration of wheelchair tennis. The ITF aims to ensure that a fair and equal opportunity is provided for all those entitled to play under its eligibility rules and that the Rules of Wheelchair Tennis are implemented according to the standards expected of an international body. The ITF aims to work together with National Tennis Federations, National Disabled Sports Organizations and National Wheelchair Tennis Organizations to provide opportunities for all involved in wheelchair tennis and to encourage integration with able-bodied tennis whenever possible.

The Telephone Conversation by Wole Soyinka Essay

The Nigerian dramatist Wole Soyinka ( born 1935 ) was one of the few African authors to denounce the motto of Negritude as a tool of autarchy. He besides was the first black African to be awarded the Nobel Prize in Literature. Wole Soyinka was born July 13. 1934 in Abeokuta a small town on the Bankss of the River Ogun in the western country of Nigeria. His female parent was a Christian convert so devout that he nicknamed her â€Å"Wild Christian† and he father was the scholarly schoolmaster of a Christian primary school whom he nicknamed â€Å"Essay†Ã¢â‚¬â€œa drama on his business and his initials S. A. Soyinka was educated through the secondary degree in Ibadan and subsequently attended University College. Ibadan. and the University of Leeds. from which he graduated with awards. He worked for a brief period at the Royal Court Theatre in London before returning to Nigeria in 1960. His drama. â€Å"The Invention† was staged in 1957 at the Royal Court Theatre. At that clip his merely published plants were verse forms such as â€Å"The Immigrant† and â€Å"My Next Door Neighbour. † which appeared in the magazine Black Orpheus. The declining political state of affairs in Nigeria was reflected in Soyinka’s subject for Kongi’s Harvest. foremost performed at the Dakar Festival of Negro Arts in 1965. The subject was the constitution of a absolutism in an African province ; and the corruptible politician. the uncommitted. corrupt traditional swayer. and the pitilessness of a adult male driven toward power were all displayed. In Idanre and Other Poems. published in 1967. Soyinka ceased being a ironist and became a glooming visionary. The rubric verse form. declaiming a creative activity myth. stressed the symbols of fire. Fe. and blood. which were cardinal to the poet’s position of the modern African universe. Soyinka became a vocal critic of Negritude. impeaching politicians of utilizing it as a mask for autarchy. His increasing usage of polemic against societal unfairness and his demands for freedom coincided with the military coup d'etat in Nigeria and the ulterior impetus toward civil war. Soyinka was arrested by the Nigerian authorities in October 1967. was accused of descrying for Biafra. and was kept in detainment in the North for two old ages. after which he returned to his place as caput of the play section at Ibadan. Much of his originative attending following his release went into shooting Kongi’s Harvest. in which he besides played the prima function. Soyinka’s Nigeria was a state in passage. trying to model itself out of a assortment of tribal civilizations and a disruptive European colonisation. Soyinka did non romanticise his native land. nor was he willing to see African civilization as a level symbol of crudeness. He was as willing to bear down Nigerian politicians and administrative officials with atrocity and corruptness as he was to reprobate the greed and phil istinism of the West. These attitudes were even more prevailing after his 2nd captivity on the trumped up spying charges. His work took on a darker and angrier tone. When he was released from prison in 1969. Soyinka left Nigeria and did non return until the authorities changed in 1975. Soyinka’s prison journal. published in 1972 The Man Died: Prison Notes of Wole Soyinka was a disconnected and inexorable history of the yearss he spent incarcerated. frequently in ironss. Along with his poetries that captured the kernel of his prison experience. The Man Died provided priceless context for Soyinka’s subsequent imagination in his plants. Soyinka’s post-prison plants striked readers as more angry and despairing than his earlier 1s. The drama Madmen and Specialists was about a immature physician who returned from war trained in the ways of anguish and patterns his new accomplishments on his apparently huffy old male parent. Charles Larson in New York Times Review of Books called the drama â€Å"a merchandise of those months Soyinka spent in prison. in lone parturiency. as a political captive. It is. non surprisingly. the most barbarous societal unfavorable judgment he has of all time published. † Yet non all his station prison plants were filled with desperation. Ake: The Old ages of Childhood and its prequel Isara: A Ocean trip around Essay were beautiful memoirs of both his ain childhood with its strong Yoruba background and his father’s young person in a changing Nigeria. Isara. published in 1988 after his father’s decease. reconstructed his father’s divided life and tried to accommodate two conflicting cultures–African and Western-that trapped him between. In 1986 Soyinka was awarded the Nobel Prize for literature in acknowledgment of his achievements. The choice commission recognized him for his committedness to render the full complexness of his African civilization In add-on to his literary end product. Soyinka had produced two essay aggregations that define his literary doctrine Myth Literature and the African World ( 1976 ) and Art Dialog and Outrage ( 1991. 1994 ) in which Soyinka asserted that critics must near African literature on its ain footings instead than by criterions established in western civilizations. African literature was non massive and needs to be seen as a assortment of voices. non simply one talker. In The Open Sore of a Continent: A Personal Narrative of the Nigerian Crisis ( 1996 ) . Soyinka looked at Nigeria’s absolutism and inquiries the corrupt authorities. the thoughts of patriotism. and international intercession. The Burden of Memory. the Muse of Forgiveness ( 1998 ) . Soyinka’s subsequence to The Open Sore. considered the whole of Africa and considers how there can be rapprochement between victims and oppressors. In 2001. the University Press of Mississippi published Conversations with Wole Soyinka In 1998. Soyinka ended a four-year self-imposed expatriate from Nigeria. His expatriate can be traced back to 1993. when a democratically elective authorities was to hold assumed power. Alternatively. General Ibrahim Babangida. who had ruled the state for eight old ages. prohibited the publication of the vote consequences and installed his deputy. General Sani Abacha. as caput of the Nigerian province. Soyinka. along with other pro-democracy militants. was charged with lese majesty for his unfavorable judgment of the military government. Faced with a decease sentence. Soyinka went into expatriate in 1994. during which clip he traveled and lectured in Europe and the United States. Following the decease of Abacha. who held control for five old ages. the new authorities. led by General Abdulsalem Abubakar. released legion political captives and promised to keep civilian elections. Soyinka’s return to his fatherland renewed hope for a democratic Nigerian province. Prejudice in Telephone Conversation and Dinner Guest-Me: In ‘Telephone Conversation’ and ‘Dinner Guest-Me’ each poet uses their poesy as a agency of facing and disputing bias. In ‘Telephone Conversation’ by Wole Soyinka. a phone conversation takes topographic point between an African adult male and a really unreal lady about leasing out a room. When the lady finds out he is African she becomes really prejudiced and racist towards him. Similarly ‘Dinner Guest-Me’ by Langston Hughes is about a black adult male traveling to a dinner party where he is the merely colored individual at that place. like he is the ‘token black. ’ Anger and a sense of temper are shown in both the verse forms. In ‘Telephone Conversation’ . the African adult male is angry at the â€Å"peroxide blond† and is disgusted at her for being so ill-mannered and racist towards him. â€Å"HOW DARK? ARE YOU LIGHT OR VERY DARK? † The capital letters emphasise the volume in her voice. whereas. in Langston Hughes poem the other dinner invitees are non being prejudiced to the lone black dinner guest straight. Although they would inquire him â€Å"the usual inquiries that affected him. it is full of biass. Wole Soyinka’s â€Å"Telephone Conversation† is an facile exchange of duologue between a dark West African adult male and his British landlady that inexorably verges on the inquiry of apartheid. The poet makes usage of the most articulate agencies to aerate his positions. through that of a telephone conversation. where there is instant and natural discussion. It exhibits a one-to-one correspondence between the two. The interaction between a coloured and a white person at one time assumes cosmopolitan overtones. At the beginning. the poet says that the monetary value seemed sensible and the location ‘indifferent’ . Note that as a word. even though it denotes being ‘unbiased’ . it is a word with negative intensions. However. as we come across the Landlady’s biased nature. the word ‘indifferent’ additions positive overtones ; it is better than being impartial. The lady swears that she lived ‘off premises’ . Nevertheless. the really facet of his coloring material poses a job to her. far from her promise to stay distant. Nothing remains for the poet. he says. but confession. It gives a image of him sitting in a confessional. when he hasn’t committed any offense. His offense is his coloring material ; his compunction is solutionless. He tells the lady that he hates a otiose journey. Possibly his words connote more than he literally signifies. The poet seems to be tired of his life conditioned by racialist biass. As he mentions that he is a West African. the lady is crammed with silence. but a silence that speaks volumes. A telephone is an instrument that chiefly transmits voices ; here it becomes a medium for silence besides. The alleged civilised universe has these soundless. powerful issues that need to be voiced. Here. the silence reverberations. It is a silence that is the effect of her sophisticated upbringing. However. her biass transcend her to primitivism life in the superstitious narrowness of caste and coloring material. When the voice eventually came. it was ‘lip-stick coated’ . good made-up and diplomatic to accommodate an affected ambiance. The inevitable inquiry eventually comes across: â€Å"Are you dark? Or really light? † The poet views it as button B or Button A. The inquiry places two options before him: dark or visible radiation. the truth or prevarications. The first option would evidently close off all doors to him. The term Button B besides is the button in the public telephone box to acquire the money back. Button A is the 1 to link the call. The poet first ponders on the Button B to acquire out of his quandary. He so realizes that escape is non the solution. and decides to confront the state of affairs. The words: â€Å"Stench /Of rancid breath of public hide-and-speak† signify the claustrophobic nature of the inquiries instead than the ambiance ( i. e. . inside the telephone box ) . The coloring material ‘red’ in â€Å"Red booth. Red pillar box. Red double-tiered† forebode cautiousness. The inquiries were excessively naked to be true. The talker at last brings himself to believe them. His response is really witty: â€Å"You mean-like field or milk cocoa? † This is the most disposed response as dark cocoa is surely more alluring than apparent cocoa. Her disinterested blessing of the inquiry was like that of a clinical physician made immune to human emotions through experience. Human hurting and wretchedness has a impregnation point ; after a certain point people tend to jest at their ain torment. As the stating goes: Be a God. and laugh at Yourself. The talker therefore begins basking the state of affairs and confuses the lady on the other side. He asserts: â€Å"‘West African sepia’-and as an afterthought ‘Down in my passport. ’† . to farther confuse her. Silence for spectroscopic Flight of illusion. till truthfulness clanged her accent Hard on the mouthpiece. â€Å"What’s that? † professing â€Å"Don’t cognize what that is. † â€Å"Like brunette. † â€Å"That’s dark. isn’t it? † â€Å"Not wholly. Facially. I am brunette. but. dame. you should see The remainder of me. Palm of my manus. colloidal suspensions of my pess Are a peroxide blond. Clash. caused- Foolishly. madam-by sitting down. has turned My bottom raven black-One minute. dame! †-sensing Her receiving system raising on the thunderclap About my ears-â€Å"Madam. † I pleaded. â€Å"wouldn’t you instead See for yourself? † The last lines brink on coarseness. but merely out of indignation. The assorted feelings. the random and broken sentences. the deficiency of coherency is speech. the question-answer manner are all typical of a telephone conversation that reverberates more than it sounds. The verse form is genuinely astonishing. The sarcastic duologue adds temper to a topic that is otherwise non. The manner he presents the truth of racial favoritism in the name of skin coloring material. utilizing humour Tells the illustriousness of the poet and his fantastic manner. It’s certainly a nice verse form on racism supported by the graphic image that Wole Soyinka creates in the readers’ heads by showing his verse form in a free poetry conversation manner. It is a nice attack in exemplifying the racism in the Old English times. Subject: â€Å"Telephone Conversation† by Wole Soyinka is a poem that’s rubric is really insouciant and consecutive forward. The poem’s rubric shows the reader that what they are meant to read is realistic and free flowing. Like most verse forms there is a general subject that is carried on from start to stop. The verse form â€Å"Telephone Conversation† has two chief obvious subjects ; these are racism and the deficiency of instruction and apprehension that some people may hold. As the reader reads through the drama they become cognizant that the character is African and hence has a darker tegument tone than white skinned people. The poet has given the character every bit good as the landlady different signifiers of address. The character appears to talk a little more officially than the landlady and this could possibly be to miss of instruction and understanding towards the landlady or even that she feels the character is ill-defined of the English linguistic communication. The character tends to be more formal and uses more official ways of speech production.

Documentos para viajar por avión dentro de EEUU

Si te encuentras en Estados Unidos y quieres volar dentro del paà ­s en un vuelo domà ©stico, debes conocer cuà ¡l es la documentacià ³n que se acepta como identificacià ³n, conocida en inglà ©s como I.D., para que te permitan embarcar en un avià ³n. En este artà ­culo tambià ©n se explica cuà ¡les son los requisitos para los nià ±os, para los extranjeros visitantes y tambià ©n, en el caso de los indocumentados, las reglas que aplican sobre sus licencias de manejar. Por à ºltimo, tambià ©n se informa sobre quà © hacer si ha habido un cambio de nombre y no coincide el del I.D. con el del boleto de avià ³n y quà © hacer si se olvida la documentacià ³n en casa. Documentacià ³n aceptada para volar dentro de Estados Unidos Las reglas bà ¡sicas las establece la Transportation Security Administration, conocido tambià ©n por sus siglas en inglà ©s de TSA. El I.D. para volar debe tener una foto de la persona y su nombre completo.   Segà ºn la TSA estos son los I.D. que los adultos, es decir, las personas mayores de 18 aà ±os, pueden utilizar para volar. Pasaporte de los Estados UnidosTarjeta de pasaporte de los Estados UnidosTarjeta del programa Trusted Traveler, tipo Global Entry, SENTRY, FAST o NEXUS.Un I.D. militar para soldados, oficiales, veteranos o sus familiares, aunque à ©stos se encuentren en el paà ­s en situacià ³n de indocumentados. Tambià ©n puede ser utilizado por  civiles empleados por el Departamento  de DefensaTarjeta de residencia permanente, tambià ©n conocida como green card.Visa là ¡ser, tambià ©n conocida como tarjeta de cruce de fronteras o BCC. Aquà ­ hay que respetar las millas que esta visa permite adentrarse dentro del territorio de Estados Unidos.Licencias de manejar reconocidas por el Departamento de Seguridad Interna (DHS) como mejoradas. Es lo que se conoce como Enhanced Drivers Licenses, que sirven para manejar, como I.D. y tambià ©n como prueba de ciudadanà ­a americana. Las emiten los estados de Michigan, Minnesota, Nueva York, Vermont y Washington.Licencia de manejar de un estado o t erritorio de Estados Unidos, como por ejemplo Puerto Rico, u otras tarjetas de identificacià ³n emitidas por el Departamento de Vehà ­culos de dicho estado para ser utilizadas como I.D.  Sin embargo, a partir de octubre 2020 solo se admitirà ¡n las que cumplan con los requisitos de la ley Real I.D.Pasaporte extranjero, si bien con las limitaciones que se explican mà ¡s abajoI.D .emitido por una de las naciones tribales de Estados UnidosLicencia de manejar de una de las provincias de Canadà ¡ o de sus naciones tribales.Acreditacià ³n de trabajador en el sector del transporte (TWIC, por sus siglas en inglà ©s)I.D. emitidos por un aeropuerto o una aerolà ­nea y que cumplan con los requisitos del plan de seguridad de la TSA, la agencia federal encargada de estos asuntos.Tarjeta HSPD 12 PIV, de verificacià ³n de identidad de empleados federales. Quà © documentos no se pueden utilizar como I.D. para volar Entre otros, no pueden utilizarse los siguientes documentos. La matrà ­cula consular no està ¡ admitida expresamente en el listado de la TSA. Si bien es cierto que algunos inmigrantes aseguran haber volado con ella, especialmente hace aà ±os. Si quieres volar con una matrà ­cula consular, tienes que saber que asumes un riesgo. Para mà ¡s detalles, se recomienda leer mà ¡s abajo en la seccià ³n dedicada a migrantes indocumentados. Tampoco pueden utilizarse las licencias de armas, ni las tarjetas de bibliotecas, de universidad o de escuela, etc. Reglas para los extranjeros temporalmente en Estados Unidos Si està ¡s en Estados Unidos como turista o temporalmente o como trabajador asegà ºrate de llevar siempre contigo el pasaporte para volar. Asegurarse de que se està ¡ en estatus legal, ya que si al verificar el I.D. el empleado de la TSA cree que ese no es el caso se puede llamar a un oficial migratorio de la CBP y pasar a una segunda inspeccià ³n  para que decida sobre la situacià ³n.   Los estudiantes deben llevar, ademà ¡s del pasaporte, el documento que se conoce como I-20 y las personas con una visa de intercambio J-1 el DS-2019 ya que si no lo tienen podrà ­a impedà ­rsele volar, retrasar el vuelo o hacerle preguntas adicionales.  ¿Se puede volar con las licencias de manejar para indocumentados? Varios estados emiten licencias de manejar a inmigrantes sin estatus legal.  Algunos, los menos, son exactamente iguales a los del resto de conductores. Sin embargo, en ciertos estados esas licencias son diferentes y se emiten con limitaciones como no para uso oficial, con restricciones federales, no para uso federal y similares. En teorà ­a no se puede volar con esas licencias. Pero se està ¡ reportando que sà ­ se ha volado.  ¿Cà ³mo debe interpretarse esto? Que si se quiere intentar volar con ese tipo de I.D. hay que conocer los riesgos. En otras palabras, es posible que al llegar al aeropuerto se puede impide volar o, en casos graves, se llame a un oficial migratorio. Es decir, se puede derivar a una persona a la segunda inspeccià ³n con la CBP, tambià ©n conocida como Policà ­a fronteriza. E incluso se puede llamar al ICE, la agencia encargada de ejecutar las leyes migratorias federales. Es especialmente importante tener en consideracià ³n que los controles y la verificacià ³n del estatus migratorio es mà ¡s comà ºn en los aeropuertos cercanos a la frontera con Mà ©xico, por ejemplo McAllen, en Texas.   Tambià ©n es de gran relevancia evitar estos riesgos si previamente se ha sido deportado, ya que aquà ­ los problemas pueden ser muy graves. Cada uno debe tomar las decisiones por sà ­ mismo, conocer las posibilidades y tambià ©n los riesgos. Quizà ¡ es conveniente consultar con un abogado o una organizacià ³n de apoyo a inmigrantes. Y evitar vuelos que pasan sobre aguas o territorios internacionales, como viajes a Alaska, Hawaii o Puerto Rico. I.D. para volar en vuelos domà ©sticos para menores de 18 aà ±os Los nià ±os menores de 18 aà ±os que viajan con sus padres o tutores no necesitan I.D. Pero es recomendable llevar el certificado de nacimiento para probar la edad cuando por su aspecto fà ­sico pueda sospecharse que ya alcanzaron la mayorà ­a de edad. Ademà ¡s, antes de salir para el aeropuerto comprobar con la là ­nea aà ©rea si tienen requisitos especiales para menores en cuanto a identificacià ³n. Ya que las compaà ±Ãƒ ­as puedes establecer requisitos adicionales.    ¿Quà © pasa si se ha olvidado la identificacià ³n en casa? Serà ¡ posible volar si es posible establecer la identidad de otro modo, como por ejemplo utilizando bases de datos pà ºblicas. Si no es posible, no se permitirà ¡ el embarca al avià ³n.  ¿Quà © hacer cuando se ha cambiado el nombre? Uno de los requisitos para poder volar es que totalmente coincidan el nombre en el I.D. y en la tarjeta de embarque, conocido en inglà ©s como boarding pass. A veces puede suceder que no sea asà ­, por ejemplo, en casos de matrimonio con cambio de apellido. En estos casos y semejantes es necesario llevar el certificado de matrimonio o la orden judicial en la que se autoriza al cambio. De interà ©s para inmigrantes que viajan Antes de volar, asegurarse de saber quà © està ¡ permitido y prohibido llevar en el equipaje de mano. Asimismo, si se viaja al extranjero, cuà ¡les son los documentos que puede utilizar un ciudadano americano para regresar a USA y cuà ¡les son los requisitos para los nià ±os que viajan sin sus padres. Y, finamente, tener en cuenta que cuando volar por avià ³n no es una opcià ³n, hay que saber que tambià ©n puede haber  controles migratorios internos (retenes) en las carreteras en el interior  de Estados Unidos. Este es un artà ­culo informativo. No es asesorà ­a legal.