Trurls M - 1077 Words

Title: Trurl’s Machine Author: Stanislaw Lem As a boy Stanislaw Lem showed an early interest in science as well as in the imaginary worlds of fantasy and science fiction. The young Lem’s interest in tinkering mechanical devices of all sorts was put to use by secretly damaging the German vehicles during the Nazi occupation. Later on, he became a full time writer establishing himself as leading science fiction writer in Eastern Europe. This writer from Lvov Poland (now Ukraine) worked on serious themes as the purpose of life and relationship between human beings and technology. Characters: Trurl -He is a constructor who built an eight-story thinking machine. -He is so disappointed that his machine can’t answer his mathematical†¦show more content†¦Thunder and sulfurous fumes filled the cave and sparks flew from the blows of steel on rock, yet through all this pandemonium one could still make out, now and then, the ragged voice of Trurl. They heard an explosion and saw the machine, lay smashed and flattened, nearly broken in half by an enormous boulder that had landed in the middle of its eight floors. With the greatest care they picked their way down through the smoking rubble. In order to reach the riverbed, it was necessary to pass the remains of the machine. Without a word, the two stopped together in the shadow of its twisted hull. The machine still quivered slightly, and one could turning, creaking feebly, within. â€Å"Yes this is bad enough you’ve come to, and two and two is—as it always was—â€Å" began Trul, but you just then the machine faint, barely audible croaking noise and said for the last time, â€Å"SEVEN.† Then something snapped inside, a few stones dribbled down from overhead, now before them lay nothing but lifeless mass of scrap. The two constructors exchanged a look and silently, without any further comment or conversation, walked back the way they came. Lesson Learned: †¢ There’s a good side to everything. †¢ Don’t expect too much, it can hurt you. †¢ One must not hurt others, even the machines/robots, because we don’t know what will happen after

Geography Edexcel Igcse Case Study Chinas One Child...

†¢ In 1970, China’s population of 830 million increased by 2.6%. To reduce this high rate of population growth, the Chinese government introduced ‘voluntary’ schemes, such as: ïÆ'Ëœ State-run family planning programmes. ïÆ'Ëœ State-sponsored advertising campaigns with the slogan ‘later, longer, fewer’, meaning marrying later, having longer gaps between babies, and fewer children. †¢ These schemes caused the birth rate to start falling. However, in 1979, the ‘one-child’ policy was introduced, meaning that couples who had more than one child would be penalised. Sometimes they would be sterilised or forced to have an abortion. †¢ If couples kept to having one child, they were given rewards, such as: ïÆ'Ëœ Cash bonuses. ïÆ'Ëœ Better childcare. ïÆ'˜â€ ¦show more content†¦Ã¢â‚¬ ¢ Having only one child also means that families could provide a better education for their child, which meant that the new generation became better educated and therefore more able to find employment and escape the cycle of poverty. †¢ A better educated workforce also helped attract investment from TNCs later on and helped to economy to develop further. †¢ N.B the one-child policy was not the only thing that stimulated economic development. China’s communist policies relaxed, allowing more trading. This allowed industrialisation and investment from TNCs, which were attracted to China’s large, cheap labour supply, its large consumption and its good natural resources, e.g. coal. †¢ However, it has also had may unwanted consequences: ïÆ'Ëœ The Chinese tradition to prefer sons has caused widespread sex-selective abortion. ïÆ'Ëœ There are now 120 males to every 100 females. ïÆ'Ëœ Parents spoil their sons as they are an only child, and as a result he tends to be obese, demanding and delinquent. ïÆ'Ëœ And increasing shortage of women of marrying age has caused bartering (exchange of goods not money) for wives and even kidnapping of women to marry them in rural areas. ïÆ'Ëœ Young women are leaving the countryside and moving to towns and cities, as men are preferred for farm work. †¢ For these reasons, the ‘Care for Girls’ plan was introduced to change Chinese traditional attitudes towards the gender of women and reduce the

Was Guy Fawkes Framed free essay sample

Before Elizabeth I death in 1603, the Catholics had a rough time with the religious changes and after her death, thought they would have a catholic king. They got James VI of Scotland and soon to be James I of England. The whole catholic religion celebrated for they thought it would be the end of their religious troubles. Sadly they were wrong and it got even worse. He made the Catholics become Protestants and if they didnt he would punish them severely. This made the Catholics angry and so they plotted to kill James and all the protestant government.The perfect time to do this was at the next meeting at the houses of parliament. They would destroy parliament with all the people in it. They rented a house next to them and started digging a cellar under the houses of parliament. They stored the gunpowder in barrels under the parliament and waited for the day of the meeting. We will write a custom essay sample on Was Guy Fawkes Framed? or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page On the day, Guy Fawkes, an explosives and gunpowder expert, volunteered to light the gunpowder resulting in suicide as well. He was willing to die for his religion and to help all Catholics all around Britain to live happy lives once again.In the morning of November 5th, he was caught by the authorities protecting the gunpowder from theft. He was tortured and executed in the tower of London the following days. How did the king know they were plotting to kill him? Many people take the information into consideration and think that the Catholics were framed. Firstly, many of the Catholics were known as traitors since England was at war with the Catholic country, Spain. It would have been unlikely that they could gather 36 barrels of gunpowder. Even if they did the chances of it being too old to blow up were very high.Secondly, a letter was sent to one of the members of parliament to stay away from the parliament on that day is believed to be produced by one of the kings officials since it had no signature. Historians suspect that a letter was the perfect tool for the kings officials who already knew about the plot from one of the mouths of the plotters. Jeremy Tresham. He was suspected to be related to the person he sent the letter to, but there is no evidence about this. When they did find the gunpowder with Guido Fawkes, they slowly found the other conspirators. Only one escaped capture Jeremy Tresham.In the letter there was no evidence about where and when the gunpowder was going to blow, so how did the king find out It is suspected that the gunpowder plot was planned by a king official named Cecil. Why would he do it? He would obviously want the Catholics to end their religion since he was a protestant and to do this he could turn the king against them so much that he would go to the point of killing them all. In conclusion I think that Robert Catesby and his plotters were framed by the king and his officials but even though they failed in killing James they are still remembered today for their life-ending story.

Wordschmidt Essay Example For Students

Wordschmidt Essay the translator, the actor and the poet are of imagination all compactat least for Paul Schmidt they are. A true renaissance man of the theatre, Schmidt seems anomalous in our late 20th-century world of micro-specialization: a poet who translates, a translator who acts, an actor who writes plays, a playwright who writes poems. But lest this conjure up an image of some dusty relic in knee-breeches and powdered wig, consider a few of his thoroughly modem accomplishments: acting roles in the Wooster Groups Brace Up! and Tom Kalins experimental film Swoon; a racy poem which accompanied Robert Mapplethorpes controversial X portfolio; a stage adaptation of Alice in Wonderland directed by Robert Wilson with music by Tom Waits; a Ph.D. from Harvard and an Equity card; theatre translations of Brecht, Chekhov, Genet and Khlebnikov for Liz Diamond, Elizabeth LeCompte, Joanne Akalaitis and Peter Sellars. We will write a custom essay on Wordschmidt specifically for you for only $16.38 $13.9/page Order now A tall, handsome man with a dignified bearing and liquid speaking voice, its easy to see why the 59-year-old Schmidt gets occasional work acting on television soaps. He is a literate, entertaining conversationalisthis careful diction and lively vocabulary are clues to a consuming passion for language. It is this love of wordsor perhaps more accurately, this love of the spoken wordwhich is at the bottom of all his artistic pursuits, especially his translations. Liz Diamond, who directed Schmidts translation of Brechts St. Joan of the Stockyards, calls him a poet of the theatre who loves language and the sound of rhythmic speech, in particular in the theatre. When Schmidt talks about translation, his views are never abstract and theoretical, but refreshingly pragmatic, rooted in his own theatrical experience. He likens the translators craft to the actors: For me, translating is performing and performing is translating. You have to be able to let someone elses words come through you, and not impose your voice. You have to find a voice. And to do that, says Schmidt, you need to use your ear rather than your dictionaryto listen for the playwrights voiceprint. If that voiceprint exists, say, in Russian, he continues, and I know enough Russian to be able to hear that voiceprint in my ear, then what I have to do is to recreate in American English a voice which echoesand I mean that rather metaphoricallywhich echoes the same way the Russian voice echoes in the Russian language. Thats an elaborate process, its very complex. One of the things that makes translating for the stage particularly tricky is that the translator must negotiate between three parties: the playwright, the actor and the audience. Whatever language I speak as the translator must either be the language of the audience, Schmidt maintains, or if it isnt their current language, be recognizable to them as an echo of what they already know. Theatre only works if the actors speak the same language as the audience. The language must be as natural in the actors mouth as it is in the audiences ear. And for Schmidt, that common language is American English. One of the constant stumbling blocks to staging foreign plays in this country has been the fact that most of the published translations are British. A play that is marked as British is, to my American ear, foreign. There can be a strangeness or a charm to the foreignness, but its there. When he worked on St. Joan, which Brecht set in the Chicago stockyards he had found in Upton Sinclairs The Jungle, he faced a particular challenge: Whats interesting about working with Brecht in English in his American plays is that hes already doing this fictional |American. In St. Joan, for instance, you have stockbrokers talking in dactylic hexameter, and so you have to keep the meter and still make them sound like American stockbrokers. .u982f88eee52deb3fc501ee81744150e5 , .u982f88eee52deb3fc501ee81744150e5 .postImageUrl , .u982f88eee52deb3fc501ee81744150e5 .centered-text-area { min-height: 80px; position: relative; } .u982f88eee52deb3fc501ee81744150e5 , .u982f88eee52deb3fc501ee81744150e5:hover , .u982f88eee52deb3fc501ee81744150e5:visited , .u982f88eee52deb3fc501ee81744150e5:active { border:0!important; } .u982f88eee52deb3fc501ee81744150e5 .clearfix:after { content: ""; display: table; clear: both; } .u982f88eee52deb3fc501ee81744150e5 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u982f88eee52deb3fc501ee81744150e5:active , .u982f88eee52deb3fc501ee81744150e5:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u982f88eee52deb3fc501ee81744150e5 .centered-text-area { width: 100%; position: relative ; } .u982f88eee52deb3fc501ee81744150e5 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u982f88eee52deb3fc501ee81744150e5 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u982f88eee52deb3fc501ee81744150e5 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u982f88eee52deb3fc501ee81744150e5:hover .ctaButton { background-color: #34495E!important; } .u982f88eee52deb3fc501ee81744150e5 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u982f88eee52deb3fc501ee81744150e5 .u982f88eee52deb3fc501ee81744150e5-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u982f88eee52deb3fc501ee81744150e5:after { content: ""; display: block; clear: both; } READ: Dialogue in Bethlehem Essayas a fourth-generation New Yorker, Schmidt knows what America sounds like. Of Irish and German ancestry, he started experimenting with languages in high school: I remember reading the Aeneid and translating a passage into English, and then my focus shifted at one moment from understanding the Latin to writing something in English. It was one of those moments where you think, ahh, thats interesting. During his college years he continued acquiring languages at Colgate University not for career reasons, but because it was fun for him. I never had at any point a real clear sense of what I wanted to do, Schmidt confesses. His wandering interests led him to try acting, and after a year of graduate work in Russian at Harvard, he shocked his parents with the news he was quitting school to be an actor. Which is what he did, working in the Boston area, and landing his first Equity job in a summer Shakespeare festival in Cambridge. Then, in 1956, the 22-year-old Schmidt followed his muse to Paris, where he stayed for two years. While perfecting his French, he fell in with a group of actors from the Combdie Francaise and went to the theatre almost every night. Just when he had been accepted into a French conservatory to study acting, Schmidt was drafted into the U.S. Army and had to return to the States. It was the late |50s, between the Korean and Vietnam warsa safe time to be a recruit. Stationed in Texas (It was more foreign to me than Paris, Schmidt remembers), Schmidt was trained as a Russian prisoner-of-war interrogator in a period when there were, inconveniently, no prisoners of war. During war maneuvers, he would be assigned to the aggressor battalion, made up of American soldiers dressed in funny uniforms that were vaguely futuristic, vaguely Nazi. Armed with fake weapons and smoke grenades, Schmidts job was to get captured by the Americans, and then speak Russian to them. The fun was to see how far behind the lines we could get, and how much destruction we could wreak before they picked us up. It was all like a very funny improv. When he got out of the army in 1960, parental pressures led him back to Harvard to work on his doctorate, although he somehow managed to find time to keep up his acting, even doing a season at the Charles Playhouse in 1964. When in 1967 he was offered a teaching job in the Russian Department at the University of Texas in Austin, he accepted and spent the next 11 years teaching in Austinwhich was, in the late 60s, according to Schmidt, a real paradise, a hippie heaven. It was there that he also began to translate seriously, encouraged by his two mentors, Richard Howard and Roger Shattuck. His first major piece of translation was the complete works of French poet Arthur Rimbaud, published in 1975 by Harper and Row. But actually Schmidt kept up his double life as actor/academic, acting part-time with a Mexican theatre company and returning to spend several summers in Boston with the Agassiz Players, a classical company founded by director Tim Mayer, playwright Thomas Babe and producer Honor Moore. It was a remarkably talented group of actors, counting among its members John Lithgow, James Woods, Kathryn Walker, Tommy Lee Jones and Stockard Channing, to whom Schmidt was married for seven years. By 1978 Schmidt had received tenure (what his father had always wanted for him), but felt burdened by the concomitant administrative responsibilities and sticky university politics. He also felt a growing distance between himself and the students of the mid-70s, who were what turned out to be yuppies, he recalls. Its hard to teach people with whom you have very little commonality of interest. They hadnt seen the movies I had seen, I hadnt seen the TV shows they had seen. So he made the difficult, frightening decision to chuck the security of his life as a professor and return to New York and the vagaries of a life in the theatre. .u51280d2da2473a211e62238a6f4fcc5a , .u51280d2da2473a211e62238a6f4fcc5a .postImageUrl , .u51280d2da2473a211e62238a6f4fcc5a .centered-text-area { min-height: 80px; position: relative; } .u51280d2da2473a211e62238a6f4fcc5a , .u51280d2da2473a211e62238a6f4fcc5a:hover , .u51280d2da2473a211e62238a6f4fcc5a:visited , .u51280d2da2473a211e62238a6f4fcc5a:active { border:0!important; } .u51280d2da2473a211e62238a6f4fcc5a .clearfix:after { content: ""; display: table; clear: both; } .u51280d2da2473a211e62238a6f4fcc5a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u51280d2da2473a211e62238a6f4fcc5a:active , .u51280d2da2473a211e62238a6f4fcc5a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u51280d2da2473a211e62238a6f4fcc5a .centered-text-area { width: 100%; position: relative ; } .u51280d2da2473a211e62238a6f4fcc5a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u51280d2da2473a211e62238a6f4fcc5a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u51280d2da2473a211e62238a6f4fcc5a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u51280d2da2473a211e62238a6f4fcc5a:hover .ctaButton { background-color: #34495E!important; } .u51280d2da2473a211e62238a6f4fcc5a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u51280d2da2473a211e62238a6f4fcc5a .u51280d2da2473a211e62238a6f4fcc5a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u51280d2da2473a211e62238a6f4fcc5a:after { content: ""; display: block; clear: both; } READ: Directors in Rehearsal: A Hidden World EssayHis academic reputation served him well in his new freelance lifestyle; about the same time he was approached by the Dia Art Foundation to do a massive translation project: the complete works of the Russian Futurist Velimir Khlebnikov. Schmidt was at first hesitant about jumping right back into such a vast scholarly project, but he eventually agreed: The notion of tackling everything a poet had writtenI had already done that with Rimbaudis a really interesting challenge. If you commit yourself to translating the writers entire work, you really have to think through the whole thing. You have to know, for example, if he uses that w ord there, when he uses it again, the resonances are all the sameits like three dimensional chess. The enormous undertaking, which gave him 10 years of fairly constant work, has been published in three volumes by Harvard University Press. but with increasing frequency he was drawn towards the stage, putting his knowledge of Russian, French and German to good use at regional theatres across the country. In 1985, with Elizabeth Swados, he wrote The Beautiful Lady, a musical about a cafe full of Russian poets of the 1920s, which was produced in Washington, D.C. and Los Angeles. Peter Sellars staged his translation of Khlebnikovs Zangezi in 1987; the production, with music by Jon Hassell and featuring Ruth Malaczech, was performed in Los Angeles, Boston and Brooklyn. That same year his collaboration with composer Stanley Silverman Black Sea Follies, produced in New York by the Music-Theatre Group and Playwrights Horizons, won the Kesselring Award. He translated Genets The Screens for JoAnne Akalaitiss 1989 production at the Guthrie Theater in Minneapolis, and his play The Bathtub, adapted from Mayakovskys 1929 political satire The Bathhouse, was commissioned and staged by the Empty Space Theater in Seattle in 1990. Some of his most recent projects have provided hybrid, collaborative challenges. He just joined forces with Theatre de la Jeune Leunes Dominique Serrand and Paul Walsh on an adaptation of Marivauxs The Triumph of Love for the Guthrie, which combined that play with another Marivaux play, The Dispute. Last year he worked with Robert Wilson and Tom Waits on an adaptation of Lewis Carrolls Alice in Wonderland that came to be titled Alice. Starting with Wilsons initial visual ideas, it was Schmidts job to fashion a text from the famous childrens story. Although the task seemed daunting at first, the fact that the work would be produced in Germany helped: It was a little easier because I was working for a German audience who were not familiar with the language the way we are, the Lewis Carrollisms and the famous phrases. So I didnt have to worry about competing with Lewis Carroll. Schmidt decided to use the relationship between mathmetician Charles Dodgson (Carrolls real name) and his youn g pupil Alice Liddell as a framework for the fairy tale. The text, as delightfully mischievous as Carroll without copying him, puts Alice in Wonderland in poetic, not sociological, relationship to Alice Liddell, illuminating a wild fantasy world through the looking glass of Victorian England: ALICE: Chase the chickens, choke the child.

Battle of Olustee in the Civil War

Battle of Olustee in the Civil War Battle of Olustee - Conflict Date: The Battle of Olustee was fought February 20, 1864, during the American Civil War (1861-1865). Armies Commanders Union Brigadier General Truman Seymour5,500 men Confederate Brigadier General Joseph Finegan5,000 men Battle of Olustee - Background: Thwarted in his efforts to reduce Charleston, SC in 1863, including defeats at Fort Wagner, Major General Quincy A. Gillmore, commander of the Union Department of the South, turned his eye towards to Jacksonville, FL. Planning an expedition to the area, he intended to extend Union control over northeastern Florida and prevent supplies from the region reaching Confederate forces elsewhere. Submitting his plans to the Union leadership in Washington, they were approved as the Lincoln Administration hoped to restore a loyal government to Florida before the election that November. Embarking around 6,000 men, Gillmore entrusted operational control of the expedition to Brigadier General Truman Seymour, a veteran of major battles such as Gaines Mill, Second Manassas, and Antietam. Steaming south, Union forces landed and occupied Jacksonville on February 7. The next day, Gillmore and Seymours troops began advancing west and occupied Ten Mile Run. Over the next week, Union forces raided as far as Lake City while officials arrived in Jacksonville to start the process of forming a new government. During this time, the two Union commanders began arguing over the scope of Union operations. While Gillmore pressed for the occupation of Lake City and a possible advance to the Suwannee River to destroy the railroad bridge there, Seymour reported that neither was advisable and that Unionist sentiment in the region was minimal. As a result, Gillmore directed Seymour to concentrate his forced west of the city at Baldwin. Meeting on the 14th, he further directed his subordinate to fortify Jacksonville, Baldwin, and Barbers Plantation. Battle of Olustee - The Confederate Response: Appointing Seymour as commander of the District of Florida, Gillmore departed for his headquarters at Hilton Head, SC on February 15 and directed that no advance into the interior be made without his permission. Opposing the Union efforts was Brigadier General Joseph Finegan who led the District of East Florida. An Irish immigrant and an enlisted veteran of the prewar US Army, he possessed around 1,500 men with which to defend the region. Unable to directly oppose Seymour in the days after the landings, Finegans men skirmished with Union forces where possible. In an effort to counter the Union threat, he requested reinforcements from General P.G.T. Beauregard who commanded the Department of South Carolina, Georgia, and Florida. Responding to his subordinates needs, Beauregard sent contingents south led by Brigadier General Alfred Colquitt and Colonel George Harrison. These additional troops swelled Finegans force to around 5,000 men. Battle of Olustee - Seymour Advances: Shortly after Gillmores departure, Seymour began to view the situation in northeast Florida more favorably and elected to commence a march west to destroy the Suwannee River bridge. Concentrating around 5,500 men at Barbers Plantation, he planned to advance on February 20. Writing to Gillmore, Seymour informed his superior of the plan and commented that by the time you receive this I shall be in motion. Stunned upon receiving this missive, Gillmore dispatched an aide south with orders for Seymour cancel the campaign. This effort failed as the aide reached Jacksonville after the fighting had ended. Moving out early in the morning on the 20th, Seymours command was divided into three brigades led by Colonels William Baron, Joseph Hawley, and James Montgomery. Advancing west, Union cavalry led by Colonel Guy V. Henry scouted for and screened the column. Battle of Olustee - First Shots: Reaching Sanderson around midday, Union cavalry began skirmishing with their Confederate counterparts west of town. Pushing the enemy back, Henrys men met more intense resistance as they neared Olustee Station. Having been reinforced by Beauregard, Finegan had moved east and occupied a strong position along the Florida Atlantic and Gulf-Central Railroad at Olustee. Fortifying a narrow strip of dry ground with Ocean Pond to the north and swamps to the south, he planned receive the Union advance. As Seymours main column approached, Finegan hoped to use his cavalry to lure the Union troops into attacking his main line. This failed to occur and instead fighting intensified forward of the fortifications as Hawleys brigade began to deploy (Map). Battle of Olustee - A Bloody Defeat: Responding to this development, Finegan ordered Colquitt to advance with several regiments from both his brigade and Harrisons. A veteran of Fredericksburg and Chancellorsville who had served under Lieutenant General Thomas Stonewall Jackson, he advanced his troops into the pine forest and engaged the 7th Connecticut, 7th New Hampshire, and 8th US Colored Troops from Hawleys brigade. The commitment of these forces saw the fighting rapidly grow in scope. The Confederates quickly gained an upper hand when confusion over orders between Hawley and the 7th New Hampshires Colonel Joseph Abbott led to the regiment deploying improperly. Under heavy fire, many of Abbotts men retired in the confusion. With the 7th New Hampshire collapsing, Colquitt focused his efforts on the raw 8th USCT. While the African-American soldiers acquitted themselves well, the pressure compelled them to begin falling back. The situation was made worse by the death of its commanding officer, Colonel Charles Fribley ( Map). Pressing the advantage, Finegan sent additional forces forward under the guidance of Harrison. Uniting, the combined Confederate forces began pushing east. In response, Seymour rushed Bartons brigade forward. Forming on the right of the remnants of Hawleys men the 47th, 48th, and 115th New York opened fire and halted the Confederate advance. As the battle stabilized, both sides inflicted increasingly heavy losses on the other. During the course of the fighting, Confederate forces began to run low on ammunition forcing a slackening of their firing as more was brought forward. In addition, Finegan led his remaining reserves into the fighting and took personal command of the battle. Committing these new forces, he ordered his men to attack (Map). Overwhelming the Union troops, this effort led Seymour to order a general retreat east. As Hawley and Bartons men began withdrawing, he directed Montgomerys brigade to cover the retreat. This brought the 54th Massachusetts, which had gained fame as one of the first official African-American regiments, and the 35th US Colored Troops forward. Forming, they succeeded in holding back Finegans men as their compatriots departed. Leaving the area, Seymour returned to Barbers Plantation that night with the 54th Massachusetts, 7th Connecticut, and his cavalry covering the retreat. The withdrawal was aided by a weak pursuit on the part of Finegans command. Battle of Olustee - Aftermath: A bloody engagement given the numbers engaged, the Battle of Olustee saw Seymour sustain 203 killed, 1,152 wounded, and 506 missing while Finegan lost 93 killed, 847 wounded, and 6 missing. Union losses were made worse by Confederate forces killing wounded and captured African-American soldiers after the fighting had concluded. The defeat at Olustee ended the Lincoln Administrations hopes for organizing a new government prior the 1864 election and made several in the North question the value of campaigning in a militarily insignificant state. While the battle had proved a defeat, the campaign was largely successful as the occupation of Jacksonville opened the city to Union trade and deprived the Confederacy of the regions resources. Remaining in Northern hands for the rest of the war, Union forces routinely conducted raids from the city but did not mount major campaigns. Selected Sources CWSAC Battle Summaries: Battle of OlusteeBattle of Olustee Civil War Trust: Battle of Olustee

USS Randolph (CV-15) in World War II

USS Randolph (CV-15) in World War II USS Randolph (CV-15) - Overview: Nation: United States Type: Aircraft Carrier Shipyard: Newport News Shipbuilding Company Laid Down: May 10, 1943 Launched: June 28, 1944 Commissioned: October 9, 1944 Fate: Scrapped 1975 USS Randolph (CV-15) - Specifications Displacement: 27,100 tons Length: 888 ft. Beam: 93 ft. Draft: 28 ft., 7 in. Propulsion: 8 Ãâ€" boilers, 4 Ãâ€" Westinghouse geared steam turbines, 4 Ãâ€" shafts Speed: 33 knots Complement: 3,448 men USS Randolph (CV-15) - Armament: 4 Ãâ€" twin 5 inch 38 caliber guns4 Ãâ€" single 5 inch 38 caliber guns8 Ãâ€" quadruple 40 mm 56 caliber guns46 Ãâ€" single 20 mm 78 caliber guns Aircraft 90-100 aircraft USS Randolph (CV-15) - A New Design: Designed in the 1920s and early 1930s, the US Navys Lexington- and Yorktown-class aircraft carriers were built to conform to the limits set forth by the Washington Naval Treaty. This agreement placed restrictions on the tonnage of various types of warships as well as capped each signatory’s overall tonnage. These types of limitations were confirmed through the 1930 London Naval Treaty. As global tensions increased, Japan and Italy departed the agreement in 1936. With the collapse of the treaty system, the US Navy began developing a design for a new, larger class of aircraft carrier and one which included the lessons learned from the Yorktown-class. The resulting design was longer and wider as well as incorporated a deck-edge elevator system. This had been used earlier on USS Wasp (CV-7). In addition to carrying a larger air group, the new type mounted a greatly enhanced anti-aircraft armament. The lead ship, USS Essex (CV-9), was laid down on April 28, 1941. With the US entry into World War II following the attack on Pearl Harbor, the Essex-class became the US Navys standard design for fleet carriers. The first four ships after Essex followed the types original design. In early 1943, the US Navy made several changes to improve subsequent vessels. The most dramatic of these was the lengthening the bow to a clipper design which allowed for the addition of two quadruple 40 mm mounts. Other improvements included shifting the combat information center below the armored deck, installing improved aviation fuel and ventilation systems, a second catapult on the flight deck, and an additional fire control director. Though dubbed the long-hull Essex-class or Ticonderoga-class by some, the US Navy made no distinction between these and the earlier Essex-class ships. USS Randolph (CV-15) - Construction: The second ship to move forward with the revised Essex-class design was USS Randolph (CV-15). Laid down on May 10, 1943, the new carriers construction began at Newport News Shipbuilding and Drydock Company. Named for Peyton Randolph, President of the First Continental Congress, the ship was the second in the US Navy to carry the name. Work continued on the vessel and it slid down the ways on June 28, 1944, with Rose Gillette, wife of Senator Guy Gillette of Iowa, serving as sponsor. Construction of Randolph concluded about three months later and it entered commission on October 9 with Captain Felix L. Baker in command. USS Randolph (CV-15) - Joining the Fight: Departing Norfolk, Randolph conducted a shakedown cruise in the Caribbean before preparing for the Pacific. Passing through the Panama Canal, the carrier arrived at San Francisco on December 31, 1944. Embarking Air Group 12, Randolph weighed anchor on January 20, 1945, and steamed for Ulithi. Joining Vice Admiral Marc Mitschers Fast Carrier Task Force, it sortied on February 10 to mount attacks on the Japanese home islands. A week later, Randolphs aircraft struck airfields around Tokyo and the Tachikawa engine plant before turning south. Arriving near Iwo Jima, they mounted raids in support of Allied forces ashore. USS Randolph (CV-15) - Campaigning in the Pacific: Remaining in the vicinity of Iwo Jima for four days, Randolph then mounted sweeps around Tokyo before returning to Ulithi. On March 11, Japanese kamikaze forces mounted Operation Tan No. 2 which called for a long-range strike against Ulithi with Yokosuka P1Y1 bombers. Arriving over the Allied anchorage, one of the kamikazes struck Randolphs starboard side aft below the flight deck. Though 27 were killed, the damage to the ship was not severe and could be repaired at Ulithi. Ready to resume operations within weeks, Randolph joined American ships off Okinawa on April 7. There it provided cover and support for American troops during the Battle of Okinawa. In May, Randolphs planes attacked targets in the Ryukyu Islands and southern Japan. Made flagship of the task force on May 15, it resumed support operations at Okinawa before withdrawing to Ulithi at the end of the month. Attacking Japan in June, Randolph swapped Air Group 12 for Air Group 16 the following month. Remaining on the offensive, it raided airfields around Tokyo on July 10 before striking the Honshu-Hokkaido train ferries four days later. Moving on to the Yokosuka Naval Base, Randolphs planes struck the battleship Nagato on July 18. Sweeping through the Inland Sea, further efforts saw the battleship-carrier Hyuga damaged and installations ashore bombed. Remaining active off Japan, Randolph continued to attack targets until receiving word of the Japanese surrender on August 15. Ordered back to the United States, Randolph transited the Panama Canal and arrived at Norfolk on November 15. Converted for use as a transport, the carrier began Operation Magic Carpet cruises to the Mediterranean to bring American servicemen home. USS Randolph (CV-15) - Postwar: Concluding Magic Carpet missions, Randolph embarked US Naval Academy midshipmen in the summer of 1947 for a training cruise. Decommissioned at Philadelphia on February 25, 1948, the ship was placed in reserve status. Moved to Newport News, Randolph commenced a SCB-27A modernization in June 1951. This saw the flight deck reinforced, new catapults installed, and the addition of new arresting gear. Also, Randolphs island underwent modifications and the anti-aircraft armament turrets were removed. Reclassified as an attack carrier (CVA-15), the ship was re-commissioned on July 1, 1953, and commenced a shakedown cruise off Guantanamo Bay. This done, Randolph received orders to join the US 6th Fleet in the Mediterranean on February 3, 1954. Remaining abroad for six months, it then returned to Norfolk for a SCB-125 modernization and the addition of an angled flight deck. USS Randolph (CV-15) - Later Service: On July 14, 1956, Randolph departed for seven-month cruise in the Mediterranean. Over the next three years, the carrier alternated between deployments to the Mediterranean and training on the East Coast. In March 1959, Randolph was redesignated as an anti-submarine carrier (CVS-15). Remaining in home waters for the next two years, it commenced a SCB-144 upgrade in early 1961. With the completion of this work, it served as the recovery ship for Virgil Grissoms Mercury space mission. This done, Randolph sailed for the Mediterranean in the summer of 1962. Later in the year, it moved to the western Atlantic during the Cuban Missile Crisis. During these operations, Randolph and several American destroyers attempted to force the Soviet submarine B-59 to surface. Following an overhaul at Norfolk, Randolph resumed operations in the Atlantic. Over the next five years, the carrier made two deployments to the Mediterranean as well as a cruise to northern Europe. The remainder of Randolphs service occurred off the East Coast and in the Caribbean. On August 7, 1968, the Department of Defense announced that the carrier and forty-nine other vessels would be decommissioned for budgetary reasons. On February 13, 1969, Randolph was decommissioned at Boston before being placed in reserve at Philadelphia. Struck from the Navy List on June 1, 1973, the carrier was sold for scrap to Union Minerals Alloys two years later. Selected Sources DANFS: USS Randolph (CV-15)NavSource: USS Randolph (CV-15)USS Randolph (CV-15)

Read-Aloud Project Coursework Example | Topics and Well Written Essays - 750 words

Read-Aloud Project - Coursework Example I know this because I have observed how they read when we read in dyads before. I chose to read Peggy Parish’s (1971) Come Back, Amelia Bedelia. I selected to read only one book because it is long enough for the reading session to last for fifteen to thirty minutes, depending on the questions and comments of the kids on it. From this read-aloud experience, I learned that selecting stories is not easy because of their different interests, communication styles, and literacy skills, but some generalizations can be made through using age-appropriate criteria. I also understood that children like humorous characters and plots; they want a reader who knows how to change voices, facial expressions, and gestures; they respond openly to the reader and their peers when encouraged; and they also want characters with gender and races/ethnicities that they can relate to. In choosing the text, I used common criteria to text selection that include reader and audience characteristics. This approach considers the interests and needs of both readers and the audience in the book. The criteria are the following: (1) I chose a book that I enjoy reading; (2) The book is something that the children have not read yet to increase their interest in it; (3) The book has a large text font that children can read even when they are a foot or two from me; (4) The book has pictures where characters have perceptible facial expressions and do a wide range of actions, and the settings have details and things that can be sources of discussions too; (5) The language is simple enough for kids to understand, while there are some challenging words that will help them learn new ones; (6) The plot can be something that these children can relate to; and (7) The story has lessons on work ethics, family bonding, and differences between idioms and literal