The Sound of the Sea Essay Example for Free

The Sound of the Sea Essay â€Å"The Sound of the Sea† is a sonnet by Henry Wadsworth Longfellow, describing the sounds of the sea and relating it to human inspiration. Through only auditory images of the sea and other powerful natural forces, Longfellow effectively alludes to the nature of human inspiration. Through detailed and sensory imagery, Longfellow communicates the subtle details of the human soul and how inspiration functions. The Sound of the Sea† consists of fourteen lines and a particular rhyme scheme (abba abba cde cde). The first eight lines of the poem consist of one drawn out sentence, which is the description of the sound of the sea and other natural forces, which then in the final sestet, which also consists of only one sentence, are used by Longfellow as a metaphor to allude to the inspirations of the human soul. The change in the rhyme scheme of the sonnet and the two concrete sentences, serve to aid this transition from description of the sea to meditation on the source of inspiration. Longfellow uses this depiction of the sea to communicate the nature of human inspiration, which he claims comes to us from an unvisited and solitary space in our soul and though we credit it to ourselves, it is in fact something beyond our control or understanding, something of a divine nature. With the starting line, Longfellow effectively conveys this concept that inspiration comes from an â€Å"inaccessible† space within us by describing the sea as having â€Å"awoken† at â€Å"midnight†, as midnight is associated with the center of the night, the dark and the unknown, this suggesting that inspiration is aroused within dark dimensions of ourselves, somewhere our conscious mind has not strayed. This also suggests that the sea, whose many vast dark depths remain unexplored, represents this unknown space within our soul, and this imagery is furthered by the description of the wave of the tide rushing onto the â€Å"the pebbly beaches far and wide†. Beaches are the extremities of the sea, where land, a terrain very well known to us, begins and sea ends, and this imagery suggests that these beaches are the edge of our consciousness. Furthermore the labial sounds of the letters â€Å"p† and â€Å"b† in â€Å"pebbly beaches† give an uneven pronunciation to the words, which are contrasted with the smooth drawn out â€Å"ar†, â€Å"ide† sounds in the words far, wide and tide. This contrast serves to communicate the scattered nature of our consciousness with the unity, elegance and fluidity of our subconscious. Furthermore, these drawn out sounds serve to also further the imagery of the tide’s â€Å"uninterrupted sweep† which is particularly effective in conveying the image of the wave rushing to envelope the shore, the word â€Å"uninterrupted† conveying this sense that the wave of inspiration is all smooth and relentless. This imagery is furthered by the 3 line-long segment, uninterrupted by punctuation. Yet, the central point made in these four lines is when the speaker states that â€Å"(he) heard† the waves. The description of the sea gives you a mental image, but Longfellow stresses upon the fact that the speaker only hears the tide, as this can be seen reflected in the title of the poem â€Å"The Sound of the Sea†. Hearing is an auditory action that allows one to be aware of the presence of the object through the sound, but not visually or physically grasp it. This suggests that inspiration is similar, in the sense that one can be aware of it but cannot consciously grasp, control or dominate it. In the fourth line, Longfellow states that it’s â€Å"A voice† from the â€Å"silence of the deep†. Here, the reader once again encounters this concept of being limited to only the auditory senses, yet in this instance, a â€Å"voice† is something distinctly human. The concept of a voice you can listen to and follow, but not see the source, is usually associated with a divine presence. This concept is solidified by the description in the following line, describing it as a sound â€Å"mysteriously multiplied†, as the word mysterious suggests that its provenance is not known and the word multiplied insinuates this multiplication of the strength of the voice, communicating a sense of power. This sense of power is furthered by the natural descriptions in the two consecutive lines, where the voice is compared to a â€Å"cataract from the mountain’s side† and a â€Å"roar of winds upon a wooded steep†. Both these descriptions are natural phenomenons of immense power, and who’s sources one can’t see, the wind being invisible and the cataract having its source deep within the mountain. These four lines can be related to the last four lines of the poem, where it claims that these inspirations aren’t our own, but some â€Å"divine foreshadowing and foreseeing of things beyond our reason or control†. This insinuates that this inspiration is in fact some sort of divine glimmer, a voice shedding light, and that these divine influences are like the tide, beyond our human understanding or control. There is a cyclical pattern in the poem, where the content of the first four lines with rhyme scheme abab, are tied with the content of the first three lines with the rhyme scheme cde and conversely between the second and fourth part of the poem. The first and third part of the poem insinuate that inspiration comes from within an unknown part of your soul, conveyed through imagery of the sea, and the second and fourth part convey the sense that these inspirations are actually due to a divine presence, communicated through imagery of powerful natural occurrences. These two concepts are intrinsically interlinked, and Longfellow uses this poem structure to further this concept, which is that inspiration comes from within you because God is within you, and he uses natural imagery to communicate God within nature. In conclusion, â€Å"The Sound of the Sea† effectively creates a parallel between the metaphor of the sound of the sea with the divine nature of inspiration. Longfellow does so effectively through finely detailed imagery that gives rather precise insight into the human soul.

Lesson Learned in Warfare Essay example -- Warfare

This paper examines lessons learned that are timeless in their relevance for all types of warfare with respect to the lesson materials discussed in the Warfare Studies course. The first lesson learned that this paper examines is the United States’ adaptability in response to changing nature of warfare. The United States has experienced various types of warfare ranging from war of annihilation, war of attrition, or fourth-generation warfare; the United States has no identifiable American way of war. Second, this paper looks at the importance and enduring nature of fourth-generation warfare and counterinsurgency operations. These events are here to stay and will be significant in the future conflicts. The third lesson learned discusses America’s poor planning and preparation for stability, security, transition, and reconstruction operations (SSTR) and demonstrated the need to avoid stovepiped, single agency planning. The apparent lack of planning for SSTR operations severely complicated and extended the United States mission in Iraq. Fourth, America must always strive to be on the cutting edge and maintain technological superiority over our adversaries in order to secure great advantages. However, the United States cannot solely rely on technological savvy military to achieve success. The last lesson learned discusses the growing relevance of information IOP as a powerful tool of war and the importance of it in shaping public opinion. The first lesson learned is the adaptability of United States to evolving nature of warfare. Adaptability is a trademark of the American way of war. The American way of war is usually associated with war of annihilation in which aims for decisive victory or war of attrition in which aims fo... ...ia and Military Operations. Carlisle Barracks, PA: US Army War College, 2008. Murray, Williamson. â€Å"Decisive Battle and the Ghost of Napoleon.† Marine Corps Gazette 84, no. 7 (July 2000): 36-37. Parker, Geoffrey. â€Å"The Western Way of War.† In History of Warfare: The Triumph of the West, 2-9. Cambridge: Cambridge University Press, 1995. Snow, Donald M. and Dennis M. Drew. Making Twenty-first Century Strategy: An Introduction to Modern National Security Processes and Problems. Maxwell AFB, AL.: Air University Press (January 2006). Ulrich, Marybeth P., â€Å"A Primer on Civil-Military Relations for Senior Leaders.† In US Army War College Guide to National Security Issues, Volume II: National Security Policy and Strategy. 3rd ed. Edited by J. Boone Bartholomees, Jr. Carlisle Barracks, PA.: US Army War College, Strategic Studies Institute (June 2008): 241-252.

School Physical Plant Management

School Physical Plant Management What do you understand with the term school plant? The school plant is the totality of all things that make up a school system. It involves the physical and material facilities in form of buildings, school site and the environment that embody the school. Moreover, a school plants include the site, the building and equipment and this include the permanent structures like workshop, libraries, classrooms, laboratories and semi permanent structures like the educational system itself.The school facilities consist of all types of buildings for academic and non-academic activities, equipment for academic and non- academic activities, areas for sports and games, landscape, farms and gardens including trees, roads and paths. Others include furniture and toilet facilities, lighting, acoustics, storage facilities and packing lot, security, transportation, ICT, cleaning materials, food services, and special facilities for the physically challenged persons. Descri be the 2 major functions of school plant?An Environment to Facilitate Learning The primary purpose of the teaching and learning process is to bring about in the learner desirable change in behavior through critical thinking. This process does not take place in a vacuum but rather in an environment structured to facilitate learning. Hence, this environment of an organization as all elements relevant to its operation and they include direct and indirect action elements. School facilities, constitute the major components of both direct and indirect action elements in the environment of learning. Feature Article –Â  Country School – Allen CurnowThese facilities play pivotal role in the actualization of the educational goals and objectives by satisfying the physical and emotional needs of the staff and students of the school. Knezevich (1975, p. 563) emphasized that the physical needs are met through provision of safe structure, adequate sanitary facilities, a balanced visual environment, appropriate thermal environment, and sufficient shelter space for his work and play. His emotional needs are met by creating pleasant surrounding, a friendly atmosphere, and an inspiring environment.The educational system has undergone tremendous changes in the form of its philosophy, broadened goals and objectives, new approaches to service delivery and architectural design, quantum leap in school enrolment, multiplicity of curricula programmes and extra-curricula activities, introduction of Information and Communication Technology (ICT) and expanded academic support services such as guidance services to students, teachers and the community, integration of the school and community. 3. In what ways does instructional program influence the nature of school plant? Schools exist for the purpose of teaching and learning.Human and material resources are deployed for this purpose. School facilities are the material resources provided for staff and students to optimize their productivity in the teaching and learning process. The realization that the transfer of knowledge does not only take place in the four walls of the classroom from the teacher to the students but rather that learning takes place through discovery, exploration, interaction with the internal and external environment has necessitated the creative and innovative development of teaching and learning facilities that reflect these changes.Schools exist to serve socio-economic and political needs of the ever-changing society, consequently, they are in constant interaction with their external environm ent. They receive inputs from the external environment in the form of human and material resources, processes them and empty same into the society as finished products and services. The quality of the products bears a direct relationship with the quality of the facilities deployed in the process of the production.This demands that state of the art facilities are provided in schools to prepare school leavers for life in the global village. Several studies have shown that a close relationship exists between the physical environment and the academic performance of students. Nwagwu (1978) and Ogunsaju (1980) maintained that the quality of education that children receive bears direct relevance to the availability or lack thereof of physical facilities and overall atmosphere in which learning takes place.For example, research findings have shown that students learn better when a combination of methods and materials are employed during teaching. Furthermore, emphasis has shifted towards gi ving individual attention to students as against teaching large classes which presupposes that all students in a class have the ability to learn at the same pace. The implication of the foregoing is that in designing school plant, provision should be made for individual and small group interaction and for large groups for academic and social activities.

I History of Taj Mahal Essay

The Taj Mahal of Agra is one of the Seven Wonders of the World, for reasons more than just looking magnificent. It’s the history of Taj Mahal that adds a soul to its magnificence: a soul that is filled with love, loss, remorse, and love again. Because if it was not for love, the world would have been robbed of a fine example upon which people base their relationships. An example of how deeply a man loved his wife, that even after she remained but a memory, he made sure that this memory would never fade away. This man was the Mughal Emperor Shah Jahan, who was head-over-heels in love with Mumtaz Mahal, his dear wife. She was a Muslim Persian princess (her name Arjumand Banu Begum before marriage) and he was the son of the Mughal Emperor Jehangir and grandson of Akbar the Great. It was at the age of 14 that he met Mumtaz and fell in love with her. Five years later in the year 1612, they got married. Mumtaz Mahal, an inseparable companion of Shah Jahan, died in 1631, while giving birth to their 14th child. It was in the memory of his beloved wife that Shah Jahan built a magnificent monument as a tribute to her, which we today know as the â€Å"Taj Mahal†. The construction of Taj Mahal started in the year 1631. Masons, stonecutters, inlayers, carvers, painters, calligraphers, dome-builders and other artisans were requisitioned from the whole of the empire and also from Central Asia and Iran, and it took approximately 22 years to build what we see today. An epitome of love, it made use of the services of 22,000 laborers and 1,000 elephants. The monument was built entirely out of white marble, which was brought in from all over India and central Asia. After an expenditure of approximately 32 million rupees (approx US $68000), Taj Mahal was finally completed in the year 1653. It was soon after the completion of Taj Mahal that Shah Jahan was deposed by his own son Aurangzeb and was put under house arrest at nearby Agra Fort. Shah Jahan, himself also, lies entombed in this mausoleum along with his wife. Moving further down the history, it was at the end of the 19th century that British Viceroy Lord Curzon ordered a sweeping restoration project, which was completed in 1908, as a measure to restore what was lost during the Indian rebellion of 1857: Taj being blemished by British soldiers and government officials who also deprived the monument of its immaculate beauty by chiseling out precious stones and lapis lazuli from its walls. Also, the British style lawns that we see today adding on to the beauty of Taj were remodeled around the same time. Despite prevailing controversies, past and present threats from Indo-Pak war and environmental pollution, this epitome of love continuous to shine and attract people from all over the world. II Taj Mahal Story Male Protagonist: Shah Jahan (Prince Khurram) Female Protagonist: Mumtaz Mahal (Arjumand Banu Begum) Taj Mahal, the magnificent monument that stands at the heart of India has a story that has been melting the hearts of millions of listeners since the time Taj has been visible. A story, that although ended back in 1631, continues to live on in the form of Taj and is considered a living example of eternal love. It’s the love story of Shah Jahan and Mumtaz Mahal, two people from the course of history who set an example for the people living in present and the future to come. An English poet, Sir Edwin Arnold best describes it as â€Å"Not a piece of architecture, as other buildings are, but the proud passion of an emperor’s love wrought in living stones.† The story that follows next will prove why the statement is true. Shah Jahan, initially named Prince Khurram, was born in the year 1592. He was the son of Jehangir, the fourth Mughal emperor of India and the grandson of Akbar the Great. In 1607 when strolling down the Meena Bazaar, accompanied by a string of fawning courtiers, Shah Jahan caught a glimpse of a girl hawking silk and glass beads. It was love at first sight and the girl was Mumtaz Mahal, who was known as Arjumand Banu Begum at that time. At that time, he was 14 years old and she, a Muslim Persian princess, was 15. After meeting her, Shah Jahan went back to his father and declared that he wanted to marry her. The match got solemnized after five years i.e., in the year 1612. It was in the year 1628 that Shah Jahan became the Emperor and entrusted Arjumand Banu with the royal seal. He also bestowed her with the title of Mumtaz Mahal, meaning the â€Å"Jewel of the Palace†. Though Shah Jahan had other wives also, but, Mumtaz Mahal was his favorite and accompanied him everywhere, even on military campaigns. In the year 1631, when Mumtaz Mahal was giving birth to their 14th child, she died due to some complications. While Mumtaz was on her deathbed, Shah Jahan promised her that he would never remarry and will build the richest mausoleum over her grave. It is said that Shah Jahan was so heartbroken after her death that he ordered the court into mourning for two years. Sometime after her death, Shah Jahan undertook the task of erecting the world’s most beautiful monument in the memory of his beloved. It took 22 years and the labor of 22,000 workers to construct the monument. When Shah Jahan died in 1666, his body was placed in a tomb next to the tomb of Mumtaz Mahal. This magnificent monument came to be known as â€Å"Taj Mahal† and now counts amongst the Seven Wonders of the World. This is the true story of the Taj Mahal of India, which has mesmerized many people with its bewitching beauty. III Taj Mahal Architecture Involvement of 22, 000 workers including masons, stonecutters, inlayers, carvers, painters, calligraphers, dome-builders and other artisans called on from all over the central Asia and Iran, and some 22 years later when a monument with a unique blend of Persian, Islamic, and Indian architectural styles came into its own, it was a sight to behold! The grandeur of the structure then created was such that even decades after its creation, it is still regarded as one of the most arresting and attention-grabbing manmade monuments of the world. Not just Taj, even structures alongside it add to the architectural beauty and artistic wonder of the place. The entire Taj complex consists of five major constituents, namely Darwaza (main gateway), Bageecha (gardens), Masjid (mosque), Naqqar Khana (rest house) and Rauza (main mausoleum). The Taj Mahal covers an area of 42 acres in total with the terrain gradually sloping from south to north, towards the river Yamuna in the form of descending terraces. The main gateway situated at the end of the long watercourse, decorated in calligraphy with verses from Holy Quran and a domed central chamber, was constructed from the period 1932 to 1938. The original door of this massive sandstone gateway was made out of solid silver. It was constructed to serve the function of preventing the people from getting any glimpse of the tomb until they are right in the doorway itself. With a vertical symmetry, the main gateway of Taj Mahal stands bordered with Arabic calligraphy of verses from the Quran, made up of black stone. The main tomb of Taj Mahal stands on a square platform that was raised 50 meter above the riverbank and was leveled with dirt to reduce seepage from the river. The four minarets on each corner of this square are detached, facing the chamfered angles of the main and are deliberately kept at 137 feet to emphasize the beautiful and spherical dome that itself is 58 feet in diameter and 81 feet high. The western side of the main tomb has the mosque and on the eastern side is the Naqqar Khana (rest/guest house), both made in red sandstone. The two structures not only provide an architectural symmetry, but also make for an aesthetic color contrast. One can only marvel at the mosque and the rest house as despite being on the opposite ends, the two are mirror image of each other. Out of the total area of 580 meter by 300 meter, the garden alone covers 300 meter by 300 meter. The immaculate symmetry with which this garden has been laid out can be experienced everywhere. The Islamic style architecture of this garden also has a well defined meaning that symbolizes spirituality and according to the Holy Quran, the lush green, well watered is a symbol of Paradise in Islam. The raised pathways divide each of the four quarters into 16 flowerbeds with around 400 plants in each bed. Even today, the garden boasts of being a tranquil and soothing region in the entire complex and is considered best place for taking snaps of the main tomb. A shadowy burial crypt inside the Taj Mahal houses the tombs of Mumtaz Mahal and Shah Jahan himself, who was buried there after he died. Above these tombs is the main chamber that has the false tombs and perforated marble screens have been used to transmit light into the burial chamber, typical of mausoleums of the Mughals. Semi-precious stones are exquisitely inlaid in both the tombs. Calligraphic inscriptions of the ninety nine names of Allah can also be found on the sides of actual tomb of Mumtaz Mahal. The Taj has some wonderful specimens of polychrome inlay art both in the interior and exterior on the dados, on cenotaphs and on the marble jhajjhari (jali-screen) around them. Shah Jahan’s tomb, which lies next to that of Mumtaz Mahal, was never planned and deranges the otherwise perfect symmetry of the Taj. IV Inside The Taj Mahal As majestically dazzling as it looks from the main gateway, with the glorious view of the mosque and the guest house on the sides and the main mausoleum in the centre with four minarets standing proud at each corner, the insides of TAj Mahal are no less stunningly beautified either. Rather, the painstakingly designed and richly carved interiors brilliantly compliment the grandeur of the entire structure with subtleness. With basic elements in Persian, the large white marble structure that stands on the square plinth consists of a symmetrical building with an arch shaped doorway known as Iwan, which is adorned with exquisite calligraphy and is topped by a large dome and a finial. The angles of the tomb consist of semi-octagonal arched alcoves of equal size. Attached pilasters rising from the base of the tomb demark each of the porticos, on both the sides. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; as the actual graves are located at a much lower level. Moving ahead, all the elements, architecture, furniture, and decorations culminate together to create an eschatological house for Mumtaz Mahal, and that of Shah Jahan. Formed with black marble inlaid in white, the floor of the Taj is paved in a geometrical pattern consisting of octagonal stars alternating with cruciform shapes. One of the longest echoes of any building in the world can be heard in this perfectly designed hall of 24 feet to a side, with two tiers of eight radiating niches. The natural and beautiful flowers like tulips, irises, daffodils, and narcissus filled in opulent vases appear here in basic tripartite arrangement rather than individual flowering plants of the pishtaq halls outside. Another remarkable feature that surrounds the cenotaphs of Mumtaz Mahal and Shah Jahan in the central chamber is the intricately carved marble screen or jali and is a delight to look at. The semi precious stones forming twining vines, fruits, and flowers inlaid delicately form the rest of the surfaces. The burial chamber is located right beneath the central chamber and consists of the actual graves of Mumtaz Mahal and Shah Jahan covered by two cenotaphs. And since the Muslim tradition forbids elaborate decoration of graves, these cenotaphs have different motifs in their decoration. The real cenotaph of Mumtaz The cenotaph of Shah Jahan that was added much later is bigger than the cenotaph of his wife and is more simplistically decorated than his cenotaph above. Although the same designs appear on the sides of the sarcophagus elements, they are smaller in size. Coming out of such elaborately designed structure as Taj is like coming out of an era that had gone by, an era that added to the world in more than one way, an era that has been kept alive by the wonder that is Taj Mahal.

Quotes From The Awakening, Kate Chopins Banned Novel

Quotes From 'The Awakening', Kate Chopin's Banned Novel Kate Chopins novel, The Awakening is the famous tale of Edna Pontellier, who leaves her family, commits adultery, and begins to rediscover her true selfas an artist. It is considered to be one of the most important early feminist texts. Here are a few famous quotations from the novel.   Mr. Pontellier wore eyeglasses. He was a man of forty, of medium height and rather a slender build; he stooped a little. His hair was brown and straight, parted on one side. His beard was neatly and closely trimmed.- Kate Chopin, The AwakeningYou are burnt beyond recognition, he added, looking at his wife as one looks at a valuable piece of personal property which has suffered some damage. She held up her hands, strong, shapely hands, and surveyed them critically, drawing up her fawn sleeves above the wrists.- Kate Chopin, The AwakeningHe reproached his wife with her inattention, her habitual neglect of the children. If it was not a mothers place to look after children, whose on earth was it?- Kate Chopin, The AwakeningThe mother-women seemed to prevail that summer at Grand Isle. It was easy to know them, fluttering about with extended, protecting wings when any harm, real or imaginary, threatened their precious brood. They were women who idolized their children, worshiped their husb ands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels.- Kate Chopin, The Awakening The voice of the sea is seductive; never ceasing, whispering, clearing, murmuring, inviting the soul to wander for a spell in the abysses of solitude; to lose itself in mazes of inward contemplation. The voice of the sea speaks to the soul. The touch of the sea is sensuous, enfolding the body in its soft, close embrace.- Kate Chopin, The AwakeningHer marriage to Leonce Pontellier was purely an accident, in this respect resembling many other marriages which masquerade as the decrees of Fate. It was in the midst of her secret great passion that she met him. He fell in love, as men are in the habit of doing, and pressed his suit with an earnestness and ardor which left nothing to be desired.- Kate Chopin, The AwakeningA feeling of exultation overtook her as if some power of significant import had been given her to control the working of her body and her soul. She grew daring and reckless, overestimating her strength. She wanted to swim far out, where no woman had swum before.- Kate Chop in, The Awakening That she was seeing with different eyes and making the acquaintance of new conditions in herself that colored and changed her environment, she did not yet suspect.- Kate Chopin, The AwakeningThe past was nothing to her; offered no lesson which she was willing to heed. The future was a mystery which she never attempted to penetrate. The present alone was significant...- Kate Chopin, The AwakeningI would give up the unessential; I would give my money, I would give my life for my children, but I wouldnt give myself. I cant make it more clear; its only something which I am beginning to comprehend, which is revealing itself to me.- Kate Chopin, The AwakeningShe was seeking herself and finding herself in just such sweet, half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mournful notes without promise, devoid even of hope.- Kate Chopin, The AwakeningIt sometimes entered Mr. Pontelli ers mind to wonder if his wife were not growing a little unbalanced mentally. He could see plainly that she was not herself. That is, he could not see that she was becoming herself and daily casting aside that fictitious self which we would assume like a garment with which to appear before the world.- Kate Chopin, The Awakening Woman, my dear friend, is a very peculiar and delicate organisma sensitive and highly organized woman, such as I know Mrs. Pontellier to be is especially peculiar. It would require an inspired psychologist to deal successfully with them. And when ordinary fellows like you and me attempt to cope with their idiosyncrasies the result is bungling. Most women are moody and whimsical. This is some passing whim of your wife, due to some cause or cause which you and I neednt try to fathom.- Kate Chopin, The AwakeningHer husband seemed to her now like a person whom she had married without love as an excuse.- Kate Chopin, The AwakeningThere was something in her attitude, in her whole appearance when she leaned her head against the high-backed chair and spread her arms, which suggested the regal woman, the one who rules, who looks on, who stands alone.- Kate Chopin, The AwakeningThe water of the Gulf stretched out before her, gleaming with the million lights of the sun. The voice of the sea is seductive, never ceasing, whispering, clamoring, murmuring, inviting the soul to wander in abysses of solitude. All along the white beach, up and down, there was no living thing in sight. A bird with a broken wing was beating the air above, reeling, fluttering, circling disabled down, down to the water.- Kate Chopin, The Awakening She looked into the distance, and the old terror flamed up for an instant, then sank again.- Kate Chopin, The Awakening Study Guide Review: The AwakeningComplete Text - The AwakeningQuotesQuestions for Study DiscussionKate Chopin - ProfileAwakening Books and Editions

Battle of Contreras - Mexican-American War - Battle of Padierna - Winfield Scott

Battle of Contreras - Mexican-American War - Battle of Padierna - Winfield Scott Battle of Contreras - Conflict Dates: The Battle of Contreras was fought August 19-20, 1847, during the Mexican-American War (1846-1848). Armies Commanders United States Major General Winfield ScottMajor General William Worth8,500 men Mexico General Antonio Lopez de Santa AnnaGeneral Gabriel Valencia5,000 men Battle of Contreras - Background: Though Major General Zachary Taylor had triumphed in a series of victories at Palo Alto, Resaca de la Palma, and Monterrey, President James K. Polk decided to shift the focus of the American war effort from northern Mexico to a campaign against Mexico City. Though this was largely due to Polks concerns about Taylors political ambitions, it was also supported by intelligence reports that an advance against Mexico City from the north would be exceptionally difficult. As a result, a new army was formed under Major General Winfield Scott and instructed to capture the key port city of Veracruz. Coming ashore on March 9, 1847, Scotts command moved against the city and captured it after a twenty-day siege. Constructing a major base at Veracruz, Scott began making plans to advance inland before yellow fever season arrived. Moving inland, Scott routed the Mexicans, led by General Antonio Là ³pez de Santa Anna, at Cerro Gordo the following month. Pressing on, Scott captured Puebla where he paused to rest and reorganize through June and July. Resuming the campaign in early August, Scott elected to approach Mexico City from the south rather than force the enemy defenses at El Peà ±Ãƒ ³n. Rounding Lakes Chalco and Xochimilco his men arrived at San Augustin on August 18. Having anticipated an American advance from the east, Santa Anna began redeploying his army to the south and assumed a line along the Churubusco River (Map). Battle of Contreras - Scouting the Area: To defend this new position, Santa Anna placed troops under General Francisco Perez at Coyoacan with forces led by General Nicholas Bravo to the east at Churubusco. On the west end of the Mexican line was General Gabriel Valencias Army of the North at San Angel. Having established his new position, Santa Anna was separated from Scott by a vast lava field known as the Pedregal. On August 18 Scott ordered Major General William J. Worth to take his division along the direct road to Mexico City. Moving along the east edge of the Pedregal, this force came under heavy fire at San Antonio, just south of Churubusco. Unable to flank the Mexicans due to the Pedregal to the west and water to the east, Worth elected to halt. As Scott pondered his next move, Valencia, a political rival of Santa Annas, elected to abandon San Angel and moved five miles south to a hill near the villages of Contreras and Padierna. Santa Annas orders for him to return to San Angel were refused and Valencia argued he was in a better position to defend or attack depending on the enemys course of action. Unwilling to mount a costly frontal assault on San Antonio, Scott began contemplating moving up the west side of the Pedregal. To scout the route, he dispatched Robert E. Lee, recently brevetted to major for his actions at Cerro Gordo, along with an infantry regiment and some dragoons west. Pressing into the Pedregal, Lee reached Mount Zacatepec where his men dispersed a group of Mexican guerrillas. Battle of Contreras - Americans on the Move: From the mountain, Lee was confident that the Pedregal could be crossed. Relating this to Scott, he convinced his commander to change the armys line of advance. The next morning, troops from Major General David Twiggs and Major General Gideon Pillows divisions moved out and began constructing a path along the route traced by Lee. In doing so, they were unaware of Valencias presence at Contreras. By early afternoon, they had reached a point past the mountain to where they could see Contreras, Padierna, and San Geronimo. Moving down the forward slope of the mountain, Twiggs men came under fire from Valencias artillery. Countering this, Twiggs advanced his own guns and returned fire. Taking overall command, Pillow directed Colonel Bennett Riley to take his brigade to the north and west. After crossing a small river they were to take San Geronimo and cut off the enemys line of retreat. Moving over rough terrain, Riley found no opposition and occupied the village. Valencia, engaged in the artillery duel, failed to see the American column. Concerned that Riley was isolated, Pillow later directed Brigadier General George Cadwaladers brigade and Colonel George Morgans 15th Infantry to join him. As the afternoon progressed, Riley scouted the rear of Valencias position. During this time, they also detected a large Mexican force moving south from San Angel. This was Santa Anna leading reinforcements forward. Seeing the plight of his comrades across the stream, Brigadier General Persifor Smith, whose brigade was supporting the guns that were firing on Valencia, began to fear for the safety of the American forces. Unwilling to directly assault Valencias position, Smith moved his men into the Pedregal and followed the route used earlier. Joining with the 15th Infantry shortly before sunset, Smith began planning an attack on the Mexican rear. This was ultimately called off du e to darkness. Battle of Contreras - A Quick Victory: To the north, Santa Anna, faced with a difficult road and a setting sun, elected to withdraw back to San Angel. This removed the threat to the Americans around San Geronimo. Consolidating the American forces, Smith spent the evening designing a dawn attack intended to strike the enemy from three sides. Desiring permission from Scott, Smith accepted Lees offer to cross the Pedregal in the darkness to take a message to their commander. Upon meeting Lee, Scott was pleased with the situation and directed him to find troops to support Smiths effort. Locating Brigadier General Franklin Pierces brigade (temporarily led by Colonel T.B. Ransom), it was ordered to demonstrate in front of Valencias lines at dawn. During the night, Smith ordered his men as well as Rileys and Cadwaladers to form for battle. Morgan was directed to cover the road north to San Angel while Brigadier General James Shields recently arrived brigade was to hold San Geronimo. In the Mexican camp, Valencias men were cold and tired having endured a long night. They were also increasingly concerned about the whereabouts of Santa Anna. At daybreak, Smith ordered the Americans to attack. Storming forward, they routed Valencias command in a fight that lasted only seventeen minutes. Many of the Mexicans attempted to flee north but were intercepted by Shields men. Rather than come to their assistance, Santa Anna continued falling back towards Churubusco. Battle of Contreras - Aftermath: The fighting at the Battle of Contreras cost Scott around 300 killed and wounded while Mexican losses numbered approximately 700 killed, 1,224 wounded, and 843 captured. Recognizing that the victory had unhinged the Mexican defenses in the area, Scott issued a flurry of orders following Valencias defeat. Among these were orders which countermanded earlier directives for Worths and Major General John Quitmans divisions to move west. Instead, these were ordered north towards San Antonio. Sending troops west into the Pedregal, Worth quickly outflanked the Mexican position and sent them reeling north. As the day progressed, American forces drove forward on both sides of the Pedregal in pursuit of the enemy. They would catch up with Santa Anna around noon at the Battle of Churubusco. Selected Source PBS: Battle of ContrerasBattle of Contreras: Official Report Battle of Contreras - Map

Kodak and Fujifilm Assignment Example | Topics and Well Written Essays - 2000 words

Kodak and Fujifilm - Assignment Example The organization has its headquarters in New York, US. George Eastman established the company in the year 1889. The organization is known for its photographic film products. The adoption of blades and razor strategy by the company led to its selling cheaper cameras in the market. The company also made huge amount of margins from its production of consumables such as films and chemicals. The company flourished during the later part of the year 1976. At that point in time, a major portion of the film sales and camera sales were commanded by the company in the US market. Fujifilm is considered as a multinational organization dealing in services such as photography and imaging services. The company is officially known as Fujifilm Holdings Corporation and has its headquarters in the Tokyo city of Japan. The company is engaged in the business of colour paper, colour photographic film, sale of digital cameras, and photofinishing equipment, etc. The approach of the company with regard to management has made the organization a strong consumer brand which is considered to have a sound technology base. The strategy of the management of the company is considered as different with regard to managing and undertaking innovation. PEST analysis is considered as an important tool to analyze the macro environment of an organization. It seeks to identify those factors that have a considerable bearing on an organization’s demand and supply levels and also on its cost structure. There are numerous advantages of PEST analysis as follows: Political: it is required by the copyright law of US that any print and subsequent release of digital images taken by photographers considered as professional cannot be released without having a copyright of release. The company has its operations in various countries and so it is of utmost importance for the company to comply with the regulations of such countries