Fort Pillow Attack Essays - Riverine Warfare,

Fort Pillow Attack THE GRAND FABRICATION It is almost as difficult to find consistent information about the incident at Fort Pillow as it is to determine the moral significance of its outcome. Scholars disagree about exactly what transpired on April 12, 1864 at Fort Pillow, when General Nathan Bedford Forrest captured the fort with his 1,500 troops and claimed numerous Union lives in the process (Wyeth 250). It became an issue of propaganda for the Union, and as a result the facts were grossly distorted. After close examination it is clear that the ?Fort Pillow Massacre_ (as it became known by abolitionists) was nothing of the sort. The 1,500 troops under the command of General Nathan Bedford Forrest acted as men and as soldiers in their capture of Fort Pillow. It is first necessary to understand what happened in the battle before any judgment can be made. A careful study performed by Dr. John Wyeth revealed the following information: from April 9-11, 1864, troops under the command of Ben McCulloch, Tyree Harris Bell, and Brig. General James Chalmers marched non-stop to Fort Pillow to begin their assault under the command of General Nathan Bedford Forrest. Confederate sharpshooters claimed the lives of several key Union officers during the morning assault on the fort. The losses included the commanding officer Major Loinel F. Booth, and his second in command shortly after that. These losses created a complete breakdown of order and leadership among the Union troops within the fort. (251) During the morning engagement, the gun boat the New Era was continually attempting to shell the Confederate forces from the Mississippi, but with minimal success. The Union forces fought back heartily until around one o?clock in the afternoon, when both sides slowed down. Around that time the New Era steamed out of range to cool its weapons. It had fired a total of 282 rounds, and its supplies were almost totally exhausted. During this hiatus in the firing, while Confederate troops waited for supplies that would arrive around three o?clock, Forrestwas injured when his horse fell on him after being mortaily wounded (252). When the supplies arrived, Confederate troops under a flag of truce delivered a message from Forrest that said, ?My men have received a fresh supply of ammunition, and from their present position can easily assault and capture the fort,_ (253). Forrest demanded ?the unconditional surrender of the garrison,_ promising that you shall be treated as prisoners of war_ ( 253). This agreement was refused by Major William F. Bradford using the name of Major Booth, and Forrest was left with no option but to attack (Long & Long 484). Without a word, Forrest rode to his post, and a bugle call began the charge. The soldiers stormed the fort under the cover of sharpshooter fire. The Union spent their rounds on the charging mass, and the second wave was to all intents and purposes a ?turkey shoot._ As hordes of soldiers came over the wall, a considerable number of Union lives were lost to point blank fire, an action that was deemed murder by the northern press. (255) However, it must not be forgotten that those Union troops who died were in the process of reloading their rifles. Even knowing that they were severely outnumbered, they had demanded the fight (Henry 255). By this point most of the Union officers in the fort had been killed, and the remaining troops fled the fort toward the river where they had provisions waiting . There was also a plan for the New Era to shell the Confederate troops in the fort with canister, but the shelling never happened(. Confederate troops were waiting at the bottom of the fort to prevent access to the supplies by the Union forces. With the Union flag still flying upon the fort and Union forces still firing on the run, Confederate troops claimed many more lives on the river bank. It was reported by Colonel FIRST NAME Barteau that they made a wild, crazy, scattering fight. They acted like a crowd of drunken men. They would at one moment yield and throw down their guns, and then would rush again to arms, seize their guns and renew

Congugation of Jeter in French

Congugation of Jeter in French   Jeter  is one of two verbs that means to throw in French, and conjugation of this common verb can be tricky for students to learn. But this stem-changing verb, like lancer (which means the same thing), is a very useful one to know. Youll use this verb to talk about sports and to describe everyday activities. Present, Future, Imperfect The first step in any French verb conjugation is to identify the stem and in this case, it is  jet -. Thats very important here because  jeter  is a  stem-changing verb. In the conjugations, you will notice that some forms use a double T while others retain the single letter from the infinitive form. Subject Present Future Imperfect je jette jetterai jetais tu jettes jetteras jetais il jette jettera jetait nous jetons jetterons jetions vous jetez jetterez jetiez ils jettent jetteront jetaient A series of infinitive endings are added to the stem to match  the subject pronoun  with the proper tense. For instance: je  jette   I throw  nous  jetterons.  Ã‚  We will throw   Present and Past Participles The  present participle  of  jeter  is formed with an s: jai jetà ©   I threwnous avons jetà ©.   We threw Subjunctive, Conditional, and Other Conjugations As you become more proficient in French, you may also need to know some of these tenses.  The subjunctive verb mood implies that theres a question to the verbs action. The conditional does not guarantee it either because the action is dependent on conditions. Youll probably only find the passà © composà © and the imperfect subjunctive when reading French. Subject Subjunctive Conditional Pass Simple Imperfect Subjunctive je jette jetterais jetai jetasse tu jettes jetterais jetas jetasses il jette jetterait jeta jett nous jetions jetterions jetmes jetassions vous jetiez jetteriez jettes jetassiez ils jettent jetteraient jetrent jetassent In the imperative verb form, skip the subject pronoun because its implied in the verb. For these short exclamations, use jette instead of tu jette. Imperative (tu) jette (nous) jetons (vous) jetez ​​

Olympia, Edouard Manet Essay Example | Topics and Well Written Essays - 500 words

Olympia, Edouard Manet - Essay Example While the initial attempt with â€Å"Starry Night† received harsh critique on the bizarre aspect of his painting, van Gogh managed to justify â€Å"Starry Night Over the Rhone† with logical elements of texture and color fashioned to project the expressionist’s rich astronomical influence and perspective with the nocturnal theme of the work. Van Gogh is primarily drawn to the attractive contrasts emerging between the natural light of the stars and the gaseous luminescence radiating via man-made lamps. In particular, he is profoundly caught with the beautiful pattern the ‘Big Dipper’ makes with the rest of the constellation. Based on this, one may observe an apparent connection between darkness and the mental struggle, which van Gogh tends to exhibit with intensity, yet the well-balanced sparks of the European river in equilibrium with the sky creates symbolism for appreciation of the wonderful state of gloom. Besides fascination at the concept of blen ding lights from different dimensions as viewed from Arles with ample reference to the ‘Big Dipper’ or the ‘Great Bear’, by other name, van Gogh may be recognized to possess extended interest on astronomical geometry which is largely depicted by the manner the stars are spatially distributed so as to cast the night to its lovely degree or at least to the standard of van Gogh’s intellectual design. How mundane tasks and hard-work of training dance are carried out prior to the scene in which the moment of dance becomes an object of pure delight.

Observation of Participational Cinema in Action Essay

Observation of Participational Cinema in Action - Essay Example Dramatic films are generally shot from a third person 'voyeur' perspective, which allows the audience to observe the unfolding events from a distance. In order to accomplish this state of awareness and acceptance from scientific films, researchers spend a great deal of time with their subject population prior to shooting any footage at all. This is meant to encourage the indigenous community to ignore the filmmaker completely and to return to their normal everyday activities. However, this idealized approach - the 'invisibility' of the camera and it's director - raises new ethical, technical, and artistic issues. The foremost argument against this style of filming lies in defining between 'research' film and 'ethnographic' film: the parameter's of the first ideally contain an undisturbed recording of environmental behavior (which can be used to deduce or extrapolate information); the latter classification is designated by it's editing, which is chosen be the filmmaker to create a narrative. Thus, as MacDougall notes, the fallacy of the all observing camera eye is itself misleading, for the camera is ultimately directed by the filmmaker's choice and/or opportunity. The camera essentially decided what small section of reality is recorded. Along similar lines, the goal of a director's self-effacement from the project is a further removal from reality: many of the filmed communities are remote and isolated to pretend that the director's physical presence has absolutely no effect on the subjects (and a feedback effect on the project itself) is ludicrous. Along this principle, subjects reactions t o cameras depends on their level of familiarity with the media itself. Filming Live with the Herds (1972), MacDougall's silent film camera became accepted by the natives on the premise that he was shooting all of the time (and would therefore present an accurate overall account); when he brings out a still camera near the end of his sojourn, his subjects automatically stuck photogenic poses (MacDougall, 1973) A Ghana director named Braun, discovered a similar effect while shooting footage in his childhood village during carnival time: when a girl noticed him shooting from a rooftop, she began to perform. She grew angry when the camera's attention no longer focused on her, leading Braun's narrative to hypothesize about the power relationship between the camera and its subjects (Pink). Cerezo, Martinez and Ranera, three anthropologists recording African workers in Spain, showed some of their footage to their subjects. Because they had access to television, the workers objected to their own images as being ugly and impoverished, which has resulted in the anthropological argument that visual footage cannot be taken without the express consent of the subjects (Pink). Yet MacDougall takes this argument one step further. In requesting permission to film a community while simultaneously denying them any information to the direction of the film of footage that has been shot, the director "withholds the openness" he requires from his subjects. While this may be rooted in the director's fear of influencing the community's behavior, it also denies him the input of the community information which may prove inaccessible any other way (MacDougall, 1973

Paper on Drugs in Media - The Wall Essay Example | Topics and Well Written Essays - 1500 words

Paper on Drugs in Media - The Wall - Essay Example Death, bloodshed, loss of mutual trust and frailty of life plagued human existence to such an extent that common people developed an escapist approach from their human existence. Compared to the adults, sensitive minds of young generation were affected to a greater extent. On one hand they wised to enjoy a healthy and jovial social life but their hopes and aspirations were repeatedly obstructed by utilitarian approach of the modern society. Finally, in search of their dreams and aspirations, which were strictly forbidden by the society, they chose to take refuge amidst nihilistic world of drugs. Apart from several socio-political aspects, increasing rate of drug abuse has been one of the most primary concerns for the late 20th and early 21st century world. Though backdrop of the entire situation was prepared since end of the Second World War, Western social discourse witnessed devastating effect of drug abuse since 1980s onwards. At the same time, technological empowerment provided extra boost to media when it came to highlighting the evil effects of drug over young generation. Films, televisions broadcasting, advertisements, literature, painting – almost all forms of Art provided considerable amount of focus over the habit of drug abuse among young people. Governance of various Western nations also expressed their concern over such self-destructive obsession. They also came up with several types of administrative policies to control the habit of drug abuse among young people but in reality, none of those steps proved to be effective. Main reason behind such failure was that the policies, though were aimed at restraining youths from being addicted to drugs, were focused over solving the problem superficially, whereas root of the problem went deeper into the core of Western social existence. The Wall, a famous British musical film, has pondered over the essential issues that have played the most important part in orienting post modern youth

Hydrotherapy for Post-Cerebrovascular Accident (CVA) Patient

Hydrotherapy for Post-Cerebrovascular Accident (CVA) Patient Hydrotherapy, in its broadest term, is the use of any one of the varying forms of water (i.e. liquid, ice or steam) to facilitate either a specific treatment, or to aid with overall health promotion (Mooventhan Nivethitha, 2014). One systematic review (Geytenbeek, 2002) looked at some of the available literature regarding the effectiveness of various hydrotherapy treatments. The review found that the majority of the research available was focused primarily on musculoskeletal conditions and concluded there was little research that was pertinent to the use of hydrotherapy in the specific treatment of neurological pathologies. However, since this systematic review was published there have been numerous pieces of research that do have a primary focus on the benefits of liquid-based hydrotherapy interventions for the treatment of neurological disorders. This literature review will aim to evaluate the current available evidence, with a specific focus being on the effectiveness of those hy drotherapeutic interventions that have the purpose of improving balance, quality of life and gait re-education in post-cerebrovascular accident (CVA) patients. The term CVA would be more commonly recognised as a Stroke and it can be medically defined as an interruption of the blood supply to a specific area of the brain (WHO, 2017). The region of cerebral tissue that has been affected by this interruption will largely dictate both the severity of the CVA and the symptoms that are then suffered by the patient. Water-based interventions have been used for hundreds of years for both pain relief and to treat numerous pathologies. It was Vincent Priessnitz however, who is credited as the founder of modern hydrotherapy after opening the first hydropathy clinic in Grà ¤fenberg, Czech Republic in 1826 (Metcalfe, 1898). Since then a greater understanding of the effects of hydrotherapy has been developed, in particular the numerous physiological changes that can occur during submersion in water. For example, submersion up to the sternal notch is now known to cause an increase in cardiac output and stroke volume, which can then further increase along side a rise in the water temperature (Grady, 2013). With this in mind the search strategy for this literature review was to include the terms cerebrovascular accident, CVA and stroke, and then also hydrotherapy, aquatic therapy and water based therapy with a date limitation set to only include research published since 2008. The search was conducted using the databases AMED, CINAHL, Medline and Medline with full text and returned 51 results when searching for linked full text only. There were several duplicate journals in the results and those remaining included various different types of research from across the hierarchy of evidence, ranging from case studies to randomised control trials. Seven journals were selected from the search results as the only publications that specifically focused on hydrotherapy interventions for the treatment of post-CVA patients (see Appendix A) and this literature review will therefore seek to critically evaluate these and summarise any common findings. In order to successfully validate a hypothesis it is important that the research clearly identifies which hydrotherapeutic intervention is being tested and also the control intervention that is being used for comparison. Three of the seven journals that were selected (Noh et al., 2008; Tripp Krakow, 2014; Park et al., 2016) used Halliwick Therapy as their primary intervention and then land-based physiotherapeutic programmes as the control group. The Halliwick concept was initially designed to help teach disabled children how to swim and is a ten-point programme that has a heavy focus on mental adjustment and body control within the water (Gresswell, 2015). This initial concept has then been further developed into Halliwick Aquatic Therapy, which has a holistic approach to neurorehabilitation that uses the support provided by the water to increase confidence in the patient and therefore also increase their participation in the exercise programme. The exercises themselves are designed to improve postural control and reduce muscle stiffness, with the overall aim to facilitate motor re-learning that can then be translated to on-land functional tasks (Weber-Nowakowska et al., 2011). This specificity of Halliwick Therapy, with regards to functional rehabilitation for neurological disorders, makes it ideally suited as a therapeutic intervention in such cases, however, only one of the papers listed above (Tripp Krakow, 2014) applied a specific functional outcome measure to their results. Another hydrotherapy technique that was used in one of the reviewed papers (Cappadocia et al., 2016) is known as the Bad Ragaz Ring Method. This utilises ring shaped floating devices that are typically placed around the patients neck, pelvis and peripheral joints, such as elbows and knees. The therapist is then able to fix their own position and use the peripheral limbs as levers to facilitate the patients trunk muscles and to encourage increased range of movement in the peripheral joints (Dutton, 2012). Unlike Halliwick Therapy this method does not have a focus on the transference of any benefits gained into more functional tasks. Instead it uses proprioceptive neuromuscular facilitation (PNF) techniques to enhance the patients active and passive range of movement and this can then hopefully be transferred into a more functional neuromuscular pattern of movement.

Lamb to the Slaughter and The Speckled Band Essay -- English Literatur

Both Lamb to the Slaughter and The Speckled Band Share some of the characteristics of murder mysteries. Explain the similarities and differences between the two stories And say which of the two you find more compelling. Arthur Conan Doyle, author of "The Speckled Band," wrote his story in 1892. Roald Dahl, author of "Lamb to the Slaughter," wrote his story in 1954. Straightaway there is a definite difference in the stories; one was written 62 years after the other. This major time gap will obviously affect the way they were written. I will take this into account in this essay. "The Speckled Band" is a typical murder mystery, involving an eccentric doctor and a cunning detective. "Lamb to the Slaughter" is about an impulsive murder of a man by his wife, when he tells her that he is leaving her. "Lamb to the Slaughter" begins with a happy, heart-warming scene of Mary Maloney sat waiting for her husband to return from work. "The room was warm and clean, the curtains drawn, the two table lamps alight." It tells the reader how in love she is, and she seems peaceful and contented as she sews. It appears like domestic bliss. It seems extremely unlikely for that home to be the scene of a murder, as it appears to be so tranquil. As the murder is at the beginning of the story, it leaves the reader in suspense - will the detective catch Mary? Or will she get away with it? It is different to traditional detective stories, because they usually do not reveal whom the murderer is until the very end, which also keeps the reader in suspense but using a different technique. "The Speckled Band" is written in first-person narrative and in the past tense. This gives the reader a more realistic impression of the sto... ...ory anyway. The language in "The Speckled Band" is archaic, compared to the modern, colloquial language used by Dahl. Conan Doyle uses words such as 'defray' and 'fain,' words which are definitely not used today and are not recognised in our vocabulary. The descriptions are long and drawn out, compared to the brief and to the point ones Dahl uses. "Lamb to the Slaughter" is not stereotypical of any particular genre, but is different altogether, in a league of it's own. The theme of the plot is also lighter and in places more jovial than Conan Doyle's, and there are a few instances where we can laugh at Dahl's ironic situations. "Lamb to the Slaughter" is a much more appealing story to me, as it is shorter and easy to understand. Much of the language used by Conan Doyle is too archaic for the younger generation to understand and take an interest in.