USS Eisenhower Collision Essay -- U.S. Military

On the morning of August 29, 1988, USS Dwight D. Eisenhower was returning to her homeport in Norfolk after conducting a six-month deployment in the Mediterranean Sea. She had performed extremely well in exercises and was set to receive the Battle â€Å"E.† The carrier had recently taken on approximately 500 Tigers in Bermuda, joining their parents for the final leg of the voyage. Also, the Secretary of the Navy was aboard that morning, and had been present on the bridge prior to his departure at 0807. 14 minutes later, at 0821 according to the deck log, the Eisenhower struck the Spanish bulk carrier Urduliz, which was anchored in a designated anchorage area, â€Å"A,† in berth â€Å"Z.† As stated above, the Eisenhower had not been in Hampton Roads in six months. While deployed in the Mediterranean, the Entrance Reach Channel was narrowed and moved slightly northward on March 30th, 1988.The crew of the Eisenhower was informed of the changes, but had yet to navigate the channel in its new configuration until the morning of August 29th. The track that the Eisenhower was to follow led along the northern edge of the previous configuration of the channel, which should have put her 400 yards off the anchored Urduliz. That morning, visibility was at least 5 miles, and the bridge watch was aware of the Urduliz for at least 30 minutes prior to the collision. However, the Eisenhower was off track the according to radar fixes between 0810 and 0817, during which time no visual fixes were taken. The reason for the lack of the more accurate visual fixes was that when the new buoys were placed to delineate the reconfigured channel, they were quite literally few and far between. Such placement made it extremely difficult to take visual fixes. The two key ... ...orks Cited Dennison, Patrick J.. "A Case Study of the USS Dwight D Eisenhower Collision and its Implications." Defense Technologies Information Center. 25 Jan 1994. http://www.dtic.mil/cgi-bin/GetTRDoc?Location=U2&doc=GetTRDoc.pdf&AD=ADA274926 (accessed Mar 23, 2012). Evans, Mark L.. "Dwight D. Eisenhower." Naval Historical Center. 27 Sep 2006. http://www.history.navy.mil/danfs/d6/cvn69.htmhttp://www.history.navy.mil/danfs/d6/cvn69.htm (accessed Mar 23, 2012). Kolstad, James L.. "NTSB Safety Recommendation M-90-1 through -7." National Transportation Safety Board. 22 Feb 1990. http://www.ntsb.gov/doclib/recletters/1990/m90_1_7.pdf (accessed Mar 23, 2012). Kolstad, James L.. "NTSB Safety Recommendation M-90-8." National Transportation Safety Administration. 22 Feb 1990. http://www.ntsb.gov/doclib/recletters/1990/m90_8.pdf (accessed Mar 23, 2012).

Marianna Moore “Poetry” Essay

While reading this poem, at first it was difficult to completely understand what is happening or what is exactly is being told. I decided to break down sentence by sentence to make it easier and it helped bring out the poems true colors. â€Å"I too dislike it: there are things that are important beyond all this fiddle†. After reading this segment it points out to me that our speaker shares that she too doesn’t like it referring to the reader that they must not like it too since majority of people do not. The question is why does she say it and not say poetry. â€Å"Reading it, however with a perfect contempt for it, one discovers it after all, a place the genuine†. This tells me that the speaker explains that reading poetry with perfect understanding is hard and confusing, but its achievable to find a place inside your self that can appreciate it. â€Å"Hands that can grasp, eyes that can dilate, hair that can rise if it must, these things are important because a high sounding interpretation can be put upon them but because they are useful†. This specific passage explains to me that the speaker is telling the author that poetry can be so powerful and meaningful with the right keen hands to fully grasp it, and the right eyes that can see past it and find the meaning as well as the hairs on yourself that will tense up from the message of the poem and its way of creation. She also states its important cause with these abilities it is vital and important because they are useful not just for poetry but for other things. â€Å"When they become so derivative as to become unintelligible, the same thing may be said for all of us, that we do not admire what we cannot understand†. This tells me that its true that for people sometimes when we don’t understand something, it becomes unimportant to us because we don’t have that drive or push to make us understand it since its to hard or to confusing. The author is saying that for us, many do not understand poetry making us give up on it since we don’t full grasp the true understanding of it. â€Å"The bat holding on upside down or in quest of something to eat, elephants pushing, a wild horse taking a roll, a tireless wolf under a tree, the immovable critic twitching his skin like a horse that feel a flea, the baseball fan, the statistician† . This creates imagery in the readers head by giving examples of what the author is trying to convey and creates images in ones head. Its relating to how these examples are hard to understand but make sense in a way once you dig deep enough and find the answer to it. â€Å"Nor is it valid to discriminate against â€Å"business documents and school books†; This part shows me that even though we hate books and documents the purpose of it is to teach us something, so instead of hating it since its hard to understand, take time to see its purpose of making us only smarter. â€Å"All these phenomena are important. One must make a distinction however: when dragged into prominence by half poets, the result is not poetry, nor till the poets among us can be literalists of the imagination†. The structure of this creates the message to me that all phenomena in things are important but its hard to see at first, and it takes a close eye to see this distinction. By addressing that dragging half poets into prominence the result is not poetry, and neither till the poets among us can be literalists of the imagination pin points that all poets can create poetry but the good kinds are the ones with imagination and a voice to it. It doesn’t have to have this deeper meaning to it but has to be genuine to the poet and have something real to them. â€Å"Above for inspection, â€Å"imaginary gardens with real toads in them shall we have it. † This creates images in the readers head and creates that sense of imagery by giving it direction on how anything can be imaginative but adding reality to it can be worthwhile and she be taken for accounted for. â€Å"In the meantime, if you demand on the one hand, the raw material of poetry in all its rawness and that which is on the other hand genuine, you are interested in poetry. † The ending to this poem stands out to me the most because this part says that even raw poetry can be good, and having that rawness as a good thing can make it genuine since anything can be poetry but it has to be genuine. The speaker address the reader by saying if you can appreciate rawness in all its power, then you can appreciate poetry in all its rawness.

Biography of Elizabeth Barrett Browning, Poet and Activist

Elizabeth Barrett Browning may be the perfect example of the transient power of fame. In the mid-19th century, Browning was one of the most famous and influential writers of her time; writers such as Emily Dickinson and Edgar Allen Poe cited her influence on their own work. At one point, she was even a serious candidate for Poet Laureate of the United States despite the fact that she lived in Italy for the last few decades of her life. Her poems are still vibrantly alive in the modern age, including her most famous works, Sonnet 43 (aka How Do I Love Thee?) and the long, lush narrative poem Aurora Leigh, considered an important proto-feminist work. Fast Facts: Elizabeth Barrett Browning Full Name: Elizabeth Barrett Moulton BarrettBorn: March 6, 1806 in Durham, EnglandDied: June 29, 1861 in Florence, ItalyParents: Edward Barrett Moulton Barrett and Mary Graham ClarkeSpouse:  Robert BrowningChildren: Robert Wiedeman Barrett BrowningLiterary Movement: RomanticismMajor Works: The Seraphim (1838), Sonnet 43 (1844; 1850 [revised]), Aurora Leigh (1856)Famous Quote: I belong to a family of West Indian slaveholders, and if I believed in curses, I should be afraid.Legacy: Browning was an accomplished intellectual and activist at a time when women were still discouraged from engaging in such pursuits. She was an innovative poet who chose subjects that were unusual for the time and constantly—and successfully—broke the rules of poetry. Early Years Born in Durham, England, in 1806, Browning was by all accounts a very happy child, enjoying her life at the family’s country house in Worcestershire. Educated at home, Browning began writing poetry at the age of four, and read books far beyond her age. When she was just 14 years old, her father privately published a collection of her poetry to be distributed to the rest of the family, and her mother kept almost all of her early work, which has been preserved for history. In 1821, when Browning was 15 years old, she fell ill with a mysterious affliction that caused her intense pain in her head and back, heart palpitations, and exhaustion. Doctors at the time were mystified, but many modern physicians suspect Browning suffered from hypokalemic periodic paralysis (HKPP), a genetic condition that causes potassium levels in the blood to drop. Browning began taking laudanum, a tincture of opium, to treat her symptoms. Engraved portrait of young Elizabeth Barrett Browning, British poet. Kean Collection / Getty Images After two of her brothers passed away in 1840, Browning fell into a deep depression, but as her health temporarily improved she began working industriously, and the poet John Kenyon (patron of her future husband Robert Browning) began to introduce her to literary society. Browning published her first collection of adult work in 1838, and launched a prolific period of her career, publishing her collection Poems in 1844 as well as several well-received works of literary criticism. The collection rocketed her to literary fame. Writing and Poetry Her work inspired writer Robert Browning, who had experienced early success with his own poetry but whose career had faded, to write to Elizabeth, and their mutual acquaintance John Kenyon arranged a meeting in 1845. Up to this point Elizabeth Browning’s productivity had been in decline, but the romance rekindled her creativity and she produced many of her most famous poems while secretly courting Browning. The secrecy was necessary because she knew her father would not approve of a man six years her junior. Indeed, after their marriage, her father disinherited her. Their courtship inspired many of the sonnets that would eventually appear in Sonnets From the Portuguese, considered to be one of the most accomplished collections of sonnets in history. The collection included her most famous work, Sonnet 43, which begins with the famous line How do I love thee? Let me count the ways. She included her romantic poems at the urging of her husband, and their popularity secured her position as an important poet. The Brownings moved to Italy, where Elizabeth remained almost continuously for the rest of her life. Italy’s climate and Robert’s attentions improved her health, and in 1849 she gave birth to their son Robert, nicknamed Pen, at the age of 43. The Brownings in the Gondola City, c1925. Robert Browning and Elizabeth Barrett Browning. From Cassells Romance of Famous Lives, Volume 3 by Harold Wheeler.   Print Collector / Getty Images In 1856, Browning published the long narrative poem Aurora Leigh, which she described as a novel in verse telling the life story of the titular woman from her own point of view. The long work of blank verse was very successful and reflected much of Browning’s own experience as a woman in a time when the earliest ideas of feminism were just beginning to enter the public consciousness. Browning was a restless writer, constantly innovating and breaking with conventions. Her subjects ranged far beyond the typical romantic and historic subjects then considered appropriate, delving into philosophical, personal, and political topics. She played with style and format as well; in her poem The Seraphim, two angels engage in a complex dialog when they leave heaven to witness Christ’s crucifixion, both a subject and a format that was unusual and innovative for the time. Activism Browning believed that poetry should not be simply an ornamental art, but should act as both a record of the times and an investigation into them. Her early work, especially the 1826 An Essay on Mind, argued that poetry should be used to effect political change. Browning’s poetry dealt with issues such as the evils of child labor and the poor conditions of workers in general (The Cry of the Children) and the horrors of slavery (The Runaway Slave at Pilgrim’s Point). In the latter poem, Browning condemns both religion and government for their role in supporting slavery, a radical position to take at the time of the poem’s publication in 1850. Browning infused her work with philosophical and religious debates, and was a strong advocate for equal rights for women, a theme explored in great detail in Aurora Leigh. Much of her work addressed specific issues of the time, and the unifying theme of her activism is the fight for greater representation, rights, and protections for the poor and the powerless, including women, who had limited legal rights, no direct political power, and who were often denied an education due to the conviction that their proper role was in the raising of a family and the keeping of a home. As a result, Browning’s reputation was revived long after her death as she came to be seen as a groundbreaking feminist whose work was cited by activists like Susan B. Anthony as influential. Death and Legacy Browning’s health began to decline again in 1860 while the couple was living in Rome. They returned to Florence in 1861 in the hope that she would grow stronger there, but she grew increasingly weak and in terrible pain. She died on June 29th, in her husband’s arms. Robert Browning reported that her final word was beautiful. Browning’s fame and reputation declined after her death as her romantic style fell out of fashion. However, her influence remained great among poets and other writers who looked to her innovations and structural precision for inspiration. As writing and poetry increasingly became acceptable tools for social commentary and activism, Browning’s fame was reestablished as her work was reinterpreted through a prism of feminism and activism. Today she is remembered as an immensely talented writer who broke ground in the poetic form and was a trailblazer in terms of advocating the written word as a tool for societal change. Memorable Quotes â€Å"How do I love thee? Let me count the ways.I love thee to the depth and breadth and heightMy soul can reach, when feeling out of sightFor the ends of Being and ideal Grace.†(Sonnet 43) â€Å"Of writing many books there is no end;And I who have written much in prose and verseFor others uses, will write now for mine,—Will write my story for my better self,As when you paint your portrait for a friend,Who keeps it in a drawer and looks at itLong after he has ceased to love you, justTo hold together what he was and is.†(Aurora Leigh) â€Å"Whatevers lost, it first was won.†(De Profundis) Sources â€Å"Elizabeth Barrett Browning.† Wikipedia, Wikimedia Foundation, 6 Aug. 2019, en.wikipedia.org/wiki/Elizabeth_Barrett_Browning.â€Å"Elizabeth Barrett Browning.† Poetry Foundation, Poetry Foundation, www.poetryfoundation.org/poets/elizabeth-barrett-browning.â€Å"Elizabeth Barrett Brownings Illness Deciphered after 150 Years.† EurekAlert!, 19 Dec. 2011, www.eurekalert.org/pub_releases/2011-12/ps-ebb121911.php.Flood, Alison. â€Å"Elizabeth Barrett Brownings Five Best Poems.† The Guardian, Guardian News and Media, 6 Mar. 2014, www.theguardian.com/books/2014/mar/06/elizabeth-browning-five-best-poems.â€Å"Elizabeth Barrett Browning: Social and Political Issues.† The British Library, The British Library, 12 Feb. 2014, www.bl.uk/romantics-and-victorians/articles/elizabeth-barrett-browning-social-and-political-issues.