The Seawolf class is a class of nuclear-powered fast attack submarines in service with the United States Navy. The class was the intended successor to the Los Angeles class, design work began in 1983. A fleet of 29 submarines was to be built over a ten-year period, but, reduced to 12 submarines; the end of the Cold War and budget constraints led to the cancellation of any further additions to the fleet in 1995, leaving the Seawolf class limited to just three boats. This, in turn, led to the design of the smaller Virginia class; the Seawolf class cost about $3 billion per unit, making it the most expensive SSN submarine and second most expensive submarine after the French SSBN Triomphant class. The Seawolf design was intended to combat the threat of advanced Soviet ballistic missile submarines such as the Typhoon class, attack submarines such as the Akula class in a deep-ocean environment. Seawolf-class hulls are constructed from HY-100 steel, stronger than the HY-80 steel employed in previous classes, in order to withstand water pressure at greater depths.
Seawolf submarines are larger and quieter than previous Los Angeles-class submarines. The boats are able to carry up to 50 UGM-109 Tomahawk cruise missiles for attacking land and sea surface targets; the boats have extensive equipment to allow shallow water operations. The class uses the more advanced ARCI Modified AN/BSY-2 combat system, which includes a larger spherical sonar array, a wide aperture array, a new towed-array sonar; each boat is powered by a single S6W nuclear reactor. As a result of their advanced design, Seawolf submarines were much more expensive; the projected cost for 12 submarines of this class was $33.6 billion, but construction was stopped at three boats when the Cold War ended. USS Jimmy Carter is 100 feet longer than the other two boats of her class, due to the insertion of a section known as the Multi-Mission Platform which allows launch and recovery of Remotely operated underwater vehicles and Navy SEALs; the MMP may be used as an underwater splicing chamber for tapping of undersea fiber optic cables.
This role was filled by the decommissioned USS Parche. Jimmy Carter was modified for this role by General Dynamics Electric Boat at the cost of $887 million. List of submarine classes of the United States Navy List of submarines of the United States Navy List of submarine classes in service Submarines in the United States Navy Cruise missile submarine Attack submarine
John Wesley Dennis was an American illustrator, known best for fifteen children's books about horses that he created in collaboration with writer Marguerite Henry. He illustrated over 150 books in his lifetime, including Anna Sewell's Black Beauty and John Steinbeck's The Red Pony, he wrote and illustrated a few books of his own, among which are Flip and the Cows and the Morning, Tumble. Dennis was born on May 1903, in Falmouth, Massachusetts, he grew up on a farm on Cape Cod. He and his older brother Morgan both learned to draw specializing in farm animals, with preference for horses and dogs respectively. Dennis failed the US Naval Academy entrance exam and dropped out of school at age 17, he looked for work in Boston, where Morgan was a newspaper illustrator with the Boston Herald, got a similar job at the Boston American by showing some of Morgan's work as his own. He found illustration jobs including Jordan Marsh and Filene's, he did not intend to become an artist. "Most of my new friends were spending the mornings at the Boston Museum of Fine Arts drawing from plaster casts.
They wanted to be artists. They were broke." However, Morgan convinced him to try to make a living drawing horses. Dennis began by hoping to receive portrait commissions from the owners; this brought some success. He decided to further his education, traveled to France to study with artist Lowes Dalbiac Luard, an expert on horse anatomy. In 1940, Dennis married Dorothy Schiller Boggs. In 1941, he published his first book, Flip, a "fanciful story about a pony named Flip and his desire to jump the brook." His illustrations attracted author Marguerite Henry, who wrote, "I had just finished writing Justin Morgan Had a Horse, wanted the best horse artist in the world to illustrate it. So I went to the library, studied the horse books, fell in love with the work of Will James and Wesley Dennis; when I found out that Will James was dead, I sent my manuscript to Wesley Dennis." Thus began a 20-year collaboration which resulted in the publication of 15 books. In 1941, Dennis visited Warrenton, Virginia, he made it his primary residence.
Dennis was a resident of Warrenton at the time of his death in Falmouth at age 63. Falmouth was a summer residence, he had been ill for six months. He had suffered a heart attack. During 2014 Simon & Schuster initiated a reissue of "deluxe hardcover editions of 20 of Henry's novels; the books feature a uniform cover look, many include Wesley Dennis's original art, digitally refreshed." The deal was arranged by an agent for the University of Minnesota. The agent told Publisher's Weekly that Henry had "shared all royalties from the books with Dennis, unusual", that the Dennis estate will receive royalties from the new editions; some of his illustrations had been dropped from latterday paperback editions. He sold most of the originals today; the Henry–Dennis collaborations were published by Rand McNally except as noted. Justin Morgan Had a Horse, 89 pp. LCCN agr45000372 Always Reddy. LCCN 64-22279Portfolio of Horses LCCN 52-10418 – page-counts and plate-counts do not match the 1964 bookWhite Stallion of Lipizza – about the Vienna Spanish Riding SchoolSome of the books have appeared without the Dennis illustrations.
Beginning 2014 Simon & Schuster reissues a series of Marguerite Henry novels in "deluxe hardcover editions" with illustrations by Wesley Dennis, where applicable, digitally refreshed from existing reproductions. The first six volumes in the series are Henry–Dennis collaborations: King of the Wind and White Stallion. Serpent’s Credo, wirtten by George Faunce Whitcomb Flip, written by Dennis Flip and the Cows, Dennis Riders of the Gabilans, Graham M. Dean The Red Pony, John Steinbeck Holiday, Dennis Golden Sovereign, Dorothy Lyons Black Beauty, the autobiography of a horse, Anna Sewell Now Listen, Ray P. Holland Palomino and other horses, edited by Dennis Flip and the Morning, Dennis Fools Over Horses, Helen Orr Watson Lord Buff and The Silver Star, George Agnew Chamberlain Crow I Know, Dennis Cammie's Choice, Jane McIlvaine Cammie's Challenge, Jane McIlvaine A Horse Called Mystery, Marjorie Reynolds Book of Po
Wilhelm Waiblinger was a German romantic poet remembered today in connection with Friedrich Hölderlin. After he had attended Gymnasium Illustre in Stuttgart, he was a student at the seminary of Tübingen in the 1820s, when Hölderlin mentally ill, lived there as a recluse in a carpenter's house. Waiblinger, who used to visit the older poet and take him out for walks, left an account of Hölderlin's life Hölderlins Leben, Dichtung und Wahnsinn. In the late 1820s, Waiblinger left Tübingen for Italy, dying at the age of 25 in Rome, where he is buried in the Protestant Cemetery. In his short story "Im Presselschen Gartenhaus", Hermann Hesse gives a touching picture of a visit to Hölderlin by Waiblinger and the poet Eduard Mörike, both young theology students in Tübingen, like Hölderlin himself decades before. Lee Byron Jennings: "An Early German Vampire Tale: Wilhelm Waiblinger's'Olura'". In: Suevica. Beiträge zur schwäbischen Literatur- und Geistesgeschichte, Vol. 9. Stuttgart 2004, pp. 295–306. Waiblinger's 1830 essay "Hölderlin's life and madness" Hesse's 1913 story "In Pressel’s Garden-house" – PDF file
The Big Guy is a 1939 American drama crime film directed by Arthur Lubin starring Victor McLaglen and Jackie Cooper. A prison warden can either save an innocent youth condemned to die. Victor McLaglen as Warden Bill Whitlock Jackie Cooper as Jimmy Hutchins Ona Munson as Mary Whitlock Peggy Moran as Joan Lawson Edward Brophy as Dippy Jonathan Hale as Jack Lang Russell Hicks as Lawson Wallis Clark as District Attorney Alan Davis as Joe Murray Alper as Williams Edward Pawley as Buckhart George McKay as Buzz Miller Universal had been looking for a project to team Victor McLaglen and Jackie Cooper for some months; this was the script chosen. It was called No Power On Earth and it was announced in September 1939. Filming ended in November. Lubin's work on the film got him the job of Black Friday; the Big Guy on IMDb The Big Guy at BFI Review of film at Variety
The Harpsichord Concerto in D minor, BWV 1052, is a concerto for harpsichord and string orchestra by Johann Sebastian Bach. It is the first of Bach's harpsichord concertos, it has 3 movements: Allegro. Adagio. Allegro; the earliest surviving manuscript of the concerto can be dated to 1734. This version is known as BWV 1052a; the definitive version BWV 1052 was recorded by Bach himself in the autograph manuscript of all eight harpsichord concertos BWV 1052–1058, made around 1738. In the second half of the 1720s, Bach had written versions of all three movements of the concerto for two of his cantatas with obbligato organ as solo instrument: the first two movements for the sinfonia and first choral movement of Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146. In these cantata versions the orchestra was expanded by the addition of oboes. Like the other harpsichord concertos, BWV 1052 is believed to be a transcription of a lost concerto composed in Cöthen or Weimar. Beginning with Wilhelm Rust and Philipp Spitta, many scholars suggested that the original melody instrument was the violin, because of the many violinistic figurations in the solo part—string-crossing, open string techniques—all virtuosic.
Williams has speculated that the copies of the orchestral parts made in 1734 might have been used for a performance of the concerto with Carl Philipp Emanuel as soloist. There have been several reconstructions of the violin concerto. In 1976, in order to resolve playability problems in Fischer's reconstruction, Werner Breig suggested amendments based on the obbligato organ part in the cantatas and BWV 1052a; the conjecture about the violin concerto original was not accepted by Christoph Wolff, nor by Peter Wollny. In the twenty-first century, Bach scholarship has moved away from any consensus regarding a violin original. In 2016, for example, two leading Bach scholars, Christoph Wolff and Gregory Butler, both published independently conducted research that led each to conclude that the original form of BWV 1052 was an organ concerto; as Werner Breig has shown, the first harpsichord concerto Bach entered into the autograph manuscript was BWV 1058, a straightforward adaptation of the A minor violin concerto.
He abandoned the next entry BWV 1059 after only a few bars to begin setting down BWV 1052 with a far more comprehensive approach to recomposing the original than adapting the part of the melody instrument. Scoring: harpsichord solo, violin I/II, continuo The concerto has similarities with Vivaldi's virtuosic Grosso Mogul violin concerto, RV 208, which Bach had transcribed for solo organ in BWV 594, it is one of Bach's greatest concertos: in the words of Jones it "conveys a sense of huge elemental power." This mood is created in the opening sections of the two outer movements. Both start in the manner of Vivaldi with unison writing in the ritornello sections—the last movement begins as follows: Bach proceeds to juxtapose passages in the key of D minor with passages in A minor: in the first movement this concerns the first 27 bars; these somewhat abrupt changes in tonality convey the spirit of a more ancient modal type of music. In both movements the A sections are closely tied to the ritornello material, interspersed with brief episodes for the harpsichord.
The central B sections of both movements are developed and virtuosic. The B section in the first movement starts with repeated note bariolage figures: which, when they recur become virtuosic and merge into brilliant filigree semidemiquaver figures—typical of the harpsichord—in the final extended cadenza-like episode before the concluding ritornello. Throughout the first movement the harpsichord part has several episodes with "perfidia"—the same half bar semiquaver patterns repeated over a prolonged period. Both outer movements are in an A–B–A′ form: the A section of the first movement is in bars 1–62, the B section starts with the bariolage passage and lasts from bar 62 to bar 171, the A′ section lasts from bar 172 until the end. In the first movement the central section is in the keys of D E minor; as in the opening sections, the shifts between the two minor tonalities are pronounced. In the first movement Bach creates another dramatic effect by interrupting the relentless minor-key passages with statements of the ritornello theme in major keys.
Jones describes these moments of relief as providing "a sudden, unexpected shaft of light."The rhythmic thematic material of the solo harpsichord part in the third movement has similarities with the opening of the third Brandenburg Concerto. In both B sections Bach adds unexpected features: in the first movement what should be the last ritornello is interrupted by a brief perfidia episode building up to the true concluding ritornello.
Edith Susana Elisabeth Fanta was a Brazilian Antarctic researcher, best known for her work on preserving and protecting Antarctica. Fanta was born in São Paulo, Brazil in 1943, she received her PhD degrees from the University of São Paulo in the field of Zoology. Fanta undertook post-doctoral research at the Institute of Radiation and Environment in Munich, at the University of Bristol, UK, she returned to Brazil to the Fisheries Institute at São Paulo State University, before taking on a professorship at the Federal University of Paraná State in the Center of Marine Studies in 1980. She moved to the Department of Cell Biology at the UFPR. Fanta was part of the Brazilian Antarctic programme for 25 years, since its inception in 1983, she became an international leader in the Antarctic science through her research on the behaviour and morphology of Antarctic fish, publishing 58 peer-reviewed papers. She represented Brazil in many international Antarctic fora, including in the Scientific Committee on Antarctic Research Biology/ Life Sciences Standing Scientific Group and in the Commission for the Conservation of Antarctic Marine Living Resources since 1992.
For over ten years, she made valuable contributions from the early 1990s to the Antarctic Treaty System as member of the SCAR Group of Specialists on Environmental Affairs and Conservation. She served as a member of the International Polar Year Joint Committee and led a project as part of IPY, her dedication to science-based conservation and management of Antarctic marine resources led to her election as Chair of the Scientific Committee of the Commission for the Conservation of Antarctic Marine Living Resources where she served from 2005 until her death in 2008