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Sergeant Major John Ryson, Corporal James Pierson, Corporal Parker

為了解決civil war captain am的問題，作者Endrody, Laszlo 這樣論述：

My home was in Hungary before the war. I came to the United States in 1947 and settled in Ohio. I had an uncle who lived there. I joined the army as soon as I was old enough to enlist. The Korean War was going on at the time. I studied for my citizenship while in the service and became a U.S. citize

n. When I was discharged, I was a sergeant first class. I shipped out from the West Coast and sailed on tramp ships all over the world. When I became a captain, I sailed in the Pacific Ocean, Japan, Korea, South China Sea, Philippines, Hong Kong, Vietman, Sinapore, and the Gulf of Siam. I also becam

e a pilot in the Panama Canal. I went back to sea where I worked six months on and six months off. During my six months off, I ranched in Utah raising horses, cattle, and sheep. While I was at sea, my mother managed my ranch and personal affairs. At sea, I had a lot of free time. When the weather wa

s good I spent my time writing stories. I started doing this while I was working in Panama too. My stories were mostly written about the Civil War and events that happened after the war had ended. All my writing was in pure English. Now in retirement, I am trying to rewrite them and have them publis

hed. I have written over 28 books over the years and I hope you will enjoy them.

civil war captain am進入發燒排行的影片

美國川普政府軍文關係(2017-2021)

為了解決civil war captain am的問題，作者陳明宏 這樣論述：

當美國川普總統於 2020 年 1 月 20 日卸任時，許多關注美國軍文關係的人都深感寬慰。儘管文人對軍隊的控制深植於美國憲法，但歷史見證了川普政府有意識或無意識地破壞了文人統制。一方面，川普以軍隊為政治支柱，稱一些指揮官為「我的將軍」，然而，另一方面，五角大廈卻被發現拖延了川普從全球戰場撤軍的計畫。高級軍官遵從命令，沒有任何不服從的跡象。但是，他們的影響力已經超出了合理範圍，從而導致文人統制搖搖欲墜的機制及嚴重的透明度與問責問題。 川普政府的軍文關係問題可以從四個方面分析：總統個人，人員，程序和政治化。首先，川普隨性的領導風格，以「推特政策」和「有線電視專家建議」為特徵，使他

的政府步履維艱。其次，川普過分依賴現任和新近退休的軍官來填補通常留給文職官員的關鍵政治角色，這種人事安排反映了川普堅持對他個人而不是憲法的忠誠，造成了軍文關係的嚴重失衡。第三，文職官員職位空缺和監督程序薄弱，導致國防部長的文人角色在國防決策過程中黯然失色。第四，川普無視美國傳統軍文準則，迴避對軍隊的監督和問責。他在軍隊面前多次發表黨派講話，反對他的政治對手，甚至鼓勵軍事上的不服從。川普這些獨特的態度助長了軍文關係的整體政治化。 川普為了短期政治利益而打破了許多禁忌措施，似乎沒有為此付出即時或昂貴的代價，反而給予未來的總統和其他政府官員尋求類似的短期政治權宜的動機。對美國軍文關係的傷害比讓

國防部恢復到理想狀態的時間還要更長。

The Rescue

為了解決civil war captain am的問題，作者Conrad, Joseph/ World Literature (CON) 這樣論述：

Much of the novel is a commentary on imperialism and gender roles, and is not plot driven. Most of the book takes place on Captain Tom Lingard's brig, Lightning or on other boats at sea around Malaysia, near the Indian Ocean. At the beginning of the novel, Lingard and his crew are traveling to th

e Malay Archipelago to help a friend take back his land in a fight amongst two Malay tribes. While in the waters his crew hears a loud sound, then sees the water foaming. A few moments later they see a small boat, and then hear a man, Mr. Carter, call out to them and asks to be allowed on board Ling

ard's brig. Carter passes on a letter, which somewhat explains where a yacht is stranded and begs for assistance. Although Lingard is not heading that way, and he does not know the exact location of the yacht, he agrees to help, and the spend the next chapter looking for the stranded yacht. Once the

y find it, Lingard and his first mate, Shaw have a discussion, "'This is the entrance to the place where we are going, ' he said. Shaw stared, round-eyed. 'I thought you came here on account of this here yacht, ' he stammered, surprised. 'Ah. The yacht, ' said Lingard, musingly, keeping his eyes on

the break in the coast. 'The yacht-' He stamped his foot suddenly. 'I would give all I am worth and throw in a few days of life into the bargain if I could get her off and away before to-night'". Here, readers are shown that Lingard was not completely honest with Carter, the yacht just happened to b

e in the same place that Lingard was already headed to and Lingard really had no intentions of finding the stranded yacht. Now, Lingard is at The Shore of Refuge, but has yet to go on to the yacht, although he can make out figures on the yacht, two men and a woman. On the shore, readers are introduc

ed to Hassim and Immada, two Wajo natives, who have been waiting for Lingard's arrrival. The text now reverts to the past, and readers are shown how Hassim and Lingard met: Hassim watched Lingard as he went on land to refill his water, when the Papuan (leader of the Malay tribe) threw a spear toward

s Lingard, to which Lingard's men retaliated, starting a fight between the natives and Lingard's men. Once the natives were dead, Lingard went back to his brig, and then later met with Hassim, the leader of the Waja traders. Hassim and two others came on board Lingard's brig. They talk, mostly about

Lingard's home country, and before the Wajo leave, Hassim asks Lingard to visit him in his country. Next readers are shown Lingard's reflection of that story, showing the importance that Hassim has in Lingard's life. This is a transition back to the present, with Lingard traveling to visit the Wajo

tribe. With another storm about break, Lingard stays on board his brig, but another man from the Wajo tribe, Jaffir, comes aboard his vessel to warn Lingard of the civil war that played out between the Malay tribes. The next chapter begins by framing the narrative as a history, "A traveller visitin

g Wajo to-day man, if he deserves the confidence of the common people, hear the traditional account of the last civil war, together with the legend of a chief and his sister...". The remainder of the chapter is Lingard's account of that civil war. Readers are thrown back to Lingard being on the stra

nded yacht, where he meets Mrs. Travers, who will become his love interest, and the men Mr. Travers and Mr. D'Alcacer. Mr. Travers openly objects to Lingard being on the yacht. D'Alcacer and Mrs. Travers have taken a liking to him. Mr. Travers and Lingard argue. Lingard's Wago friends Hassim and Imm

ada come on board the yacht and point out that Lingard left them waiting on the shore. Lingard recognizes Mrs. Travers as a woman during a discussion between the Wajo's and the other yacht members. Immada is scrutinized both because of her gender and race; Mrs. Travers sees her quite differently tha

n British girls, even asking "How does she live?". Lingard tells them that she

我的惡/善：對彌爾頓筆下革命英雄的善惡漸變演繹之詮釋

為了解決civil war captain am的問題，作者德瑞克墨菲 這樣論述：

彌爾頓的史詩巨著《失樂園》（Paradise Lost）並沒有落入文學理論的俗套， 而是引發了一場持續三百多年的爭論，即：彌爾頓筆下的撒旦到底是不是故事中的英雄人物，不論是出於偶然還是主觀意願。這部史詩的背景是《聖經》伊甸園的故事，其核心主題與這個故事一樣，都是關於”誘惑”。在《失樂園》中，撒旦對亞當和夏娃的惡意誘惑似乎證明瞭他的邪惡，但同時，我們也會對他在這一冒險行動中所展示出的英雄情懷產生認同感。許多西方的批評家認為這正是《失樂園》的魅力所在，他們的觀點是彌爾頓筆下的撒旦應該是被唾棄的人物。而另一方面，有些人則認為這種傳統的解讀是中世紀的落後思想，即：人們應當服從權威和已繼承的智慧，並嚴

格地控制自己 的想法和熱情。而且他們認為這種解讀完全違背了當代社會所宣導的自由寬容和浮士德價值觀。這篇論文首先將探討對《失樂園》的傳統解讀，以及它所引發的反應。我會闡述彌爾頓的作品所體現的西方文化中的道德反轉：從一開始把”撒旦”奉為政治革命的象徵性人物，到後來批判為人性墮落的典型。分析了文學理論和大眾在”政治認同”角度對撒旦這個人物的評價的變化之後，我將對”後現代思想”和”存在主義”著作與《失樂園》進行比較性閱讀，例如《撒旦的現實意義》（對自由的強烈渴望帶來焦慮，並需要行動）。撒旦的認同危機可以分為三個主要階段 ：在被異化的危機中形成了主觀意識 、對權貴話語權的反抗，以及最終沒能免除對自己的定

罪。這篇論文的目的是展示現代思想家們對”邪惡”定義的普遍否定，而這種否定是與人類的自由和創造力的源頭相矛盾的（這種否定會導致自由和創造邊的消亡）。此外，我還將闡述：對所謂”邪惡現象”的沉默是怎樣導致和延續社會不公，以及少數族裔的邊緣化。