Margaret Brown, known by her friends as Maggie, but after her death as The Unsinkable Molly Brown
Answer:
See the explanation below.
Explanation:
According to me, if we use Military history to learn about leadership and study the commander's mind then it will be the more constructive approach towards the subject. We can keep our focus on military affairs which have large impact on our society.
Military history as a discipline record the armed conflict in the history of humanity and tries to assess it's impact over economies, societies, culture, etc. which in result lead to changes or development in local and international affairs. It also help us to study about military strategy adopted by each side and help in assessing how these tactics and technologies have changed with time, for example, it tries to explain that how warfare led to the development of weapon and with time how emerging technologies have shaped these weapons.
Answer:
Donato Bramante
Explanation:
The so-called Tempietto (Italian: 'small temple') is a small commemorative tomb (martyrium) built by Donato Bramante, possibly as early as 1502, in the courtyard of San Pietro in Montorio.
Answer:
The correct answer is:
<em>The document called the Mayflower Compact was named after the boat on which the Puritans sailed to New England.</em>
Explanation:
This document is considered to be the first governed document of the Plymouth colony.
On the Mayflower ship, there were Puritans who were religiously persecuted by King James of England.
<em>There were around 100 passengers on the ship and most of them were Puritans.</em>
Answer:
Langston Hughes was one of the most prolific writers of Harlem Renaissance era. Hughes’s works are best known for the sense of black pride they convey and Hughes’s implantation of jazz into his poetry. In 1926, Hughes wrote the critically acclaimed essay, “The Negro Artist and the Racial Mountain” for The Nation magazine. In this essay, Hughes scolds artists who shy away from their racial identity to satisfy fearful Negros and white audiences. Hughes’s message to white audiences recognizes their interest in black art for means of stereotypical entertainment. Some of Hughes’s most powerful poems, including “I, Too” and “Freedom,” serve as keen evidence of the blasphemous behavior of Negro artists and white audiences of his time.In “The Negro Artist and the Racial Mountain,” Hughes speaks of a young Negro poet who has proclaimed he does not want to be an African-American poet, but instead, just a poet. Hughes associates this comment with the Negro poet meaning he would rather be a white poet and a whiter person. Nina Baym cites the evidence of Hughes’s outspoken protest on this matter, stating, “Early and late, Hughes’s poems demanded that African Americans be acknowledged as owners of the culture they gave to the United States and as fully enfranchised American citizens” (Baym 2027).
Explanation:
