The best of the scripts provided Tony Hancock with a brilliant foil for his comic genius.
Introduction The Gungywamp Complex in Groton, Connecticut contains house foundations, colonial roads, and historic stone walls. Researchers, archaeologists, and historians are in general agreement about the historic origins of these features.
A strong Native American presence within the area dating back thousands of years is likewise agreed upon by all the researchers. The Native American utilization of several rockshelters within the complex is well attested to by the archaeological evidence.
These stone structures have been the subject of numerous theories as to their origins, date of construction and purpose. These theories ranged from those based on archaeological evidence and scientific argument to those based on wild speculation.
These theories have been often repeated and cited but rarely subjected to scientific review and analysis. The theories can be grouped into two broad categories. The first group contains theories that offer various utilitarian historical explanations for the structures.
The second group focuses on Native American ceremonial explanations for the features.
This article is a scientific analysis, review, and critic of both groups of theories. Each theory is evaluated to determine the soundness of its evidence, plausibility of its hypothesis, and tested to see if it withstands basic scientific inquiry. Through this process the theories with merit can be sorted from those without.
East side near northern end of South Complex, as shown on site map. Each socket was a inch deep depression packed with small rocks, cobbles and rubble.
The SS tend to be shorter and smaller at each end of the rows; the taller cluster more toward the center of each row. This is unconfirmed by the author. This disclosed that a single layer of cobbles had been laid directly on sandy, orange loess. Several stones in the north row were pulled out by vandals.
These stones were painted orange on the bottoms to discourage further vandalism. But the example Warner used shows the standing stones with their broadsides all facing outward and abutted right next to each other. This does not at all bear any resemblance to the rows of standing stones at Gungywamp.
In the same issue of the Stonewatch Newsletter, Paulette Buchanan briefly mentions another variant of this theory Buchanan Buchanan provided a detail explanation of the theory in a subsequent article.
The name of this type of stone wall construction is called coping and dyking. This type of construction makes a very stable and durable wall. There are several significant problems with this statement. First and foremost, Buchanan misunderstood the Scotish terms dry stane dyke, coping and dyking.
The term dyking simple refers to the act of building a dry masonry stone wall.
Garner offers the following remarks on the subject of coping, copestone, cope: Firstly they add considerable weight to the wall, weight which is specially vital to stablise the lighter stones in the upper half.
Secondly, they act as throughstones and must make good contact with both sides [both sides refers to a double wide wall].
The ideal copestone is fairly thin and flat and is placed upright on the wall. In this way more stones, and therefore more weight, can be placed in a given length. Copestones should add about 9 inches mm to the height, bringing the wall up to the specified 4 feet 6 inches 1.
In support of the idea of vertical bracing stones, Buchanan offered two illustrations from a British BTCV website page page is no longer available.
Both illustrations came from Dry Stone Walling: A Practical Handbook Brooks and Adcock and appear on page and The first illustration showed stones place in vertical position, one row on top of another. On the right side a single vertical stone goes from the bottom of the first row to the top of the second row.
Closer examination of the illustration shows it is top view of a stone wall and the stones extending through the wall are in a horizontal position not a vertical position. According to the Handbook, this illustration shows how to properly lay the foundation for a stone wall in a trench in the ground.Short story - The 20th century: In the first half of the 20th century the appeal of the short story continued to grow.
Literally hundreds of writers—including, as it seems, nearly every major dramatist, poet, and novelist—published thousands of excellent stories. William Faulkner suggested that writers often try their hand at poetry, find it too difficult, go on to the next most demanding. Sheikha A. is from Pakistan and United Arab Emirates.
Her work appears in over literary venues, both print and online, and several anthologies by different presses. Here is a classic collection from one of America’s greatest authors. Though these short stories have universal appeal, they are intensely local in setting.
X.J. Kennedy & Dana Gioia developed Literature: An Introduction to Fiction, Poetry, Drama, and Writing, Thirteenth Edition with two major goals in mind: to introduce college students to the appreciation and experience of literature in its major forms and to develop the student’s ability to think.
In Barn Burning by William Faulkner we have the theme of loyalty, conflict, power, control, authority, justice and renewal. Taken from his Selected Short Stories collection the story is narrated in the third person by an unnamed narrator and from the beginning of the story it becomes clear to the reader that Faulkner is exploring the theme of loyalty and conflict.
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