https://caspercollege.cvlcollections.org/files/original/7d1ffc80964b8e00dd9cfdf859982659.pdf 24fc90a98fb12e3ff3feeb03db2ff31d PDF Text Text CASPER \CMP£/t COUEEE WYOMING CukLUNBC �CHALLENGE—In every academic discipline, to study, to think, to express clearly one’s knowledge and understanding in suitable written forms. �Introduction Casper College is pleased to present the first issue of Challenge, a magazine to honor excellence. As a display medium for academic endeavor, Challenge solicits superior examples of student writing from all college disciplines; our purpose is to illustrate both the breadth and depth of course work on our campus. Instructors have selected representative writing from their courses, and, though we do not include pieces from writing classes, we encourage all forms; exams, reports, essays, term papers. This first issue represents work submitted in response to the original call for papers for only one semester, fall 1986. We hope Challenge will become an annual publication, covering two semesters in each subsequent issue. Casper College Casper, Wyoming Spring, 1987 �Incidents in the Life of a Slave Girl By Nancy Torbert Course: American Literature Instructor: Carolyn Logan For this assignment each student chose a woman writer from the eighteenth or early nineteenth century, read the work, and wrote a paper that considered the following questions: Should this writer—because of her ideas or her skill as a writer—be included in the canon of American Literature? Should students of literature be as familiar with this writer as with writers usually anthologized? Do you recommend that we read this author? Why or why not? 5 �In view of these things, why are ye silent, ye free men and women of the north? Would that I had more ability! But my heart is so full, and my pen is so weak! There are noble men and women who plead for us, striving to help those who cannot help themselves. God Bless them! God give them strength and courage to go on! God bless those, everywhere who are laboring to advance the cause of humanity! Harriet Brent Jacobs (Linda Brent) Linda Brent should be included in the canon of American Literature because she is a skilled writer with excellent form and expression, because she deals with ideas of permanent and universal interest and because her writing represents an important, often quelled, chapter in our American heritage. Brent has a purpose and a cause for writing and she skillfully crafts and organizes her autobiography to create an effect, to accomplish her intent. She writes not to attract attention to herself or her suffering; “on the contrary, it would have been more pleasant to me to have been silent about my own history” (xiv). She writes instead to “arouse the women of the North to a realizing sense of the condition of two millions of women at the South, still in bondage, suffering what I suffered, and most of them far worse. I want to add my testimony to that of abler pens to convince the people of the Free States what Slavery really is” (xiv). One of the crafts Brent uses to create the desired effect is parallel structure, which gives emphasis and equality to each clause and thought. “Could you have seen that mother clinging to her child, when they fastened the irons upon his wrists; could you have heard her heart-rending groans, and seen her bloodshot eyes wander wildly from face to face, vainly pleading for mercy; could you have witnessed that scene as I saw it, you would exclaim. Slavery is damnable! (22). The repeated phrases “could you have seen,” “could you have heard,” “could you have witnessed,” implore the reader to look, to hear, to sentiently witness the horrors of slavery. Brent speaks of the inferiority of the black man and attempts to explain what makes him so. “It is the ignorance in which white men compel him to live; it is the torturing whip that lashes manhood out of him; it is the fierce bloodhounds of the south, and the scarcely less cruel human bloodhounds of the north.” (43) Incidents in the Life of a Slave Girl, by Linda Brent, is the autobiography of an incredible woman, an uneducated mulatto slave who sacrifices her principles, her values and seven years of her life in order to escape the poisonous fangs of slavery and secure freedom for her children. She is intelligent, she is strong, she is committed. “I had a women’s pride, and a mother’s love for my children. My master had power and law on his side; I had a determined will. There is might in each” (87). Linda Brent escapes, but not before spending seven years in a nine foot by seven foot by three foot attic, protected from the elements only by a thin layer of shingles. In winter she is cold; in summer the heat is unbearable; when it rains she is wet. The only air and light she receives come to her through a one inch hole, the only contact she has with her two children, who are unaware that she continues to exist. As she lies cramped and confined, she sews, she reads, she writes and she crawls on hands and knees for exercise. Her muscles ache and atrophy from lack of use, but the hope of freedom never dies. “The war of my life had begun; and though one of God’s most powerless creatures, I resolved never to be conquered” (17). Being an incredible woman with an incredible story is perhaps not criteria enough to be included in an anthology of American literature. Following a strict definition of literature proposed by Webster, the criteria includes excellence of form or expression and ideas of permanent or universal interest (304). To this I would add that an important function of American literature is to acquaint the reader with the heritage of America. Judged by this criteria. 6 �The repetition of phrases and the rhythm created by the parallel structure clarify and emphasize Brent’s thoughts and statements. Brent unifies her story and her writing with various metaphors which create controlling images. Her master, like many slaveowners, is a vile and viciou.s animal who preys on those who are defenseless and unprotected. “My master met me at every turn, reminding me that I belonged to him, and swearing by heaven and earth that he would compel me to submit to him. If I went out for a breath of fresh air, after a day of unwearied toil, his footsteps dogged me. If I knelt by my mother’s grave, his dark shadow fell on me even there.’’ (27) “No animal ever watched its prey more narrowly than he watched me’’ (37). Brent is forever hunted by the cunning master and is always attempting to elude the traps set for her. “1 knew my master’s offer was a snare, and that if 1 entered it, escape would be impossible’’ (86). Brent’s recurring pattern of snakes and snake imagery is a deliberate device, though not fictional, to arouse emotion. Just after her Initial escape, she hides in a thicket of bushes and is bitten by a poisonous reptile. “Suddenly a reptile of some kind seized my leg. I could not see what it was; I only knew it was something cold and slimy. In my fright, I struck a blow which loosened its hold, but I could not tell whether I had killed it’’ (100). In another of her attempts to escape, she is taken to a hiding place, a snakeinfested swamp. “As the light increased, I saw snake after snake crawling round us. As evening approached, the number of snakes increased so much that we were continually obliged to thrash them with sticks to keep them from crawling over us.’’ (115) “But even those large, venomous snakes were less dreadful to my imagination than the white men in that community called civilized” (116). Brent uses the effect created by this concrete snake image as a metaphor for slavery and slaveholders. “O, the serpent of Slavery has many and poisonous fangs!” (63). The treacherous vipers follow her even after her escape and are always coiled, ready to strike. She is cautious in her every step. “Hot weather brings out snakes and slaveholders, and I like one class of the venomous creatures as little as I do the other” (179). The blow Brent strikes at the reptile seizing her leg is synonymous with the blow she strikes against slavery in attempting to escape and arouse others. She is able to loosen its hold, but is unable to kill it. Brent’s most effective literary device in achieving her intent and arousing deep emotion is contrasts, which make both contrasted ideas clearer than either would have been if described by itself. In her appeals to the women of the North, she contrasts the lives of free women and slave women and often uses mother/child images. ‘O, you happy free women, contrast your New Year’s Day with that of the poor bond­ woman! With you it is a pleasant season, and the light of the day is blessed. Friendly wishes meet you everywhere, and gifts are showered upon you. Children bring their little offerings, and raise their lips for a caress. They are your own, and no hand but that of death can take them from you. But to the slave mother New Year’s day comes laden with with peculiar sorrows. She sits on her cold cabin floor, watching the children who may all be torn from her the next morning; and often does she wish that she and they might die before the day dawns. She may be an ignorant creature, degraded by the system that has brutalized her from childhood; but she has a mother’s instincts, and is capable of feeling a mother’s agonies.” (14) For the white woman, beauty is a blessing; for the black woman, beauty is a curse. “That which commands admiration in the white woman only hastens the degradation of the famale slave” (27). For the white female child, the path from �childhood to womanhood “was blooming with flowers, and overarched by a sunny sky’’ but for the black child, “the flowers and sunshine of love were not for her. She drank the cup of sin, and shame, and misery, whereof her persecuted race are compelled to drink’’ (29). Brent’s various artistic devices verify her skill as a writer. But perhaps more important are her ideas regarding her subject: the suppression and oppression of one group of human beings for the economic or egotistic advancement of another, a topic that is or should be of permanent and universal interest to all humane beings. Brent is concerned with the effects of slavery on her own people and on her white masters as well. She realizes and believes that the system is just as destructive to the white race as it is to the blacks. that it was “a great moral, social, and political blessing; a blessing to the master, and a blessing to the slave!’’ (125). Linda Brent deals with reality, with absolute truthfulness and her writing reflects an important, though hidden, quelled chapter in our American heritage Throughout our education we are taught to believe that this country was founded on the principles of freedom and equality, that all men are created equal. Slaves were beaten and left to die standing in pools of their own blood; slaves were pressed in cotton gins and left for the rats to feed upon (49); slaves were hung by their feet, a fire kindled over them from which was suspended a piece of fat pork. “As this cooked, the scalding drops of fat continually fell on the bare flesh” (46). Slave women were sexually harassed and beaten, bribed or starved into submission with “no shadow of law to protect them from insult, from violence or even from death” (26). Her children, usually fathered by her white master, were “as marketable as the pigs on the plantation” and passed “into the slavetrader’s hands as soon a.s possible and thus getting them out of their sight” (35). Children of white, free women, fathered by black men, were smothered, or sent where they are never seen by any who know their history (52). All of these atrocities were committed and permitted by law. Those who witnessed these atrocities were silent, neither condenming nor condoning, just silent. Freedom, equality, civilization—for whom? How better we might understand the present if we were given a clear, true picture of the past. Through literary devices, through form and expression of ideas, Brent succeeds in arousing fear, anger, contempt. She also succeeds in proving her skill as a writer, as a thinker, and as an historian. She, therefore, meets the criteria herein established for inclusion in the canon of American Literature. Testimony given, emotions aroused, she now pleads for help, not for herself, but for those still in bondage. She pleads for examination of a vile “I was twenty-one years in that cage of obscene birds. I can testify, from my own experience and observation, that slavery is a curse to the whites as well as to the blacks. It makes the white fathers cruel and sensual; the sons violent and licentious; it contaminates the daughters, and makes the wives wretched. Yet few slaveholders seem to be aware of the widespread moral ruin occasioned by this wicked system. Their talk is of blighted cotton crops—not of the blight on their children’s souls.’’ (53) Brent condemns the white slaveowners who “satisfy their consciences with the doctrine that God created the Africans to be slaves’’ (45). What are Africans, anyway? she asks. “Who can measure the amount of Anglo-Saxon blood coursing in the veins of American slaves?’’ (45) She also condemns those who beat, torture and murder their slaves yet drape themselves in the garb of religion each Sunday, then lay the clothing aside “till Sunday returned again’’ (50). Brent exposes even the politicians who witnessed the numerous cruelties and abominations of slavery yet stood before Congress and declared 8 �system destroying blacks and whites, north and south. “In view of these things, why are ye silent, ye free men and women of the north? Would that I had more ability! But my heart is so full, and my pen is so weak! There are noble men and women who help those who cannot help themselves. God Bless them! God give them strength and courage to go on! God bless those, everywhere who are laboring to advance the cause of humanity!” (29) Works Cited Jacobs, Harriet Brent (aka Linda Brent). Incidents in the Life of a Stave Girl. Childs, Lydia Marie, ed. New York: Harcourt Brace Jovanovich, 1973. Originally published in 1861. Webster’s New Idea! Dictionary. Massachusetts: G. & C. Merriam Company, 1978. 9 �Investigation of Kirchoff’s Current and Voltage Laws By Chris Stein Course: Electrical Concepts Instructor: Jim Best to mite atory exercise using the cathode ray tube in measurements; its objective was to make AC and mixed AC and DC measurements with the scope. Introduction: The Simpson 260 was used to make voltage and current measurements in two circuits. These values were compared with values calculated using Kirchoff’s voltage and current law. Steps used to make measurements: 1) function switch set to de. 2) range switch to high enough range 3) observe correct polarity 4) physically open circuit and place ammeter in series take care to watch meter for too large a current or wrong polarity 6) take care that no a.c component is present that will not show on the meter that could damage it 5) 10 �Procedure Data: Circuit Diagram 1: Color Code Measured Calculated Measured 'Voerr R I. 33.67mA 33.7mA 0% 1 47±5% 44.0 6.4% I2 33.67mA 33.7mA 0% 2 100±5% 100.0 0% I3 33.67mA 33.7mA 0% 3 15O±5% 150.0 0% I4 33.67mA 33.7mA 0% V, 1.5825V 1.6 V 1.1% V2 3.367V 3.3V 2.0% V3 5.0505V 5.0V 1.0% Vs lOV 9.9V 1.0% 11 ’/oerr �Circuit Diagram 2: CIRCUIT DIAGRAM 2 = Calculated Measured Voerr R I. 10.67mA 10.2mA 4.4% Ri 100±5% 100.0 0% b 10.67mA 10.2mA 4.4% R2 15O±5% 150.0 0% I3 7.333mA 7.0mA 4.5% R3 1000 ±5% 1010 1% I4 3.333mA 3.37mA 1.1% R4 2.2K±10% 2.17K 1.4% I5 7.333mA 7.0mA 4.5% 3.333mA 3.37mA 1.1% I7 10.67mA 10.2mA 4.4% Is 10.67mA 10.2mA 4.4% V, 1.067V l.OV 6.2% V2 1.6005V 1.5V 6.3% V, 7.3325V 7.2V 1.8% V4 7.3325V 7.2V 1.8% V5 lOV 9.9V 1.0% 12 Color Code Measured %err �KCL at nodes A & B Node A Calculated; I, + =7.333 + 3.333-10.67 = -0.004 Measured: I3 + I4-I2=7.0-+3.37-10.2=0.17 2.4%err Node B Calculated: Measured: 2.4%err Irlj-Is = 10.67-7.333-3.333 = .004 I7-I5-I6 = 10.2-7.0-3.37 =-0.17 KVL for 3 loops loop 1 Calculated: -lO+V.+Vj+Vj =-10+1.5825 + 3.367 + 5.0505=0.0 Measured: -9.9+V,+V2+V3=-9.9+1.6+5.5 + 5.0=0.0 loop 2 Calculated: Measured: loop 3 Calculated: Measured: -10+V, +¥, +V2=-10+1.067 + 7.3325 + 1.6005 =0.0 -9.9+V, +V,+V2=-9.9+1.0+7.2+1.5=-.2 V4-V3 = 7.3325-7.3325=0.0 ¥4-73=7.2-7.2=0.0 0% err undetermined error 0% err Information on VOM making current measurements The d.c. ammeter circuit consists of a d’Arsonual meter movement in parallel with a shunt resistor, as shown below. The purpose of the shunting resistor Rg is to control the amount of current that passes through the meter movement. The shunting resistor Rs and the meter movement form a current divider. Thus for a given d’Arsonual movement, the full scale reading of the ammeter is given by Rg. When we change the range switch on the VOM, it changes the shunt resistor to give us different current ranges, d Arsonual meter movements have specific ratings. The significance of these ratings is as follows: When the coil is carrying its rated current, the voltage drop across the coil is the rated coil voltage and the pointer is deflected full scale. The current and voltage ratings of the coil also specify the resistance of the coil, therefore indicating its effect on a circuit, i.e. a 50mV,/mA movement has a resistance of 50 ohms. Diagram below. 13 �AMMETER: d ARSCLT/AL MCNEMENT Al-IMETER TERMINALS Precautions for use of the VOM when making d.c. measurements: 1) Do not change the range setting of the range or function switches while the circuit under measurement is energized. 2) Never disconnect the test leads from the circuit under measurement while the circuit is energized. 3) Always turn the power off and discharge all the capacitors before the setting of the switches is changed, or the leads disconnected. 4) Never exceed the circuit-to-ground voltage of the instrument (1000 V max). 5) Always connect the instrument in series with the ground side of the circuit. 6) In all d.c. measurements, make certain the power to the circuit being tested has been turned off before connecting and disconnecting test leads or restoring circuit continuity. Reasons for errors in calculations and measurements 1) The calculations in the KVL and KCL data on pg. 3 contained errors due to rounding when the theoretical calculations were made. 2) All measurements contained errors due to resistor tolerance and disruption of the circuit by the VOM. 3) Any measurements made with a VOM contain operator approximation error. 14 �Suggestions for improvement of lab to minimize errors. 1) Use of a DMM instead of the VOM would give more accurate measurements and reduce operator approximations error. 2) Use of resistors of tighter tolerance (1% instead of 5 or 10%) would give values closer to theoretical. 3) Use of more significant figures would reduce rounding error. Conclusions: This experiment showed support for Kirchoff’s voltage and current laws, within experimental error, (pg. 3) Experimental errors were acknowledged and suggestions for correction were given on pg. 4. This experiment also gave us practical knowledge of the construction of circuits using actual resistors in a laboratory environment. Some groups, like ours, also used an experimenters board and learned how to construct working circuits on one. We all got more experience using the VOM that was introduced in Lab #1. The measurements should have been more accurate than the first time just because we are more experienced. I consider this experiment a success because it proved its objective and provided us with additional laboratory experience. § 15 �Math Exam Course: Theory of Arithmetic Instructor: Maryanne Marietta Directions I. 2. 3. 4. 5. 6. 7. 8. Example Choose a number; Double it: Add 4: Multiply by 5: Add 12: Multiply by 10: Subtract 320: Cross out the last two zeros! Compare the answer to the number in step 1. Why does the pattern work? From the Arithmetic Teacher, April 1985 16 29 58 62 310 322 3220 2900 29 �by Cindy Bartz The pattern works because, when you multiply the 4 added in step 3 by 5, you get 20. Then you add 12 to get 32 and multiply by 10 to get 320. Then in step 7 you subtract the 320, leaving 0. And in step 2 you double your number, and in step 4 you multiply it by 5. So you now have your number times 10. You multiply again by 10 in step 6, giving 100 times your number. Then in the final step you divide 100 times your number by 100, leaving your number plus 0. You are multiplying your number by 100 and adding 320; therefore, if you subtract 320 and divide by 100, you will get your number again. by John Bolender X 2x 2x + 4 5(2x + 4) = lOx + 20 7OX+2O + 12 = lOx + 32 10(10x + 32) = lOOx + 320 100x +320-320 = lOOx 100X - 0 By looking at the last step, we see that crossing out the last two zeros is the same as dividing by 100, so somewhere above we must have multiplied by 100. By doubling the number to start with, we get 2x. TVvo steps later we multiply by 5 and get lOx. In the next step we multiply by 10 and arrive at lOOx or our number multiplied by 100. The addition of 4 in the second step creates excess baggage which eventually adds 320 to our total. This is disposed of in the second to the last step by subtracting 320. 17 �Jamake Highwater By Amy Daley Course: Native American Literature Instructor: Jacqueline Valdez/John Meredith The assignment was to write a research paper on some facet of American Indian culture and/or literature, tying the culture to the literature as appropriate. Among the aisles and aisles of children’s books in the library, there are many stories written about Indians. The authors of the stories know their subject well. They have either worked on reservations, grown up near an Indian family or have done extensive research in the field of Native Americans. However, one author stands out above the rest. He is Jamake Highwater. He is an Indian Of Black feet/Cherokee heritage, Jamake Highwater was born in northern Montana in the year 1942. Like so many Indian families, his family was forced to move about constantly looking for work. When Jamake was nine years old, his father left his wife on the reservation and headed to Hollywood, taking Jamake with him. His father became a stuntman and Jamake remembers “spending the next few years just sitting under walnut trees in the San Fernando Valley” (Crichton 6). They made their home in the back of a pickup truck. Jamake claims that he was raised in a “very traditional” childhood (Crichton 7). During an interview, Highwater tells Sarah Crichton that where ever he and his father were, they always returned to the Blood Reservation in Canada or the Blackfeet Reservation in Montana for the “pow-wows, the sun-dances and all the other special events” (7). As a child, Highwater was aggressive with a lot 18 �of negative energy. He was very angry and hostile to non-Indians. He recalls, “the white kids would call us names, and for a long time I guess I took it. Then finally I became a real ringleader, and we’d beat the hell out of any kids who did that to us’’ (Crichton 7). This hostility was probably brought about by a mother who was “very anti-white and very racist” as Crichton puts it (7). Her bitterness grew from the fact that her parents, like so many Indians, starved to death during the Depression (Crichton 7). Crichton adds that “her rage became more severe when her eldest son was killed his second day in the Korean War” (7). By this time, alcoholism had destroyed his father. What saved Highwater from his sick father and the anger of his mother was that he had an outlet. He could write. A teacher on the reservation singled him out and, as Highwater remembers, brought him an old typewriter and demanded that he learn to use it (Crichton 7). He has been writing ever since. Jamake Highwater was forced to write his first two books about rock’n’roll music under the pen name of Jay Marks. The pen name was a product of the 5O’s and 6O’s when Highwater found that editors did not tike his name because it was too difficult to pronounce. They also rejected his pleas to write about Native America. Highwater was very frustrated, but he insists, “It’s very apparent an Indian wrote those books” (Crichton 8). He claims that this is due to his “Indian sensibility.” This is the same “Indian sensibility” that is so apparent in many works of Native American literature. In the interview he explains: It is a sensibility that includes not only a strong sense of heritage but also a purely Indian concept of reality and identity. To the Indian mentality, dead people walk and things go backward and forward in time, and these are absolutely real and vivid ideas to my head, our heads. And more than that, the Indian world is one of the few worlds where human identity is not a major issue In this society, you’re not permitted any kind of transformation. In ours, it is expected. We can even change gender if we want. (Crichton 8) The 7O’s and 8O’s have proven to be more receptive to Jamake Highwater. Editors are begging him for books, not rock’n’roll books, but books abour Native America. Anpao-An American Indian Odyssey was his first children’s book, written in 1977. It was a Newbery Honor Book, an award given to only the best in children’s literature. Scott Momaday, the Native American who probably opened the doors for other Indian writers, says, “It is a fine piece of work, truly reflective of the oral tradition and the rich heritage of Native American storytelling. Its publication ought to be considered an event of importance” (Jacket notes). The book is a collection of traditional tales from North America Indian tribes woven into one story that relates the adventures of one boy as he grows into manhood. Like Scott Momaday, Jamake Highwater has woven together the old tales with his own creativity. Anpao is Highwater’s own fictional character. The tales are from no single tribe; however, every narration comes directly from the Native American heritage. Some of the tales are very old and some of them are quite recent, referring to the experiences of the Indians since the white man invaded their country. He uses his character, Anpao, to smoothly connect all of the stories. Anpao is a brave young boy who falls in love with the beautiful Ko-ko-mik-e-is. She cannot marry him unless he has permission from the Sun. So his journey is a long one, to the house of the Sun to get his permission. Anpao journeys through boyhood and the same time through history. He also travels across the face of America, encountering the different geography and the different tribes. This is why the tales of Anpao are selected from a large body of oral history. Anpao is the son of the Sun and a human woman. The Sun is married to the Moon. The 19 �about the struggle between Amana, a mother who is trying to hold onto her culture, and Jemina, her daughter, who is trying to grow up in a white man’s world. This story is a continuation of Legend Days; therefore, we see the same style of writing. We are into the twentieth century in this book. Highwater examines how our country handled Indian resettlement. He also looks at those who could and those who could not cope with the changes of their societies. Of the three books in the cycle, this one is written in the most depressing tone. We must keep in mind that when we speak of Highwater’s books for children that we are talking about the junior high age and older, except for Moonsong Lullaby. I Wear the Morning Star is the third book of the cycle and also the latest of Highwater’s books for children. This story is centered around Sitko, who is the youngest grandchild of Amana. Growing up in the white man’s world, he struggles to fulfill his talents as an artist. He is very proud of his Indian heritage, which he has learned so much about through the ageless myths that Grandmother Amana has told him. It is in this book that we see many parallels between Sitko and the author himself. There is the very broad parallel of Sitko trying to make it as an artist in the white world and Highwater’s own struggle of making it as a writer in the white world. But, to be more specific, Highwater’s father was an alcoholic stuntman in Hollywood. Highwater also remembers the times that he spent in the San Fernando Valley. In the story, Sitko talks about his father: “He was a drunk ... When we moved to the San Fernando Valley, he got work doing stunts” (Highwater 25). Another parallel is that when Sitko’s mother moves in with a white man, the man makes Sitko change his name from Sitko Ghost Horse to Seymour Miller because “Sitko wasn’t a good name” (Highwater 69). In Jamake Highwater’s real life, he was forced to write under the pen name of Jay Marks ... a more “white” name Perhaps the most important parallel is the fact that in Highwater’s life story and in the theme centers on the union of the Sun, the Earth, and the Moon. Highwater does an excellent job with this use of words in the story. It is almost a poetic language that he has adopted for this book. Highwater’s intention of this book was for it to “become a personal journey for readers who wish to sail from one world to another” (246). Another sampling of Highwater’s talent is a book that was written for the younger child of preschool or primary age. Moonsong Lullaby, 1981, lets us see the poetic side of Jamake Highwater. This gentle poem centers around the theme that the Moon watches over the night. It is said, “the Moon sings to soothe the sleep of the Sun as she makes her path across the night sky” (Highwater Jacket). While the moon is traveling across the sky, she observes the activities of an Indian camp and the night life of the plants and animals. Photographs enhance the beauty of the words in this Indian lullaby. Legend Days is the first book of the Ghost Horse cycle, which traces the lives of three generations of a Northern Plains Indian family. In this story, eleven year old Amana is abandoned in the wilderness when the smallpox epidemic devastates her tribe. Grandfather Fox takes care of her and gives her two sacred gifts: the courage of a warrior and the prowess of a hunter. Gifts such as these were those that only men received, so she had to keep them hidden to survive. The two gifts do keep her alive as she watches her people disintegrate. In a review, Kate Flanagan points out that the book is layered with symbolism, the supernatural, spiritual richness and a portrayal of everyday life among the people of the Northern Plains (336). Holding the novel’s different layers together is the strong characterization of Amana—an inspiring heroine, full of courage, strength and life (Flanagan 336). It might also be noted at this time that the Moon is also a very important theme in this book as it is with all of Highwater’s children’s books. The second book of the Ghost Horse cycle is The Ceremony of Innocence. In this book we read 20 �fictional story, it is the teacher who encourages the boys to pursue their talents. Highwater’s teacher had supplied him with a typewriter and encouraged him to use it. In the story, Sitko’s teacher recognizes Sitko’s ability, invites him to join an Art Club, and encourages him to paint. In the writings of Jamake Highwater, there are many more similarities, themes, questions to investigate. To mention just a few: the titles of his books, the quotes in the front of each of his books, his “in memory of’s’’ in the front of his books, the unending symbolism and the unending themes. Jamake Highwater has made it in the white man’s world. Along with the children’s books. Highwater has written thirteen adult books, both fiction and non-fiction. He is a poet, a playwright and a journalist who has been published in countless magazines. As he says with a broad grin, “I’m like a kid in a candy store, I can’t say no’’ (Crichton 8)! He is a man who loves his work. The oral tradition has survived through his writing and he is happy: It’s marvelous, it’s super, I can finally write what I want to write about: Native America. Because, this is what I really know about; this is what I feel; this is what I’m at home with, this is what I’m best at. (Crichton 8) Works Cited Crichton, S. “PW Interviews Jamake Highwater.” Publisher's Weekly 6 November 1978, 6-8. Flanagan, Kate. Rev. of Legend Days, by Jamake Highwater, Horn Book 60 (1984): 336. Highwater, Jamake. Anpao, An American Indian Odyssey New York: Lippincott, 1977. ----- . I Wear The Morning Star. New York: Harper & Row, 1986. ----- . Legend Days. New York: Harper & Row, 1984. ---- -. Moonsong Lullaby. New York: Lathrop, Lee & Shepard, 1981. ---- -. The Ceremony of Innocence. New York: Harper & Row, 1985. Momaday, Scott. As quoted on jacket of Anpao, An American Indian Odyssey by Jamake Highwater. New York, 1977. 21 �In the Classroom By Paula Brown Course: Field Experience for Prospective Teachers Instructor: Charlene Davis After keeping a daily diary during your fifty hours of aiding and observing in a public school classroom, write a brief paper describing and evaluating your experience. That was the assignment for each student. “Nervous, scared, worried if I’ll do well or open my mouth and put my foot in. Excited, wondering if I’ll be able to remember names. The office is within view. Oh dear, the secretary is busy with a report of dogs on the playground. She says ‘Hi’ and asks another person to take me to Mrs. Baker’s room. The class has already entered and are all seated. Well, here goes my entrance. Relief: music is first on the list of things to do, so I have some time to visit with Mrs. Baker. She gives me a brief tour of the building and back to the classroom. I get to help mark names on reading books. Here they come, ready or not; there’s no turning back now.’’ While re-reading my first day’s impressions, I can laugh and ask myself why the nervousness. The weeks seem to have gone by so fast. I will really miss those 17 children whom I have come to know and care about, who come up to me and give me a hug, or hold my hand, or put their heads on my shoulder, or ask me how to spell a word, or would I please draw a picture for them just as I did for another. Now, instead of just a name on a reading book, each has a face and a personality. In these past weeks I have helped with phonics, math, reading, spelling, handwriting, bulletin boards; cut and pasted shingles; made broken windows, bats, ghosts, and black cats for the haunted house. I even had the opportunity to 22 �make “stone” soup. I was also given a day with the kindergarten, which, believe me, was an experience that will stay with me a long time. I believe that everyone should spend at least a few hours in a kindergarten class to gain a greater respect for the teacher who decides to teach that particular grade. I really appreciated the opportunity that I had to work with Mrs. Baker. As a teacher, she has shown me her patience with the students, her humor at the antics of some, her understanding of what a second grader is going through, and her concern when a child has a problem. The principal and faculty have made me feel at home and welcome. Grant school seems to be like one big family, with everyone concerned about the welfare of each other, as well as the children in their charge. As a practicum student, I feel that I get the best “feel” for teaching when there is co­ operation between the teacher and student. I feel that a student should not be used as an odd job person, or just to cut paper. I have thoroughly enjoyed being at Grant school and will truly miss everyone, especially the children. § 23 �Reply Letter By Robert Swanson Course: Beginning Information Processing Instructor: Lois Wright With the advent of computer technology, people who write personal and business letters have adopted new writing techniques. We are all acquainted with Publisher Clearing House’s well-known letters, “You may already be a winner, Mrs. Robinson.” As a practical application of a daily assignment, in the form letters below the student combined several files in a mailmerge procedure to create two unique letters. 24 �December 3, 1986 Mr. & Mrs. Curtis Saugstad Saugstad Farm RR # 1 Alcester, S.D. 57001 CASPER COLLEGE library rare BOOK ROOM Dear Curtis, Carolyn, & Cliff: 1 made it back to Wyoming OK on Sunday. It took me about 14 Hrs. to get here. The roads started getting bad after I left Gregory, S.D. They continued getting bad until I got out of Neb. and drove into Wyo. Then the roads started getting better. The roads were almost clear when I got to Douglas. I finally got home at four o’clock our time. I have already had comments about my haircut. I hope to use the money for getting some more underclothes and other things that I need. Thanks for eggs, money, bread, and haircut and all your encouragement and the good steak dinner on Saturday night that 1 enjoyed while I visited S.D. WITH LOVE IN CHRIST, ROBERT S. SWANSON December 3, 1986 Mr. & Mrs. Stanley Swanson Swanson Farm RR # 1 Alcester, S.D. 57001 Dear Dad and Hariette: I made it back to Wyoming OK on Sunday. It took me about 14 Hrs. to get here. The roads started getting bad after I left Gregory, S.D. They continued getting bad until I got out of Neb. and drove into Wyo. Then the roads started getting better. The roads were almost clear when I got to Douglas. I finally got home at four o’clock our time. I am wearing my jeans today in school as I am learning how to run this computer. Had a good time while staying at your house. Thank you, Hariette, for the meals and the coffee. Thanks for bluejeans and helping me with my car and all your encouragement and the Thankgiving dinner that I enjoyed while I visited S.D. WITH LOVE IN CHRIST, ROBERT S. SWANSON 25 �Lab Report By James J. Jones Course: Introduction to Digital Electronics (lab) Instructor: Joe Schaffner A technical report from an experiment in digital electronics. This report tests using transistor as a switch, an inverter, and problems associated with transistor switching. Objectives: 1. ) To operate the transistor as a switch. 2. ) To observe the inverting characteristics of a transistor. 3. ) To observe pulse parameter problems associated with transistor switching. Parts Required: 1-2N3904 NPN transistor 1-57 ohms resistor 1-5.6K ohms resistor 1-1N914 diode 1-4.7K ohms resistor 1-50 pfd disc capacitor Equipment Needed 1-dual trace oscilloscope 1-function generator 1-5V DC power supply 26 �•Vce 5vDC DISPLAY DISPLAY A •5v •2v lOv Vt IKhz ov 4V?t llGiz w -2m -5v '2m 4v 10 V % lOOlCiz ov 100 Khz ov -2v -5v After connecting the above circuit we inject a lOV P to P, IKHz squarewave at the input from the function generator, and + 5VDC for our VCC to the collector of our transistor from the 5VDC power supply. We use channel “B” of our oscilloscope to monitor the input signal. We connect channel “A” probe to the output, which is taken from the collector of our transistor. We then inject a lOV P to P lOOKHz square wave into our circuit. We then note that the output waveform is less than half of the amplitude of our input waveform and 180° out of phase. Upon insertion of the 50 pfd disc capacitor into the circuit, we note a drastic change 27 �in both our input and output wave forms. This outcome, we believe, was due to the size of the capacitor. TR (output rise time) = l msec TF (output fall time)=2 msec measured without the capacitor in the circuit TS (delay swithching) = not mentioned Conclusions: 1. ) We saw that the output waveform from our transistor was the inverse of our input waveform. We proved this by placing the positive peaks of both waveforms on the same reference line and the result was a continuous line across the oscilloscope display. The same holds true for the negative peaks of the waveforms. 2. ) The capacitor was intended to smooth the output waveform. However since we used a .OOlmf in place of a 50 pf capacitor, we encountered a sharp negative spike on our output waveform and the positive peaks of our input waveform were rounded at the leading edge. Therefore we could not get an accurate reading of our rise and fall time with the capacitor in the circuit. 28 �Women Writers: A Search for Identity Through Common Experience By Donna Nickerson Course: Modern Women Writers Instructor: Dr. Ilelon Raines As part of a take home exam, each student wrote one essay to discuss a common theme as it is handled by various writers, pulling together a minimum of three writers. The search for a common identity and common experience with other women writers appears, from the abundance of material written about, to, and on the subject of women as writers, to be an important theme to those women who attempt to use language to convey human experience to the world at large. Amy Lowell, writing about the poets Sapho, Browning and Dickinson, refers to them as sisters “of a strange, isolated little family” in her poem. “The Sisters” (1301). The feeling of isolation appears to be a common experience of women writers. Adrienne Rich discusses at length, in “When We Dead Awaken: Writing as Re-Vision,” the difficulties of being a writer who is also female. Rich, a self-defined feminist, gives voice to the isolation women writers experience in a profession controlled by males. Rich tells of how she wrote for men, for male approval, shaping her writing style around models of male approval. 29 �instincts,” that she would have become crazed (Room 1382). The obstacles Woolf recognized for sixteenth century women writers she failed to fully identify with herself publicly. By treating the obstacle of male-dominated society as primarily a problem of the past, Woolf abdicated to the male literary world a portion of her power and truth. Rich recognizes this softening of Woolf’s words (Re­ vision 2047). Alice Walker, in “In Search of Our Mother’s Gardens,” also addresses the effects of “contrary instincts,” Woolf’s term for the opposing forces of socialization and creativity (Room 1382), on black women. Walker asserts that the oppression of slavery on black women prevented their writing; that had the “contrary instincts” of this oppression not existed perhaps “crazy” black women would “have been Poets, Novelists, Essayists and Short Story Writers” (Mother’s Gardens 2376). Walker believes that the urge to create in such an oppressive atmosphere led not to great black women writers, but to a spirituality often labeled as “crazy.” Woolfe, were she alive today, would probably concur. She writes “.. .that any woman born with a great gift in the sixteenth century would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at” (Room 1382). Rich and Walker look at women’s creativity and struggle to write from slightly different perspectives. Rich approaches the difficulties of women writers from a decidedly feminist viewpoint. Walker specifically looks at the constraints imposed on black women. Even so, both use Woolf’s writing as a catalyst to pursue these two different threads of thought. And, even as these perspectives are different, they are also alike; they are about women creating art in a world dominated by white male power. Rich, Walker and Woolf appeal to women to write, to give women a true voice. Each understands that this act takes courage. shaping her writing style around models of male writing (2409). Having few women role models to turn to for affirmation of her ability and experiences in her earlier years of writing, she kept her women subjects at a comfortable distance, refusing to closely identify with them (2050). In “When We Dead Awaken,” Rich makes several references to Virginia Woolf and it is obvious that she identifies with her and what Woolf terms “contrary instincts.” Rich recognizes Woolf’s carefully phrased anger and powerlessness in the face of the many “obstacles” women writers face in creating their art (2048). Woolf, in “A Room of Our Own” and “Professions for Women,” discusses the difficulties women writers have faced. When Woolf ask.s “What is a woman?” she clearly is seeking to uncover a common identity with other women (Professions 1386). She might as easily have asked “What is a woman who writes?” for this is the question by which she seems to have been troubled. Further into “Professions for Women,” she explains the difficulty women have of speaking the truth about how they feel because of “what men will say” (1387). What we might view, as does Rich, as Woolf’s timidity in confronting male-dominated society was, in Woolf’s day, not without reason. Woolf had few role models and no “women’s movement” to support her. Even so, she recognized and appreciated the women “who have been before me, making the path smooth and regulating my steps” (Profession 1384). By Woolf’s time, writing had gained acceptance as a profession suitable for women. Women writers, however, had not gained the power necessary to fully and truthfully speak. Women’s socialization and the male definition of woman suppressed women’s truth through the written word. Woolf writes that had Shakespeare had a sister, “her gift for poetry would have been so thwarted and hindered by other people, so tortured and pulled asunder by her contrary 30 �Rich, the most obviously political of these writers, appeals to women writers to “re-name” their experiences because to continue appeasing men by mimicking their style and language will only serve to constrain and frustrate women’s creativity (Re-Vision 2052). She writes, “Re­ vision—the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction—is for women more than a chapter in cultural history: It is an act of survival” (Re-Vision 2045). Rich places this task on women in general, but particularly on women writers. No doubt there will be more written about the difficulties of being a woman and a writer. Certainly future women writers will look back at these writings of Lowell, Woolf, Rich, and Walker in an effort to find a common identity through common experience. Works Cited Lowell, Amy. “The Sisters.” The Norton Anthology of Literature by Women. Ed, Sandra M. Gilbert and Susan Gubar. New York, NY: W.W. Norton, 1985. 1300-04. Rich, Adrienne. “When We Dead Awaken: Writing as Re-Vision.” The Norton Anthology of Literature by Women. Ed. Sandra M. Gilbert and Susan Gubar. New York, NY: W.W. Norton, 1985. 2044-56. Walker, Alice. “In Search of Our Mothers’ Gardens.” The Norton Anthology of Literature by Women. Ed. Sandra M. Gilbert and Susan Gubar. New York, NY: W.W. Norton, 1985. 2374-82. Woolf, Virginia. “Shakespeare’s Sister.” from A Room of One's Own. The Norton Anthology of Literature by Women. Ed. Sandra M. Gilbert and Susan Gubar. New York, NY: W.W. Norton, 1985. 1376-83. ----- . “Professions for Women.” The Norton Anthology of Literature by Women. Ed. Sandra M. Gilbert and Susan Gubar. New York, NY: W.W. Norton, 1985. 1383-88. § 31 �Exam By Sharon L. Spawn Course: Principles of Economics I Instructor: Robert Suedes Question: Explain neo-classical theory with reference to a. all components b. the reasoning by which its advocates claim equilibrium is possible. Neo-classical theory—or the over monetarization investment theory or the Austrian theory 1) Problem: Standard of Living 2) Assumption on human behavior: 1. 2. 3. people are greedy act in self interest acquisitive (same as classical theory) 3) Proposition: Limit government and set a reserve requirement of nearly 100%. 4) Basic economic relationship: Standard of living is determined by the level of employment. 5) Economic theory: 1. six assumptions 2. I)D[ -I- SSl (Demand for labor -I- supply of labor) 32 �Agg. SS + Agg. DD (Aggregate supply + Aggregate demand) (1-3 same as classical theory) 4. Price Levels a. Qm = P (Quantity of money determines level of price) b. Gresham’s Law: Bad or paper money drives out good money c. Fischer’s Quantity theory of money: small bills circulate or turn over faster than large bills. d. Fractional reserve banking or the monetarization of debt allows for an even more rapid turnover of money than Fischer’s theory. When a bank is required to keep only a fraction of its money on hand, it can lend the rest over and over and over again. The same money is multiplied many times. It ceases to be real. It is “near money” or “book money.” This artificial stimulation and its reversal leads to the business cycle. e. Business Cycle Definition: A 7\ (change) in production, employment and income over a period of years. 3. Expansion: Period of prosperity, a race to produce more, employment up, business expands by borrowing money, production up, income up, profit up, DD is greater than SS. Upper turning point: Huge inventories become a surplus of goods, prices go down to be 33 �competitive, repayment of debt uses all capital, SS is greater than DD, profits go down, production is down. Contraction: Employment down! Prices down!!. Business stops production, money is scarce. Bankruptcies soar. Insolvent debtors are wiped out. The survivors are left to rebuild, reborrow. Trough; The surplus is eventually sold off and DD again is greater than supply. The production will be stepped up through new borrowed funds. Measurement: Agg SS - Agg DD number of years Timing: Different aspects of the economy react in different time frames—all happen at the same time Causes; External: f \ in weather, war, sunspots, etc. Internal: Conclusion: Solution: in population Since the main cause of the cycles is the monetarization of debt, and one’s ability to borrow to purchase more units of capital with money that is artificially stretched beyond its worth, if a reserve requirement was set up of nearly 100%, it would limit the government’s printing too much paper money. Limit the amount of lending to the difference of voluntary saving and hoarding. Put into effect the 100% reserve requirement. § 34 �Video Sync Stabilizer By Mike Wyckoff Course: Reseach Problems in Electronics Instructor: Miles Hecker Using the data and information acquired from his research and the results from his experiments, the student was to write a formal technical report, following the form established by the instructor. Summary A twentyfive-inch color console was purchased which had no adjustment for vertical or horizontal hold. Video movies would jump and were unstable. Directions for a Video Sync Stabilizer were found in an article. The problem was a weak and distorted vertical sync pulse. A video sync stabilizer circuit was constructed to correct this problem. A printed circuit board was used to help control noise in the circuit. One coil had to be fabricated to replace a 7-12uH coil on backorder. The power supply was built on the main board and regulates at 12 volts. Detection and regeneration of the vertical sync pulse was accomplished by a zener, comparator, and two NPN transistors along with the biasing network. An RF modulator was included and combines the video and audio portions from the VCR. Alignment was done with a volt-meter. The cost of the project was approximately forty dollars. Introduction Not long ago the video age invaded the Wyckoff family, as well as millions of others. The advantage of showing full length motion pictures at home appealed to many families. The initial cost was somewhat extensive when you consider the cost of the video recorder (VCR); however, the convenience far outweighs the cost. Video tapes must be acquired either by buying or 35 �construct the project. Other sources were used to clarify how the circuit works and what it does for the internal circuits of the television receiver. renting. In our case we purchased an RCA VHS machine which had been used by a local video club as a rental. The television (TV) connected to the video recorder was an older Sears portable. The family enjoyed watching various movies for a period of about ten months before the television developed a bad picture tube. Due to our obsession with television, it was immediately replaced with a new twentyfive-inch color console. The television purchased differed from the older one: we no longer had to adjust the vertical or horizontal hold. Technology has developed to the point where these two adjustments are made by internal circuitry. The new technology created a problem and the problem was now apparent to all who viewed the movies played on our new TV. The picture would jump rather erratically and was generally unstable. This happened to many movies, but not all. The problem was a nuisance and rendered some movies virtually unwatchable. Several manufacturing companies advertised “add-ons” for the owners of video recorders, such as video enhancers and video stabilizers. We were happy with the color and image of the movies we played; however, the unstable picture was very annoying. The average cost of the stabilizer would be around fifty dollars and was rather unimportant since many movies we liked were unstable enough we could not enjoy them. The idea of building a stabilizer from scratch was challenging. The research for the needed data was started. An article in Radio Electronics explained how to build a Video Sync Stabilizer to correct the unstable video by reinserting the needed pulses some televisions need to lock on to the picture. The following paper explains the construction of the Sync Stabilizer that is now a permanent part of my video equipment. Background In a video signal there are pulses which remain the same even as the picture changes. These pulses are known as the sync and blanking pulses. When viewing them on an oscilloscope, a person can see a short negative pulse, known as vertical blanking-interval pulses, on either end of the picture information. The pulse that causes the primary problems with our system is the vertical­ sync pulse, which is contained within the vertical­ blanking interval and is partially distorted by the copy guard procedures of the video movie companies. Bernard Grob explains why sync pulses are so important in Basic Television Principles and Servicing: It is important to remember that sync is part of the signal and, therefore, that the receiver must have enough signal to provide a good picture for good synchronization. When the signal is weak, the sync is weak also. Then noise voltages can easily interrupt the synchronization. In addition, hum in the receiver can easily affect weak sync, especially for triggering the vertical oscillator. (Bernard Grob 353) Layout There are several ways to layout the design of the project such as printed circuit board (pcb), wire punch or wire wrap. Due to the frequencies we are dealing with and the need for a very quiet circuit, the printed circuit board is the only viable method to use. As soon as the decision was made to use the printed circuit board, the plot was made The ideal way to plot the traces would be to have used Smart Work, a computer program that is capable of designing a printed circuit board overlay. I have been exposed to the program; however, the version I used fell short of performing the task the way I envisioned the circuit. The final overlay Discussion First of all a copy of the article was obtained. Radio Electronics, January 1982, “Video Sync Stabilizer” by Gene Roseth. This article contained all of the needed information to 36 �was created by pen and paper. That overlay was taken to a local business for transfer into transparency. The transparency was then used in the fabrication lab to produce the printed circuit board. (Appendix E) Comparator The next circuit contained in the project is to correct the distorted vertical sync pulse. The three main components of this circuit are two bipolar NPN transistors and a CA339 IC, a quad comparator. The zener diode D8 clamps the video containing the sync pulses to a plus five volts. Both of the bipolar transistors are biased to amplify and buffer the signal from the rest of the circuit. The comparator and bipolar transistors are given the same signal at the same time. The comparator is biased so that every time a sync pulse is received at pin five a pulse is generated from pin two. Since the circuit must know which sync pulse is showing up at the comparator R5, R6, and C2 are used as an integrator. With these components, only the vertical sync causes an output at pin 1 of the comparator. The third part of the comparator is used as a one shot multivibrator. Mr. Roseth has engineered it to have a time constant of 180uS, to match the vertical-sync pulse interval. The remaining section of the comparator is used to invert the regenerated pulse from the multivibrator. The inverted pulse is then mixed with the signal, from D6, forming a video signal with the corrected vertical-sync pulses. This video signal will be strong enough to insure the internal circuits of the television can have a signal strong enough for lock-on. (Appendix C) Procurement The next step was to procure the components. (The parts list is included within appendix D.) Problems started to arise when the local electronics suppliers informed me that the coils required would have to be ordered. After seven weeks one coil arrived; the other one had been permanently backordered. Consulting with several of the instructors at Casper College soon led to fabrication of a coil to match the value of the missing part. A form with a ferrite core was obtained from Radio Shack and a supply of twentytwo gauge magnetic wire was borrowed from Mr. Ted Cross. The task of creating the coil was greatly simplified by the use of an inductance meter. Within half an hour a coil was manufactured that would adjust from 7.2uH to 12.3uH. The coil it replaced was a Miller 23AIO5RPC that adjusted from 7 to 12uH. The finished product was bathed in epoxy to hold the coil together and soldered to the board. Circuit Description and Operation Power Supply The first circuit contained within the stabilizer is the power supply. The schematic for the power supply can be seen in appendix A. It consists of a step down transformer that steps the line voltage down to twelve volts. The incoming AC is then converted to DC by using a full bridge rectifier. The filtering circuit consists of one 470uF capacitor. A twelve-volt regulator is used to further regulate the output to the rest of the circuit. The output of the regulator is connected to a couple of capacitors to help keep noise out of the rest of the circuit. Because we placed the power supply on the same printed circuit board as the rest of the circuit, the project is easier to handle and takes a minimum amount of space. RF Modulator The final stage of the project was an RF modulator. As the name denotes, this section combines the video portion and the audio portion from the VCR and sends it to the television via channel three or four. This section could have been deleted from the project since the VCR contains an RF modulator. The RF Modulator was built to allow connection of the Sync Stabilizer to the front terminals of any VCR, which bypasses the RF section inside the recorder. The audio portion of the signal is fed into an OP amp, and the corrected video is fed into an LM1889, a television video modulator integrated 37 �circuit. A pin out is contained in appendix F. The modulator is connected to its bias circuitry and two tank circuits, one to supply a carrier frequency and the other to supply an FM audio sub-carrier. The tank circuit that tunes in the carrier consists of LI and CIO. Consulting the RCA SK Series Solid State Replacement Guide on the modulator showed that the tank connected to pin 6 and 7 serves as the channel tank, whose Adjustment allows us to select either channel three or channel four. The remaining tank is made up of L2, C7 and is connected to pin 15, the input for the sound tank of the modulator. Mr. Roseth states in his article that this tank is tuned to generate a subcarrier 4.5MHz above the video carrier. (47) The audio signal that is fed into the OP amp is amplified and sent along to a bipolar transistor. The emitter of the transistor is not used in the circuit. The base-collector junction serves as a variable capacitor in parallel with the sound tank. The output of the modulator is pin 10. Before the output reaches the jack a filter is used to filter out the lower sideband of the TV signal to insure no interference from a nearby channel. Resistor R31 is sized to match the output impedance. The original circuit is matched for seventyfive ohms; however, it may be changed to accept three hundred ohm cable by changing R31 to a three hundred ohm resistor. (Appendix B) the IC’s and that the zener diode was regulating at five volts. Mr. Roseth spelled out the alignment procedure very well in his article, and stated that it could be done with either a voltmeter or an oscilloscope Once the voltage levels were checked and pin 2 of 1C3 read seven volts, the VGR was turned on and the alignment procedures were followed according to the article Resistor R7 was adjusted until pin one of ICl read ten volts, meaning the vertical sync pulse was on its way to be mixed with the original video signal. Potentiometer R14 is used to adjust the amplitude of the signal. The adjustment was made by trial and error, and ended up being about one half a turn. The channel tank of the modulator was then adjusted to where a picture appeared on channel three of the television. The biasing pot, R25, was then adjusted until the picture was as clear as possible. Adjusting the coil in the sound tank brought the sound in. Conclusion The original project produced a stable picture when tested for the instructor; however, it was very poor quality. When the project was taken home and connected to the video system the results were quite different. A check of the coax used in the test situation revealed that connections were less than acceptable and the coax was discarded. The video sync stabilizer proved to be a worthwhile project. It is a valued part of the family entertainment center, and a conversation piece, since it was homemade. The entire project cost about forty dollars to build. Although frustrating at times, the work involved in building it proved to be quite educational. Alignment The job remaining was to connect the project to the video recorder and television. Power was applied to the sync stabilizer, prior to connection with the TV and recorder, and a quick check was made to insure that proper voltage was reaching Work Cited Grob, Bernard. Basic Television Principles and Servicing. McGraw-Hill, Inc., 1975. Roseth, Gene. “Video Sync Stabilizer” Radio Electronics, January 1982, 45 et passim. 38 �APPENDIX A 12 VOLT POWER SUPP �APPENDIX C DETECTION AND REGENERATION �APPENDIX D PARTS LIST R1 .R11------ 1 MEG OHMS R2.R15.R30------ i K OHMS R3.R5.R3.R13.Rlb.R2<j,R32------ IO K OHMS R4------ 12 K OHMS R6.R21------ 33 K OHMS R7. R14------ 2S H OHMS TRIMMER POT R9----- ,0 meg ohms RIO------ I.S MEG ohms R12.R19------ 100 K OHMS R17,R27.R2S------ 220 OHMS R1S.R2y.R31------ 75 OHMS R22.R23------ 15 K OHMS R24------- 2.2 K OHMS R25--------I K TRIMMER POT. R26--------100 OHMS CAPACITORS Cl-47uF 1 tv electrolvtic C2------ . 022uF tnv I ar C3.C10------ 75pF dioped silver mica C4 , C1 1------ . 001 uF c e r am i c C5------220uF 35v e1ec t ro1vt i c CS.CIS------ luF 25v tantalum C7----- lOOpf ceramic C3----- OluF mvlar Cy------ 22pF ceramic C1 2 , C1 3 , C1 S------ . 1 uF mv 1 a r Cl 4------ 470uF 25v electrolytic SEMICONDUCTORS IC1------ CA33y QUAD COMPARATOR IC2----- 741 OP AMP ICS----- LMlSSy VIDEO MODULATOR IC4------ 7312 TUELVE-VOLT REGULATOR <31------ 2N3yO4 <32------ 2N221 SA <33------MPSA05 DI ,D3,DF.,D7------ INyl 4 D4,D5------ 1N34A DS------ 1N751A 5.1 2ENER ER 1—BRIDGE RECTIFIER 1 A . SOV T1------ 12.GV, 300MA RS 273-1386 L1------ .071 -.0S2uH T.W. MILLER 4SA77SMPC L2 7-12uH J.W. MILLER 23A105RPC Fl 1/4AMP SAG PIGTAIL FUSE �APPENDIX D PARTS LIST Rl .R1 1------ 1 HE'3 OHMS R2.R1S.R30------ I K QHHS R3.P5.RS.R13.R11.R20.R32 IO K OHMS R4------ 12 K OHMS R6,R21------ 33 K OHMS R7. R14------ 25 f OHMS TRIMMER POT R9------10 MEG OHMS RIO------ 1 .5 MEG OHMS R1 2 . R1 9 I 0<? K OHMS R17.R27.R2S------ 220 OHMS RlS.R29.R31 75 OHMS R22.R23------ 15 K OHMS R24------- 2.2 K OHMS R25------- 1 K TRIMMER POT, R26------- 100 OHMS CAPACITORS Cl-47uF 1 Sv electrolvtic C2------ . 022uF rnV1 a r CS.CIO------ 75pF dioped silver mica C4 , C1 1------ . (j(? 1 uF c e r am i c C-S------ 220uF 35v elec trcd vt i c Ct., Cl 5------ luF 25v tantalum C7------ lOOpf ceramic CS------ .OluF mvlar C3-------22pF ceramic Cl 2,Cl 3,CIS------ luF mvlar C14------ 470uF 25v electrolytic SEMICONDUCTORS ICl------ CA339 OUAD COMPARATOR IC2----- 741 OP AMP ICS----- LM1S3? VIDEO MODULATOR IC4------ 7S12 TUELVE-VOLT REGULATOR QI------2N3904 Q2------ 2N221 9A 03 MPS AO.5 01 ,D3,D6,D7------ 1N91 4 D4,D5------ 1N34A DS------ 1N751A 5.1 ZENER BRI—BRIDGE RECTIFIER 1 A.50V T1 12.GV, 300MA RS 273-I3S6 LI .071-.0S2uH .J.U. MILLER 4SA778MPC L2------ 7-1 2uH .J . W . MILLER 23A1 05RPC Fl------ 1/4AMP SAG PIGTAIL FUSE �3 �i'lppendix F" L M11::> ■; ■ - J V i d e o 111 r;i ij i j 1 a t n r ™ 1” 1 r U111 -3 1 d i r!""V in put 2 chroma bias :3 cF’i B tank .... ‘l, ::h A tank..™::™., • 17 chroma osc out 16 chroma supply 15 B--V input i:::irir:l chroma lag 5 sound tank f-?F supply 13 c F"i r 0 m a s u b c a r r i e r 7 B 3 12 vidoo input 11 ch A output 10 cl"i F3 output � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Casper College Challenge Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Description An account of the resource This digital collection contains issues of Challenge, a publication of Casper College student writing from across the curriculum but outside of writing-specific courses. Issues of the publication date from 1987 to 1991 and 1993 to 1996. Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Casper College Language A language of the resource ENG Identifier An unambiguous reference to the resource within a given context CCA 04.ii.1996.01_Challenge Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print publication Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1987 Challenge Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Date Created Date of creation of the resource. 1987 Description An account of the resource 1987 issue of Challenge, a publication of Casper College student writing from across the curriculum but outside of writing-specific courses. Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Casper College Language A language of the resource ENG Is Part Of A related resource in which the described resource is physically or logically included. Casper College Challenge, CCA 04.ii.1996.01 WyCaC US. Casper College Archives and Special Collections. Identifier An unambiguous reference to the resource within a given context CCA 04.ii.1996.01_Challenge_1987 Format The file format, physical medium, or dimensions of the resource PDF