Statue Of Liberty Translate

A symbol stands for an idea. The Statue of Liberty stands in Upper New York Bay, a universal symbol of freedom. Originally conceived as an emblem of the friendship between the people of France and the U.S. and a sign of their mutual desire for liberty, it was also meant to celebrate the abolition of slavery following the U.S. Civil War. Over the years the Statue has become much more. It is the Mother of Exiles, greeting millions of immigrants and embodying hope and opportunity for those seeking a better life in America. It stirs the desire for freedom in people all over the world. It represents the United States itself.

How was the Statue of Liberty designed to be a symbol? How have circumstances enhanced its meaning? Help clarify the nature of symbols for your students as they study the Statue of Liberty, complete research on a national symbol, and use their research to communicate a message of their own.

Ideas can also be gradually transferred to an object over time. In this way, an object can take on new, sometimes unintended meanings. As millions of immigrants found themselves welcomed to America by the Statue of Liberty, it became associated with their struggle for freedom and desire for a better life. In 1989, Chinese students demonstrating in Tiananmen Square made a model of the Statue of Liberty to symbolize their revolution. When you see the Statue of Liberty, you may simply see one of the largest statues ever built, or you may associate it with universal qualities of freedom or democracy, or you may have personal feelings about it based on your own experiences.

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If possible, give students the opportunity to explore a lesson on symbols, available on the EDSITEment-reviewed website The Metropolitan Museum of Art's Explore and Learn. If access to technology is limited, adapt the lesson for direct instruction by downloading and duplicating the image of one or both statues; then use the museum activity as a guide to your discussion.

The class is now ready to take a detailed look at the Statue, beginning with its symbol-packed design. Divide the class into five groups. Have each group look closely at one of the following images of the statue from the EDSITEment resource American Memory and record the details each group member observes:

My first goal was to see if it was possible to translate my slides. I knew my talk would be offered with simultaneous translation, but I wanted it to be easier to follow the text on the slides as well. That is, I wanted to show each block of text in the slides in both English and Spanish, like this:

I started with some sample code to record and transcribe audio, and adapted it to write audio files and transcriptions to a folder every 10 seconds. I then ran a second program (copying and pasting from the slide translation program) that would translate each 10 second block. And, when those short translations proved choppy, I made a third program that would roll up 100-second blocks of audio to re-transcribe and translate more coherently.

The 14 m tall bronze statue stands atop a 26 m pedestal and holds a palm leaf. Two smaller statues are also present around the base, but the original monument consisted of two more originally that have since been removed from the site and relocated to Statue Park. The monument was designed by Zsigmond Kisfaludi Strobl. According to Kisfaludi Strobl, the design was originally made for the memorial of Istvn Horthy and would in that role have featured a human child instead of the palm leaf that was a Soviet addition.

I pushed my way down the boarding ramp and headed straight for the statue. This was not my first visit. Many years ago, when I was still in middle school, I visited the island with my Californian cousins, who wanted to see some of the main sights of New York. At the time I was inclined to see any sort of cultural excursion as a monumentally boring waste of time. Video games were infinitely more entertaining, and I resented my family for dragging me away from my computer. Nothing I saw made much of an impression on me: not the Empire State Building, not Wall Street, not Battery Park. It was wholly unexpected, then, when I found myself entranced by the Statue of Liberty. I could not take my eyes off it. I even felt inspired. Somehow the statue had broken through the many layers of youthful apathy and juvenile ignorance to touch a hitherto unknown part of myself.

Given that Lady Liberty is one of the most quintessentially images of America, it is somewhat ironic, then, that the statue was designed and built entirely by the French, and given to us in an act of international generosity. I can think of no other major monument with such an origin.

The idea for a celebratory dedication to the United States evidently originated with douard Ren de Laboulaye, a prominent French abolitionist, who wished to celebrate the Union victory in the Civil War, and the end of American slavery. This proposal was taken up by his friend, the artist Frdric Bartholdi, who liked the idea, if only because it would have provided an indirect rebuke to the repressive regime of Napoleon III. But such projects are seldom conceived and completed on schedule; and by the time the statue was finally built, in 1885, Napoleon III had been deposed.

It was difficult enough for the cities of Brooklyn and New York (when they were formally separate) to work together to plan, fund, and execute the Brooklyn Bridge across the East River. Imagine, then, the nightmare of coordinating an international project across the Atlantic. To build the statue, Bartholdi had to personally come to the United States, scout out a good location, meet with the president (Ulysses S. Grant at the time), and then cross the young nation trying to drum up support. Batholdi also had to come up with a design. That the theme should be liberty was obvious; but freedom can take many forms. It can be a bare-chested woman leading troops into battle, la Delecroix; yet that seemed too violent or revolutionary. Instead, Bartholdi opted for a neoclassical design, staid and solemn, robed in a Roman stella (togas are for men), crowned with a diadem, and holding a torch rather than a sword.

In 1875 Bartholdi and Laboulaye set to work raising money for the statue. It was to be a long slog, combining a difficult PR campaign with a vast logistical challenge. Building material was needed, talent had to be recruited, and the public interest maintained at a high enough level to keep funds flowing. As an engineering task, the statue was daunting enough. Standing 46 meters tall, the statue had to support 91 tonnes of metal without crumpling or toppling over. The thin copper skin simply would not bear that much weight, and so Gustave Eiffel was contracted to design an internal steel skeleton. This internal work is a magnificent achievement in itself, since it could be easily assembled and disassembled, and also because Eiffel designed it in such a way as to allow the metal to expand and contract in the changing weather without cracking the skin. Were the copper exterior removed, then, New York would have her own Eiffel Tower.

The new language access law codifies and expands New York's statewide language access policy by requiring all executive State agencies that provide direct services or benefits to provide interpretation services in any language. In addition, applicable agencies must translate vital agency documents into the top 12 most commonly spoken non-English languages based on data published by the Census Bureau. These languages currently include Spanish, Chinese, Russian, Yiddish, Bengali, Korean, Haitian Creole, Italian, Arabic, Polish, French, and Urdu.

State agencies will also have the option to offer vital documents translated into up to four additional languages beyond the required 12, based on factors such as regional language access needs, the number of recently arrived immigrants who have limited English proficiency, feedback from community groups, and the populations of individuals with limited English proficiency most commonly served by different agencies. These additional languages, which will be decided by each agency in consultation with the Office of Language Access, will provide important flexibility in responding to language access needs across different agencies and throughout different areas of the state.

The State Budget set aside $2 million in funding for the establishment of the Office of Language Access, which will operate out of the Office of General Services and provide critical oversight and coordination across State agencies to ensure that the new language access law is implemented efficiently and effectively. This includes funds that are available to other State agencies to translate documents into additional languages covered under the new law.

These announcements mark a significant expansion of and improvement upon New York's existing language access policy, which has been in place through executive order since 2011. When this policy was first implemented, agencies were required to translate documents into the top six most common non-English languages, and in 2021 this was increased to 10.

The administration, which has made curbing immigration one of its top priorities, has challenged the poem before. Two years ago, senior Trump adviser Stephen Miller, in defending a proposal to favor English-speaking immigrants, argued that the poem is "not actually part of the original statue" because it was not inscribed in the base until 1903, 17 years after the monument was unveiled.

The statue was originally conceived by a Frenchman as a gift to the U.S. for abolishing slavery in 1865. But people of color have long struggled with whether the statue's promise included them. The Cleveland Gazette, a black newspaper, editorialized in 1886, during a time of state-sanctioned racial discrimination, that the statue's torch "should not be lighted until this country becomes a free one in reality."

"Liberty means that you need still to have some rules to protect your own country," she said. "Making rules about who goes in, who comes out, this is not against liberty. This is to protect the people who are living here." 17dc91bb1f