text:
churches in fiction
A. S. Byatt's church in Sixties London
June 9, 2020 July 22, 2020 peterwebsterLeave a comment
[The latest post in my series on clergy and churches in twentieth century English fiction. Here, in the third of four posts, I look at the third novel in the 'Frederica Quartet' by A.S. Byatt].
If we know nothing else about the religious life of the early Sixties, we know it to have been a time of experiment. It is possible to overstress the uniqueness of the time, to misremember nostalgically, or (on the other hand) to trace all our current ills back to it. But though the roots of the intellectual turmoil went deep into the past, there was clearly a sense that many things in doctrine, morality and church life that had been thought immutable were in flux all at once; a general sense of unsettlement. One reaction to this imagined crisis was to experiment: with new forms of ministry outside the traditional parish; with new secular ideas; with new ways of communicating. A.S. Byatt's 1996 novel Babel Tower, which begins in London in the autumn of 1964, dwells on all of these.
In the crypt of the church of St Simeon, not far from King's Cross, there is an experiment in new ministry. Like so many of London's churches, St Simeon's was damaged by German bombing during the Blitz. Some of these churches were rebuilt, others demolished, a few left in ruins as memorials. Some, though intact, were no longer needed as the populations they used to serve had left the city, and became homes for alternative ministries. The originally vast space of St Simeon's was rebuilt on a rather smaller scale within its original walls. Its surviving Victorian glass is not so much reconstructed as remixed, 'abstract, yet suggestive', with storks and doves, giraffes and leopards, in 'rivers of grass-green and blood-red, and hummocks of burned amber'; planks of the Ark; Christ's hand breaking bread at Emmaus (chapter 1). The simple gaudy piety of the old glass is transformed, a bricolage now of the blackened shards deposited in the aisles; the symbolism is hard to avoid. (It is one of several ruined churches in English fiction, some of which I wrote about before.)
Image: Flickr (https://www.flickr.com/photos/nreijmersdal/), CC BY 2.0
No longer a parish church, St Simeon's is home to the Listeners, the model for which is clearly the Samaritans, set up in the crypt of St Stephen's Walbrook (in the City of London) in 1953. In a plywood booth the Listeners take phone calls from the desperate and the vexatious. One of them is Daniel Orton, no longer a parish priest in Yorkshire after suffering a breakdown following the death of his wife (in Still Life, the second of the quartet). Daniel (who shall have his own post in this series) simply listens, and coaxes his callers to talk; there is suggestion, but little direction. In the ruins of the old, a newer, humbler church listens and does not pontificate.
One of the other Listeners – their director, in fact – is Adelbert Holly, canon of St Paul's, writer on theology and psychology, counsellor and 'sexual therapist', described by his publisher as 'a daring and a subtle theologian'. His first book, Within God Without God has made his publisher a good deal of money, arguing in its 'riddling and witty way' that Christians must abandon their idea of God as the 'Old Man Up There'. Instead, God may be found in every cell of the body, 'the inherent Intelligence in the first protozoa clinging together in the primal broth.' Canon Holly has much in common with the bishop of Woolwich and his Honest to God (1963) and has appeared on the television supporting it, and him. Daniel is not sure what separates such ideas from pantheism, and wonders whether the 'Canon would shrivel if he were obliged to follow his own reasoning, his own metaphors, outside the walls, so to speak, of the Church, the singing, the ritual, the imposed duties.' (chapter 1)
But Holly's panentheism (which is perhaps what it is closest to, or perhaps the thought of Teilhard de Chardin) is not abstract, but very immediate to him, bodily and sensual, a matter of sex and of death. He is a founder member of a group called Psychoanalysts in Christ, and author of another, even more controversial book, Our Passions Christ's Passion. One of the Listeners suggests that the 'modern Church' gives the impression that the subject of sex is what bothers it most. (The Church of England did indeed spend a good deal of time in the Sixties thinking, and disagreeing, about sex, heterosexual and homosexual. It was also a period of Christian flirtation with psychology, and the two movements were connected, although historians have not yet explored the connection all that much) 'The Church has always been about sex, dear' Holly replies, gleefully: 'that's what the problem is.' In denying the sexual impulse and trying to eradicate it, people become obsessed with it, he thinks. 'That's why current moves to be more accepting and celebratory about our sexuality are so exciting'.
But is religion not really about God, and the prospect of death, he is asked? Yes indeed, Holly continues: 'the germ cell is immortal but the sexually divided individual is doomed, it is sex that brought death into the world.' And suffering too – to inflict and to bear it – is at the heart of Holly's gospel, of a cruel God who tortured His Son and of a suffering Christ, battered body and blood spilt, pain and degradation. It is on these lines that Holly speaks for the defence in the obscenity trial that forms the centrepiece of the novel. But the subtlety that his publisher values is a liability in the court room. 'You have lost me, Canon, I fear', says the judge; 'I can understand your individual sentences, but your general drift I find hard to follow.' Holly's flights into obscurity try the patience of both judge and jury (chapter 20).
For all the attention that has been paid to the religious ideas of the 1960s, historians have neglected the means by which those ideas spread – the history of religious publishing. And there was certainly a market for economical editions of religious writing in the late 1950s and early 1960s. Letters and Papers from Prison, through which most English readers first encountered the martyred Dietrich Bonhoeffer, appeared in the Fontanta paperback series in 1959, and went through an impression a year for some years; John Robinson's Honest to God was in the similar series from the SCM Press. In chapter 4, we see the office of Rupert Parrott, Canon Holly's editor, and his books are on display, with Op Art covers, spirals, in black and white or blood-red and orange; they are 'elegant, and evidence of energy'. (And self-consciously modern, as I've observed elsewhere). The firm of Bowers and Eden is run by an 'old-style socialist' who thinks religion nonsensical, unworthy of attention. But Parrott – and Honest to God – has persuaded him that there is a market in the ferment: 'much more extreme stuff than [Honest to God], much sexier, literally, sex and religion', the new youth cultures, studies of 'charisma', the death of God. The conventional ways in which people were prepared to live even without believing are no longer available, Parrott observes. 'We're moving into a period of moral ferment, moral realignment, fruitful chaos, people want to know what's going on.'
Part of that moral realignment was in the relationship of creativity and the law; the 1959 Obscene Publications Act, the 'trial' of Lady Chatterley, and the ending of theatre censorship in 1968. The established Church played important parts in all these developments, since it was on Christian foundations that the whole justification of censorship had rested. Holly is present at the meeting of solicitors and barristers to plan the defence of Bowers and Eden and of Babbletower. John Robinson had appeared at the Chatterley trial in 1960 for the defence, making him 'a stumbling-block and a cause of offence' in the eyes of the archbishop of Canterbury, Geoffrey Fisher. 'There was a bishop in the Chatterley case' says the silk representing Bowers and Eden; 'Got rather mangled. Said the book promulgated marriage. Got himself reprimanded by the Archbish, I hear… … Not a good precedent on balance.' Holly thinks he can find a better bishop for the job, 'a radio Bishop with a large following', but it is decided against (chapter 18).
But at least one bishop does appear in the trial of Babbletower, but for the prosecution. Though the episode is not often noted (overshadowed at it is by Robinson and Chatterley), David Sheppard, later bishop of Liverpool, but at the time a priest-cum-social worker in east London, appeared as a witness in the 1967 trial of Last Exit to Brooklyn by Hubert Selby Jr. And it is words very much like Sheppard's that Byatt gives to the bishop Humphrey Swan, 'thin and sad and bespectacled and insubstantial', suffragan of a 'difficult' part of Birmingham. Had the bishop been depraved and corrupted by Babbletower, (the test in the law)? 'I must answer yes. I am a worse man, a sicker soul, for having read that book. I shall take time, I shall need effort, to recover from the experience.'
As with the earlier novels in the series (see earlier posts on The Virgin in the Garden, and Still Life), Babel Tower teems with religious themes and with clergy through which they are examined. All of them are faced with the challenge of the new: intellectually, pastorally, aesthetically. In Holly and Swan, Byatt shows us some of the paths out of the predicament.
If you've enjoyed this post, why not support the blog on Patreon? For only £2 a month, get advance access to new writing, and unlimited access to the archive.
censorship, literature, religion, culture and the artschurches in fiction, clergy in British fiction
Perfectibility and grace in the New Town
May 26, 2020 June 2, 2020 peterwebsterLeave a comment
The novel next in line in my series on fictional clergy, and the churches they work in, is a relative rarity. 'Few indeed are the novels set in the new churches … built after 1945, or in warm and well-lit buildings with every chair full.' My words, from a piece for the Church Times a couple of years ago, and these fictional churches are few indeed, but there are at least some. One such church appears in Angus Wilson's 1964 novel Late Call.
Wilson's novel is one of the tension between old and new, 'progressive' and traditional, dramatised through the mutual incomprehension of three generations of the same family. And the setting is important: Carshall, a fictional post-war New Town somewhere in England. The two churches in the novel, and the two clergymen found in them, are not at all central to the plot. But the two pairings, of oldness and newness in their different ways, are part of the framing of the novel's central theme.
Take the two churches, one in the New Town centre, and the other in the historic old town. The church in Old Carshall sits serenely by the village green and the stone cross, the timbered houses and the preserved ducking stool. The only concession to the twentieth century is a window, showing the tommies and nurses of the First World War. It is in these village churches that one of the characters finds 'such a real sense of order and tradition' in their worship (chapter 5). Wilson tells us little more of it, and does not need to.
With time on her hands, the novel's main character Sylvia shops and wanders in the New Town, taking in the self-conscious gestures of its architecture (chapter 4). The public library is well set out, clean, lit by large glass windows. And the church of St Saviour too, like the library and the bowling alley too, is light and simple inside, lit with a 'lovely sky-blue light' by its windows of thin slotted glass. In fact, apart from the long thin silver crucifix 'you'd hardly know it for a church' so much as a lecture hall, with wooden chairs with tie-on cushions in a jade green cloth. In the atrium there are racks of pamphlets with clever, eye-catching photographs on their covers.
Bush Fair shopping centre in Harlow. From the J. R. James Archive (Flickr), CC BY-NC 2.0
Outside in the town centure the gestures are more explicit. There is a fountain with mechanical metal arms; a twisted bronze sculpture called the 'Watcher', 'difficult and modern'; a mural in pink and lilac, of the naked young in bucolic freedom, by some 'name' artist the Corporation had sought out. And St Saviour's is quite a famous 'modern' church, she understands, with its 'odd metal steeple more like a piece of children's Meccano and the funny slots in the side of the building'; it is its strangeness that draws her inside into its simplicity and quiet.
We never meet the Reverend Mr Marchant, rector of St Saviour's, though he is the kind of man that the pragmatic and progressive folk of the New Town appreciate (chapter 5). He is controversial, we are to understand, a preacher from whom one never hears 'any of this dry-as-dust theological stuff'. His piety is much more this-worldly, upsetting the grammar school people with his sermon on the eleven-plus. And to the church on Easter Sunday come 'women in smart hats and men in their best lounge suits… everyone was dressed up to the nines'; it looks even more like a meeting room than when empty.
But Mr Marchant has slipped a disc, and the parish must accept whoever the archdeacon can supply to preach at short notice. And the substitute, Mr Carpenter, is far from what the neat and ostentatious congregation expect. Very old, with a long red nose and a dirty-looking beard, he seems like 'some bedraggled, mangy old goat'. And his voice is one that reduces the flighty young to fits of stifled giggles: first strange, trembling and drawn out, then 'the refined squeak of an Edinburgh Judy in a Punch and Judy show'. But grotesque though he appears, it is his words that provoke consternation; no gospel of good works from this holy fool. To be a 'bustling, hustling busybody – that's not life, or no more life than the frugal ant or the hoppitty flea…. Good works'll not save your soul alive… This Grace, Lord, impart!'
But this is no Calvinistic straitjacket; there is much one can do to meet God. 'Go out to mind who you are. Go out, not into the busy clamour of getting and spending, not even into the soothing clamour of good works. No, go out into the dreadful silence, the dark nothingness… then indeed may the Lord send the light of his face to shine upon you, then indeed may you be visited by that Grace which will save your soul alive.'
While the busy headmaster is apoplectic at such 'vicious nonsense' – this 'barbaric doctrine' of grace – and resolves to inform the church authorities, it is his mother Sylvia who alone troubles to thank the old man: 'I shan't forget what you said.' 'Ah' he replies; 'it's all old stuff, I'm afraid.' Into the sleek project of human perfectibility that the New Town represents, Wilson intrudes an older, more troublesome, more exacting faith.
If you've enjoyed this post, why not support the blog on Patreon?
architecture, literature, religion, culture and the artschurches in fiction, clergy in British fiction
The disappearing church in English fiction
August 25, 2018 July 22, 2020 peterwebsterLeave a comment
[A feature piece commissioned by the Church Times, and first published in the edition of 27 July 2018. It is republished here by kind permission of the Editor.]
BY DEFINITION, writers of fiction must take the raw materials of life as they observe it, and modify, disguise, distort, invert and amplify those materials as they create new stories. But when interviewed, most authors try to resist any simple reading of this or that character as based on a real person.
Buildings, too, take on new lives in the stories we read. Outside the particular genre of science fiction, the buildings we are invited to see, and into which we can step, must necessarily be a fusion of aspects of real buildings in particular places. They would be unintelligible if not.
Sometimes the author sets their story in a real building, such as the ruins of St Giles-without-Cripplegate in The World my Wilderness by Rose Macaulay (1950). The author Penelope Fitzgerald has recalled being with Macaulay as she clambered over the rubble of the City of London in the years after the war; St Giles was not rebuilt until a few years later.
The blitzed church of St Dunstan in the East, now a public garden.
Image: Peter Webster
More often, however, the fictional church is more carefully disguised, and so there is another game that readers can play: the hunt for the models for places and buildings, as well as characters. The church of Fenchurch St Paul, the centre of the village community in The Nine Tailors by Dorothy L. Sayers (1934) incorporates particular features from more than one church from her Fenland childhood. Sayers credited the architect W.J. Redhead with having "designed" it for her, and with providing a line drawing of the imagined exterior.
George Orwell alarmed his publisher with his habit of disguising living people in his fiction only very thinly. His biographer D.J. Taylor has identified the model for the decrepit Miss Mayfill in A Clergyman's Daughter (1935) from Orwell's time spent teaching in west London. St Athelstan's, Knype Hill, in which the titular daughter Dorothy labours in unpaid and unrecognised service of her father, is not based on any one building, but is most likely a composite of the Suffolk churches Orwell knew from time spent with his parents in Southwold.
Churches, real or otherwise, and Anglican churches in particular, play several different roles in English fiction, which I would like to explore here in some of the novels from the 70 years or so from 1914.
CHRISTIANS have for a very long time produced edifying stories for their own pleasure and instruction. Valuable and entertaining though these often are, these novels tell us most about the ways in which Christians understand and address themselves and each other. As an historian, I want instead to explore those novels that made a claim for general attention among readers at large, whether Christian or not. What might they tell us about the changing position of the Church in the national imagination in a secularising age?
Some churches we enter but never see; the author asks the reader to supply whatever details they need to follow the action. The Aerodrome, Rex Warner's much-neglected allegory of authoritarian government (1941) is set in the Village, a pure archetype of rural England, and this abstraction is vital as Warner works out his plot. Though the pivotal scene in which the Village is annexed by the Aerodrome is set in the parish church, we are told only that it contains pews, and choir stalls.
John Wyndham's village of Midwich, afflicted by a strange and horrifying inversion of nature (The Midwich Cuckoos, 1957), is another archetype, and of its church we learn only that it is "mostly perp. and dec., but with a Norman west doorway and font", in the manner of a Pevsner guide. Others we see from outside but never enter, as they form part of a landscape. One of the parish churches in Winifred Holtby's South Riding (1936) is "a legacy of twelfth-century devotion, its delicate grey stone melting into the pale quivering summer sky of nineteen thirty three". Surrounded by fields of corn ripe for harvest and the buildings of the town, the tableau is complete: "corn, brick and stone, food, housing, worship composed themselves into a gentle landscape of English rural life." Though the English countryside was hardly so unchanging as this suggests, the parish church often did duty as a symbol of stability and continuity.
One of the effects of the Second World War was to supply the English imagination with a new symbol: the ruin, and not the picturesque ruin of Fountains Abbey, but of homes,factories, churches, blackened and strewn with the debris of their former lives. More than one novelist made symbolic play with ruined churches, as the Church first struggled to secure the sites and make them safe, and then to decide whether to rebuild them, demolish those which were redundant, or leave some as memorials of the war and as spaces for the public. One of Barbara Pym's Excellent Women (1952) attends a lunchtime Eucharist in a bombed Belgravia church, of which only one aisle can still be used. In austerity London the congregation carries on nonetheless, singing to a harmonium while surrounded by small neat heaps of wall tablets and cherub heads; a lady serves coffee from a Primus stove.
Some ruins are made to carry much greater symbolic weight. Iris Murdoch's 1966 novel The Time of the Angels features the fictional Wren church of St Eustace Watergate in the London Docklands. With only its tower left standing after the war, St Eustace and its rectory are the only surviving buildings in the midst of a vast building site. But there is no building on this building site, stymied by the withdrawal of planning permission. St Eustace is both symbol and backdrop against which Murdoch develops her theme of the loss of faith and the directionless search for something with which to replace it. Isolated on the peninsula of the Isle of Dogs, St Eustace is shrouded by the London fog that makes day night; all is becalmed, frozen in the half-light of the fog and carpeted in snow. Stranded amidst the debris of an old order, it is an empty shell which looms in the gloom, the only thing yet to be cleared before rebuilding may begin.
EVEN when a church is still intact, there is in the fiction of the mid-century a persistent whiff of decay and decline. Few indeed are the novels set in the new churches in the New Housing Areas built after 1945, or in warm and well-lit buildings with every chair full. Through the mist on Knype Hill the spire of St Athelstan's "loomed dimly, like a leaden sphinx, its single bell tolling funereally boom! boom! boom!". Inside, Orwell's church is "very cold, with a scent of candle-wax and ancient dust"; the pews stretch barely halfway down the nave, leaving "great wastes of bare stone floor". The money that should have been spent on repairing the belfry floor has been squandered on a new organ, and now the bells, which there is no money to rehang, threaten to crash down through the splintering floor onto the handful of worshippers below.
Llandinorwic church in Deiniolen. Image by Hefin Owen via Flickr, CC BY-SA 2.0.
Even so, both Orwell's and Barbara Pym's churches are inhabited by real people, to whom the buildings are places in which significant things still happen. Amid the dust and cold, Orwell's Dorothy catches a glimpse through the open door of the sunlight and trees outside, illuminated by the sun, as if by a flash of a "jewel of unimaginable splendour"; a moment that restores to her the power to pray. Miss Mildred Lathbury attends the church of St Mary in an area of London which Pym very precisely identifies as a "shabby part of London, so very much the 'wrong' side of Victoria station, so definitely not Belgravia". Mildred thinks the church "prickly, Victorian-gothic, hideous inside, I suppose, but very dear to me".
St Mary's has none of the marks left by centuries of devotion: "it seemed so bright and new and there were no canopied tombs of great families, no weeping cherubs, no urns, no worn inscriptions on the floor", only brass tablets to past vicars and ugly glass in the east window. But it is to St Mary's that she comes in search of consolation; it is this building that she helps dress for Whitsun, finding peace amid the incense and flowers. Whatever doubts these characters may harbour, however insistent their creeping sense of irrelevance to the society around them, their faith remains.
The presence of people was the last thing lost from the churches of 20th-century English fiction, as the crisis of the 1960s settled into a new pattern of decline and marginalisation. This retreat was by no means complete, as readers of Susan Howatch or James Runcie will know. The popularity of Father Brown continues. However, as the century wore on there was a gradual withdrawal of both character and narrator from the active life of these buildings, and eventually a retreat from their doors to view them only from the outside.
The narrator of Daniel Martin by John Fowles (1977) recalls his childhood before the war but as if from behind the veil of his own loss of faith: "My contemporaries were all brought up in some degree of the nineteenth century, since the twentieth did not begin until 1945. That is why we are on the rack, forced into one of the longest and most abrupt cultural stretches in the history of mankind. Already what I was before the Second World War seems far more than four decades away; much more like the same number of centuries." The two churches in which his father ministered are now aesthetic objects, which he now views with the eyes of the connoisseur: "One church was magnificent stone prose, but the other a folk poem"; neither of them remains a place of worship.
PERHAPS the novel in which a church plays the greatest part is A Month in the Country by J.L.Carr, first published in 1980. Though the novel is set in Yorkshire, the church is unidentified (and indeed unnamed), and in a Foreword, Carr revealed that its model was in fact in Northamptonshire, with "its churchyard in Norfolk, its vicarage London". The narrator, Birkin, is hired to spend a month uncovering a medieval mural painting, and camps out in the belfry. By the novel's conclusion he has, through a sustained act of patience — indeed of devotion, of a sort — uncovered and restored the painting.
In the process, he achieves a kind of imaginative communion with the original artist across the distance of centuries, and confronts his own loss of faith in comparison with that of the community for which the mural was made. (This kind of retrospective imagining of the mind of the church-builders of an earlier age was not unique to Carr; two contrasting examples are William Golding's The Spire, and (on the stage) Dorothy L. Sayers' The Zeal of Thy house.) Yet for Carr the parishioners of Oxgodby are largely invisible as a worshipping community. Birkin is woken by the tolling of the bell that calls them to church, and he catches a glimpse of them as he peers down from the belfry. But Carr's church is barely a place of present worship; as for John Fowles, it is solely a repository of meaning and the memory of those long dead.
The last and latest of my subjects here is City of the Mind by Penelope Lively (1991), in which the the gradual withdrawal of the novelist from the church building is complete. The novel is a meditation on the buildings of London, invested and reinvested with meaning by the successive generations of people who encounter them. It features several churches, all of them real buildings and named as such.
One character sees Wren's St Bride's Fleet Street on fire in December 1940, its spire "lit from within like a lantern". In the Spitalfields of the late 1980s, all demolition and redevelopment, the spire of Hawksmoor's Christ Church fights for the skyline with cranes and new office blocks. Round the corner is the former Huguenot church on Fournier Street, an immigrant church itself already overwhelmed by waves of later immigration: subsequently a Methodist church, next a synagogue, now a mosque.The churchyard of St Anne's Soho is being redeveloped as a paved shopping precinct.
There is particular play with St Paul's Cathedral, a church of the mind in a city of the mind; when Lively's Elizabethan explorer encounters the massive ice floes of the North-West Passage, it is in the shape of St Paul's that he sees them, a "cathedral in the ice" as "time and space collide" in the imagination. The novel's main protagonist, Matthew Halland, stands mesmerized in a Charing Cross Road bookshop by the famous photograph, taken by Herbert Mason on the same night that St Bride's was gutted by fire, of the dome of St Paul's framed by black smoke but intact.
Lively's characters encounter these and other London buildings, and project onto them whatever significance they will. What these churches never are, however, is alive: places in which real breathing Londoners meet and worship. In Lively's London, the churches are bearers of meanings, objects for the imagination, but without present or future. This is a thoroughly secular city of the mind.
literature, religion, culture and the artschurches in fiction
Christopher Wren in the wasteland
February 13, 2017 June 15, 2020 peterwebster1 Comment
Iris Murdoch's The Time of the Angels (1966) is a dramatisation of the crisis of belief of the 1960s, and her two clerical characters deserve their own blog posts. But here, I want to dwell on the setting of the novel in London and the atmosphere it creates.
A little while ago I wrote about Penelope Lively's London churches of the mind: how the churches of Lively's late 1980s are bearers of meanings imprinted by the past, but with no present life, and no future. As the redevelopment of parts of London is in full spate, these buildings are stranded, mute islands of memory in a sea of forgetting and obliteration. Murdoch's London is of the mid 1960s, when pockets of land still remained uncleared of the rubble of the Blitz twenty years before. London's population continued to fall, and it was only town planners that thought parts of the city had any future.
St Dunstan-in-the-East.
Although an invention of Murdoch's, St Eustace Watergate is (or was) a Christopher Wren church, only the tower of which survived the bombing. The tower, and the nearby rectory are the only remaining buildings in the midst of a building site on which there is no building, shrouded by the London fog that makes day night, cut off from the city that surrounds it. The scene is the London docklands, close to the City but yet at the same time isolated on the peninsula of the Isle of Dogs, hemmed in on three sides by the river.
There were many blitzed churches, several of them of Wren, but by the 1960s the Church of England had more or less found ways of dealing with them, a cluster of fine buildings without parishioners to serve. Some were abandoned, their demolition completed and the sites sold. Some that could be rebuilt were rebuilt; others such as St Dunstan-in-the-East were left in ruins and converted into public gardens, both war memorial and public utility. Even those that were intact were no longer typical parish churches, but lived only during the working week: 'lectures and concerts and shut on Sundays' (p.13).
Murdoch's St Eustace, neither rebuilt nor demolished, is 'a niche for problem children' (p.13): clergy whom the bishop can neither make use nor be rid of. There is half-hearted talk of an appeal to wealthy Americans for funds with which to rebuild, but we hear little of it. St Eustace is half a church: stranded amidst the debris of an old order, an empty shell which looms in the gloom, the only thing yet to be cleared before rebuilding may begin. But that rebuilding is itself stalled, stymied, by the withdrawal of planning permission for a skyscraper. All is becalmed, frozen in the half-light of the fog and carpeted in snow. It is both symbol and backdrop against which Murdoch develops her theme of the loss of faith and the directionless search for something with which to replace it.
literature1960s, Christopher Wren, churches in fiction, City churches, Iris Murdoch
London's churches of the mind
February 1, 2017 June 15, 2020 peterwebster2 Comments
Twentieth century British fiction features a good few fictional clergy of the established Church of England, and some (if fewer) accounts of religious life itself. Rather fewer again are the number of church buildings. And those that there are tend to be anonymous and stylised if set in a real town or village. Penelope Lively's novel City of the Mind (1991) is a rather beautiful meditation on London, and its architecture in particular; its buildings invested and reinvested with meaning by the successive generations of people who encounter them over time. Unusually, the novel is populated with several churches, and although none of them are integral to the plot, they are all but one of them named; all of them real buildings rather than merely symbols.
Most iconic of all London's churches is of course St Paul's cathedral, and although part of the novel is set during the Blitz, Lively avoids using St Paul's as other novels have, although her character, an air raid patrol volunteer, is at work in the same area. Instead, it is Christopher Wren's church of St Bride Fleet Street that he sees, largely destroyed in December 1940, its spire 'lit from within like a lantern' (p.10). St Paul's is a church of the mind in a city of the mind; when her Elizabethan explorer encounters the massive ice floes of the North-West Passage, it is in the shape of St Paul's that he sees them, a 'cathedral in the ice' as 'time and space collide' in the imagination (pp.48-9). The novel's main protagonist, Matthew Halland, stands mesmerized in a Charing Cross Road bookshop by a photograph, taken by Herbert Mason on the same night as St Bride's was gutted by fire, 29th December, of the dome of St Paul's framed by black smoke but intact.
Halland's London is that of the late 1980s, as the processes of demolition, redevelopment and gentrification are in spate; Halland is an architect rather reluctantly engaged with a tower of glass in the Docklands. Elsewhere, Spitalfields is the shoreline of the tide of change where 'a reconstructed past and an inexorable future are fighting it out amid the estate agents' signs and the cement mixers' (p.92) Here the spire of Hawksmoor's Christ Church fights for the skyline with cranes and new office blocks. Round the corner is the former Huguenot church on Fournier Street, an immigrant church itself already overwhelmed by waves of later immigration: subsequently a Methodist church, next a synagogue, now a mosque. The churchyard of St Anne Soho is being redeveloped as a paved shopping precinct, the bodies of generations exhumed and deported to a cemetery further out of the city. Nothing may obstruct the progress of redevelopment (p.36).
Lively's churches point always to the change that surrounds them, rather than drawing any attention to themselves. The caryatids on the north side of St Pancras' church on Euston Road are to Halland redolent of the classicism he understands; to his daughter they are nothing so much as 'ladies wearing bath towels with books on their heads' (p.87) What these churches never are is alive; places in which real breathing Londoners meet and worship. There is an implicit contrast between the rural, where such things may well continue, and the ghostly Christianity of the city. The German immigrant Eva Burden, who undertakes an engraving in glass for Halland's tower, was first inspired to work in glass by the west screen in Coventry cathedral by John Hutton: a declaration in the early sixties that the urban church was not dead; the 'Phoenix at Coventry' (the phrase is of Basil Spence) could rise from the ashes of the blitzed city. In the late eighties, her only church commissions are of saints and angels for country churches; in the metropolis her work is mere decoration, decanters for the corporate boardroom. In Lively's London, the churches are bearers of meanings, objects for the imagination, but without present or future. This is a thoroughly secular city of the mind.
architecture, cathedrals, literature, religion, culture and the artsChristopher Wren, churches in fiction, Coventry cathedral, London Blitz, London history, Nicholas Hawksmoor, Penelope Lively
Biographer and subject in Christian history


In this post, I'll cover some of the best vintage sewing machines out there. I've written a few overview posts on vintage sewing machines, but not one that specifically deals with the best vintage sewing machine because, honestly, I'm not sure there's one best machine to get. Still, it's something that people keep asking about, so I thought I'd take a stab at it.
However, I definitely have some preferences and recommendations, especially for different categories of machines, such as straight stitch, zigzag, treadle, industrial, toy, and sewing leather. I'm also going to go over other bloggers' recommendations, so you'll get a well-rounded idea of what people look for in a vintage sewing machine.
Do you have a sewing machine with questionable electrical cords? In this post, I'll show you how to replace an external motor on a vintage sewing machine with a new motor and foot pedal, so you can get it running again and use it without worrying about electrical fires.
In this post, I'll walk you through the process of removing rust from your vintage sewing machine in order to clean and restore it.
In this post, I'll list all of the resources I've found helpful on restoring vintage sewing machines, including blogs, forums, youtube channels, and shops.


text:
Hospice Care home tour: Holiday spirit reaps rewards
Annual Hospice Care Ottawa fundraiser takes place 10 a.m.-4 p.m., Nov. 15-17, at eight homes across Ottawa
Stephen Thorne
Sharon Scrim (left), volunteer co-chair Sharon Lalonde, Johanne Bertrand and Sharen Findlay at the Homes for the Holidays 2019 kickoff.	Supplied
Franklin Holt-Forster and Birgitte Atting-Mees reaped some unexpected benefits when they opened their Centrepoint home to the public for last year's Homes for the Holidays event.
Not only did they get the satisfaction of helping to raise money for Hospice Care Ottawa, they were inspired to finish their basement in time for the event and their home was furnished and decorated to the nines by participating sponsors.
In fact, they liked it so much they bought some of the art and furniture. Now the couple is serving as honorary co-chairs of this year's event, which takes place 10 a.m.-4 p.m., Nov. 15-17, at eight homes across Ottawa. Tickets are on sale for $50 apiece.
Sharon Lalonde (left), volunteer co-chair of 2019 Homes for the Holidays, with homeowner Pierre Sirois, and Mandy Drew and Diane Boyd of Trillium Floral Designs in Kanata, and Susan McIntosh, manager of fund development for Hospice Care Ottawa. Supplied
"It was great," said Holt-Forster, CEO of Colliers Project Leaders. "It does make you accelerate a renovation, though. It was easy and it was enjoyable, and we got our house to look really spectacular."
Now in its 17th year, Homes for the Holidays sells about 1,800 tickets and raises almost $250,000 annually for Hospice Care Ottawa, a community-based charitable organization offering palliative and end-of-life programs and services. Its services are provided at no charge to some 2,600 clients and their families each year.
They include community hospice care programs such as in-home visits and day hospice, residence hospice care, bereavement care and caregiver support. It has 19 beds at three facilities: May Court Hospice in Old Ottawa South, Ruddy-Shenkman Hospice in Kanata, and La Maison de l'Est in Orleans.
Volunteer planning coordinators Kathleen and Maureen Faulkner along with Pauline Bogue, who opened her home to the event in 2018. Supplied
Government funds 60 per cent of Hospice Care Ottawa's operating expenses; it raises the rest – about $2 million annually – through donations. Homes for the Holidays is its biggest fundraiser of the year and the city's oldest tour, involving 300-500 volunteers along with more than a dozen florists, galleries and furniture stores.
"This kind of event is really key for us to be able to provide the services that we do," said Lisa Sullivan, executive director of Hospice Care Ottawa. "And all the money that we raise goes directly to programs and services."
Holt-Forster describes it as an essential cause "and an absolutely valuable function."
"I think we ignore it at our peril," he said in an interview at the launch of ticket sales for this year's event, held at the original May Court Hospice on Cameron Avenue. "If you encounter circumstances where a friend or relative needs this kind of support, you become acutely aware of it.
"There are any number of causes, of course, but I think hospice care is singularly deserving."
Atting-Mees said they took on the role of honorary co-chairs in order to help get the message out that end-of-life care is an underfunded service that needs community support.
The three-day event has become a tradition for real-estate and design enthusiasts. The home interiors and fresh, fragrant holiday décor provide inspiration.
Birgitte Atting-Mees and Franklin Holt-Forster, honorary co-chairs of Homes for the Holidays 2019. Supplied
This year's houses include two in Rockcliffe, the traditional 260 Park Road, decorated by The Stalk Market, and the modern 15 Carsdale Avenue, decorated by Stoneblossom Floral Gallery.
There's the cubist modern 555 Highland Avenue in Westboro, decorated by Trillium Floral Designs, the welcoming 124 Powell Avenue in The Glebe, decorated Beaudry Flowers and Silk Greenhouse; the classic 8 Charles Jackson Avenue in Dow's Lake, decorated by Scrim's Florist and Grand Expectations; and a sprawling bungalow at 1085 Lena Avenue, Manotick, decorated by Mill Street Florists.
Wrapping it up are the treed 2022 Sharon Avenue in McKellar Heights, decorated by Flowers Talk Tivoli, and the grand 5793 Longhearth Way, Manotick, decorated by Terra Plants and Flowers.
Irish Ambassador Jim Kelly and wife Anne Merton have opened their home at 291 Park Road in Rockcliffe Park, where they will host a special holiday pop-up shop and coffee stop.
The May Court Club of Ottawa, at 114 Cameron Avenue, will open its doors for a handmade bazaar.
Your $50 buys a ticket booklet that grants participants access to eight tour homes and the two special holiday stops. Tickets are available online at http://www.hospicecareottawa.ca , by calling 613-260-2906 ext. 222, or various ticket outlets across the city. Check out the website for a full list of vendors.
24 Hour Challenge wants teens to sneak into Ikea

redpajama_set_name: RedPajamaCommonCrawl


There seems to be a bug on my artisan after the maintenance. I couldn't disassemble anything because it always shows that I have full inventory even though I have more than enough slots on me.
I already tried doing character select and relogging back again but still same problem. It also only affects my artisan because I already tried it on my raider and I can disassemble fine on it. Has anyone encountered the same problem and found a solution for it?
Edited by DrJoe, 22 August 2017 - 01:26 AM.


When it comes to accidents involving large trucks, there is often a misconception that trucking companies don't want to compensate accident victims, but this isn't true. These large companies will pay for injuries, property damage and other expenses, but they want to do so at the lowest possible cost. Make sure you aren't making this process easier for them. Learn how you can help maximize your claim.
Communication is a vital part of the settlement process. While the overall process doesn't exactly happen quickly, things can really speed up when the victim and the insurance company have an open line of communication.
For example, when the insurance company sends a letter in the mail requesting up-to-date medical records, don't procrastinate when sending this information. Send it as quickly as you can. The insurance company typically won't make an offer until they are certain they have reviewed all the relevant information and your delay to send in this information could keep you away from the compensation you desperately need.
When you were hit by a truck driver, the accident was not your fault and was out of your control. However, when it comes to your recovery, you play the most prominent role. If you are being seen by a medical professional, ensure you are following their orders.
Whether it's taking on lighter duties at work, attending physical therapy appointments several times a week or taking prescribed medications, your efforts will aid in your recovery. Your willingness to follow the treatment will also help validate your injuries to the insurance company and show that your life has truly been impacted by your injuries.
Insurance companies are massive organizations and a part of settling claims for as little as possible is having a powerful attorney team on their side. When you try to settle your claim on your own, just know that you are going up against a team of professionals with nearly unlimited resources and years of experience.
To protect yourself and ensure a more successful claim process, it's advised that you partner with an attorney who will work on your behalf to ensure you gain access to the compensation you need and deserve. To learn if you have a case, talk with a law firm such as Wells and McElwee.
When you take these, and other steps, you can increase the likelihood of a successful claim. Ensure you're doing your part to obtain any compensation that may be due to you.
I have never been someone who likes the idea of suing another person, but after my family was plowed into by a drunk driver with no regard for the law, my tune changed. I realized that I needed to do what I could in order to make things right, so I started looking for a lawyer who could help me to fight for the settlement I deserved. It took a few months in court, but by the time I won my settlement, I felt a lot better about things. This blog is all about getting the legal help you need when you need it the most.


text:
Comore (, Juzur al-Qumur: "Insulele Comore"), oficial Uniunea Comorelor (, , Al-Ittiād al-Qumuriyy) este o țară insulară din Oceanul Indian, localizată în largul coastelor Africii în partea de nord a Canalului Mozambic între Madagascar și Mozambic. Capitala și cel mai mare oraș este la Moroni

În mod oficial, statul este format din cele patru insule de origine vulcanică ale arhipelagului Comore: Ngazidja (), Mwali (), Nzdwani (), și Mahoré (), precum și numeroase alte insule de dimensiune mai mică. Cu toate acestea, insula Mayotte nu s-a aflat sub administrația guvernului Comorelor în urma independenței față de Franța, aceasta respingând referendumul referitor la independența statului și ca urmare a rămas sub suveranitate franceză, formând o Colectivitate de peste mări. Datorită dreptului de veto al Franței în Consiliul de Securitate al ONU, nici o rezoluție care să afirme suveranitatea Comorelor asupra insulei Mayotte nu a fost aceptată de Organizația Națiunilor Unite.

Agitații ani de după independență
Insulele Comore au devenit independente în iulie 1975. Ca președinte e ales Ahmed Abdallah. Doar că Abdallah e dat jos 28 de zile mai târziu cu ajutorul unui mercenar francez, Bob Denard. Muhammad Jaffar devine noul președinte. 6 luni mai târziu, în ianuarie 1976, Jaffar e dat jos în urma unei lovituri de stat. Comunistul Ali Soilih ajunge la putere. Soilih e dat jos la 13 mai 1978 cu ajutorul lui Bob Denard. Țara e condusă pentru 10 zile de Said Atthoumani apoi urmează o altă lovitură de stat care aduce la putere un consiliu condus de Ahmed Abdallah și Muhammad Jaffar. Apoi la 8 octombrie același an Abdallah redevine președinte. A condus țara 11 ani până e asasinat la 26 noiembrie 1989. Ca președinte provizoriu e ales Said Mahomed Djohar (fratele vitreg al lui Ali Soilih). Djohar devine președinte în ianuarie 1990. Cinci ani mai târziu, în septembrie 1995 Djohar e dat jos cu o lovitură de stat organizată tot de Bob Denard. Urmează 3 guverne provizorii. La alegerile din ianuarie 1996 Djohar a câștigat iar alegerile dar e deposedat în martie același an. Liderul loviturii de stat, Mohamed Abdoulkarim devine președinte dar e asasinat 2 ani mai târziu, la 6 noiembrie 1998. E instalat un guvern condus de Tadjidine Ben Said care e dat jos în urma unei lovituri de stat de la 30 aprilie 1999 conduse de Azali Assoumani, care ia puterea. În ianuarie 2002 Assoumani e dat jos iar la putere vine un guvern provizoriu condus de Hamada Madi. 4 luni mai târziu guvernul lui Madi e dat jos iar Assoumani revine la putere. Primul transfer de putere pașnic a avut loc la 26 mai 2006 când Ahmed Sambi a câștigat alegerile prezidențile. La algerile din 2011 a câștigat Ikililou Dhoinine. Apoi la alegerile din 2016 a câștigat Assoumani. Dar la 3 februarie 2019 Assoumani e iar dat jos și înlocuit cu un guvern provizoriu condus de Moustradroine Abdou. La alegerile din 26 mai același an Assoumani a câștigat din nou și e președinte și azi!

Insulele Comore - Foc și apă
În decursul a milioane de ani, patru insule vulcanice s-au înălțat din Oceanul Indian, la nord de Madagascar: Grande Comore, Mwali, Mayotte (Mahorè) și Nzwami. Două dintre aceste insule, Mayotte și Mwali, păstrează puține urme ale originii lor vulcanice: cu timpul, vârfurile abrupte ale munților s-au tocit și nu ies în evidență în peisajul deluros.

Insula Nzwami este cea mai pitorească. Resturile craterelor sale vulcanice sunt inconjurate de podișuri acoperite cu vegetație exotică, presărate din loc în loc cu lacuri și cascade.

Pe cea mai mare insulă, Grande Comore, se află Karthala - ultimul vulcan activ din arhipelag. Erupțiile sale afectează insula la intervale de 5 - 10 ani, aspectul unei mari părți din insulă amintind de un peisaj selenar din aceasta cauză. Locuitorii insulei trăiesc în neliniște continuă, deoarece direcția râurilor de lava ce se revarsă șuierând înfricoșător în mare nu poate fi prevăzută. În Insulele Comore circulă povești minunate despre misteriosul vulcan. Răspândirea acestora este sprijinită și de natură: vârful vulcanului Karthala (2361 m) este aproape în permanență învăluit de nori de ploaie.

O cerere de ajutor și consecințele ei

Potrivit celor mai recente informații, primii care și-au făcut apariția în Arhipelagul Comore au fost perșii, în preajma anului 975. Timp de secole după aceea, insulele s-au aflat sub influență persană și arabă. Comorele au devenit centrul comerțului est-african cu sclavi, fapt ce a detrminat sporirea considerabilă a averilor sultanilor arabi. Bogăția insulelelor nu a rămas mult timp un secret pentru vecini.

Permanentele incursiuni ce aveau ca scop jaful și care veneau mai ales dinspre Madagascar, au determinat autoritățile din Comore să solicite ajutor francez. Franța a intervenit cu plăcere, iar în 1866 a transformat arhipelagul în protectorat francez.
În 1975 Franța se declară e acord să recunoască independența Comorelor, dar cu o condiție: fiecare insulă să-și exprime individual opțiunea. Rezultatul referendumului a fost surprinzător: Mayotte a decis să ramână alături de Franța. În prezent, locuitorii insulei au statut de cetățeni francezi din departamentele de peste mări (DOM).

Economia

Venitul pe locuitor este estimat la 465 de dolari în 2005. Este ușor mai mic decât media din Africa subsahariană (510 dolari). În 2005, 60% din populație trăia în sărăcie.

Cea mai mare parte a populației Uniunii Comorelor este rurală și trăiește din culturile producătoare de hrană sau din pescuit. Insulele exportă totuși vanilie, ylang-ylang și cuișoare. Țara nu este autosuficientă pe plan alimentar. Situația economică este foarte dificilă, diaspora comoriană, foarte solidară, ajută, într-un grad important, la supraviețuirea populației trimițând bani în țară.

Penuriile sunt cronice, apa, electricitatea, benzina, uneori chiar unele produse alimentare de bază lipsesc.

Nu mai există acorduri fiscale între Uniunea Comorelor și Franța din 1992..

Sistemul monetar

Francul comorian sau francul comorez (în , iar în limba arabă فرنك قمري, cod ISO 4217: KMF, simbol local: FC) este moneda Uniunii Comorelor. Este subîmpărțit în 100 de centime.
De la 1 ianuarie 1999, rata de schimb se deduce din paritatea dintre francul francez și euro. (1 € = 6,55957 FF) adică 1 € = 491,968 FC (curs variabil, potrivit piețelor). Însă spre deosebire de francul francez, francul comorian nu este o diviziune a monedei euro.

Note

Bibliografie
 Revista "Atlas", Ed. "Trustul de presă DeAgostini"

Legături externe
  Profil de țară pe situl Ligii Statelor Arabe
  Ajouan.net « Union des Comores » (în română: «Uniunea Comorelor»

State insulare

mad:Komoro

redpajama_set_name: RedPajamaWikipedia


text:
Lecture Series "Knowing in Performing"
Lecture Series "Knowing in Performing" – Artistic Research at the mdw
The new lecture series "Knowing in Performing" at the mdw - University of Music and Performing Arts Vienna will investigate the cross-disciplinary dynamics of Artistic Research with a special focus on the performing arts. The second lecture of the series takes place on November 13th with the violonist and artistic researcher Barbara Lüneburg, newly appointed professor of artistic research and head of the scientific and artistic doctoral school at the Anton Bruckner Privatuniversität Linz.
Tuesday, 13 Nov 2018, 6 - 8 p.m.
Fanny Hensel-Hall
mdw – University of Music and Performing Arts Vienna
Anton-von-Webern Platz 1, 1030 Vienna
Further information: https://www.mdw.ac.at/knowinginperforming_rvo
Title of presentation
TransCoding—From 'Highbrow Art' to Participatory Culture
Social Media – Art – Research
What do K-pop artist PSY and gender theorist Judith Butler, contemporary music and pop culture have in common? The artistic research project TransCoding –From 'Highbrow Art' to Participatory Culture (PEEK AR 259-G21, 2014-17), funded by the Austrian Science Fund, engaged with this question through the topic of participatory culture by using social media in the context of artistic practice. TransCoding encouraged participation and shared discourse in the new arts by actively involvin an online audience in the making of an artwork on the topic of 'identity'. As part of her lecture at the mdw – University of Music and Performing Arts Vienna, Barbara Lüneburg will perform the multimedia artwork Slices of Life (2016/17) for violin and voice, video and soundtrack that forms a main artistic outcome of the project. Lüneburg will also reflect on the artistic productions of TransCoding under the aspect of participatory culture and social media; she will critically shed light on questions of authority and shared authorship, look into the influence of the research project on the participating artists and the community, and trace knowledge production and dissemination in artistic research by way of creating, performing, and sharing.
Barbara Lüneburg is an internationally acknowledged violinist and artistic researcher working in contemporary classical art music and multimedia art. From 2014-2018 she was director and lead artist of the artistic research project TransCoding—From 'Highbrow Art' to Participatory Culture funded by the Austrian Science Fund. With the participation of the TransCoding online community she composed the 30-minutes artwork Slices of Life (2016/17) on the topic of 'identity.' In May 2018, her book From 'Highbrow Art' to Participatory Culture. Social Media – Art – Research was published by transcript, Bielefeld. Lüneberg's main research focus lies on performance practice. Since October 2018 she is full professor of artistic research at the Anton Bruckner Privatuniversität Linz and head of the scientific and artistic doctoral school there. www.barbara-lueneburg.com
www.transcoding.info
Photo Credit: Bostjan Lah
contact: Baumgartner@mdw.ac.at


ELKHART — One of the current burning topics of debate, at least among many parents and Elkhart school officials — the proposed overhaul of Elkhart Community Schools.
ECS leadership unveiled a proposal last April to revamp the two high schools in Elkhart, with one, Elkhart Memorial, serving 10th-, 11th- and 12th-graders, and Elkhart Central serving ninth-graders. Many view it as high school unification. The plan also outlines changes to the middle schools and one elementary school and many other tweaks in the school system, aiming to better school kids and prevent transfers out of the district, a big problem that results in loss of state funding.
Needless to say, it's got many wondering what it all means, what would become of the high schools, whether it would really work and keep kids here. But it's complicated.
I wrote a pair of stories on the topic last month, too, one parsing the the high school unification issue (here), the other offering a more general look at the debate and issues at stake (here).
Elkhart homicides, violence — unfortunate norm, on the rise?
There have also been 28 armed robberies.
It all begs the question — is violence running amok?
I called some area leaders, pulled together some figures (including gunshot reports) to write a quick analysis of the situation. People are buzzing about crime — it's come up at two recent town hall-style meetings I've attended — but it's not clear how to get a grip on it. I tied it all in with a young man's impromptu memorial to gun victims earlier this year, something I also wrote about.
Me, Tim Vandenack, on WNIT's Politically Speaking, discussing the GOP and Democratic national conventions. Screen grab from program.
The Republican and Democratic national conventions in July provided plenty of fodder for local coverage — reaction from locals taking part as delegates to what went down in Cleveland and Philadelphia.
With a Bernie Sanders delegate and Hillary Clinton super delegate from Elkhart County, covering the Democrats proved to be more interesting. At least there were a few more sparks than at GOP event, which resulted in the formal nomination of Donald Trump. I spoke with the local delegates by phone (didn't make it outside the confines of Elkhart County), but it still offered a means to connect locals with national events.
I also served as a talking head on Politically Speaking, a political program on the local PBS station, WNIT, discussing the conventions (look here).
By now, Hispanics have a well-established presence in Elkhart County.
Aiming to take a closer look at the segment, but wanting to do more than state the obvious — that they're an increasing share of the population — we took another approach. We'd try to get a sense of how connected the Latino newcomers feel in Elkhart, Goshen and the rest of Elkhart County.
The end result — "Hispanics at Home?", a three-part series that ran in The Elkhart Truth last month. I helped craft the approach, but it was a team effort, largely involving myself, reporter Sharon Hernandez and Managing Editor Mark Maley. A group of Goshen College journalism students also contributed plenty of material.
Latinos have their own tight-knit community, their neighborhoods, their stores. Latinos have Spanish-language churches, there's even a soccer league that caters to a largely-Hispanic population. That tends to create a sense of two parallel worlds.
Still, many leaders have emerged and are emerging, trying to raise the voice of Latinos, get them more involved in the broader community.
Younger Latinos, comfortable in both the Anglo and Hispanic cultures, bilingual, are increasingly feeling at home here, even if they were born in Mexico or elsewhere in Latin America.
The immigration issue is big in Elkhart County and the rest of the United States. It's an issue that draws me, having lived in Latin America, origin of many immigrants here, and I've written a lot about it over the years.


The KET-GZE-350 Gateway includes in the same device an advanced Building Management system and an X-Monitor network coordinator.
The gateway features include the management of network-connected X-Monitor systems for integrated implementation scenarios in existing plants.
Among the many supported protocols there are ModBUS RTU and TCP/IP, KNX, BTicino/Legrand MyHome, Duemmegi contatto or Domino, video surveillance, intrusion detection as well as dozens of other drivers for different brands systems.
KET-GZE-350 is the heart of many vertical solutions, including the management of the urban environment, energy management of buildings and energy for mobility.
an installation without LAN connectivity and without the need to use expensive external accessories.
The integration with proprietary data collection systems is made possible by the support for sending data to web services REST / JSON.


Lots can happen during your time at college and that's why our Student Services team is on hand to advise and support you.
The team has established links with a range of external support agencies including sexual health, counselling, drug and substance misuse and local youth services. The team is trained in Child Protection and Safeguarding and can make appropriate referrals to ensure the safety and wellbeing of all students.
The Pastoral Support Advisers are available on a drop-in basis to discuss any issues that arise throughout the year. At the Crawley Campus the office is open 8.30am-5.00pm Monday to Thursday and 8.30am-4.30pm on Friday.
The counselling team offers a confidential, free service to all students at the college. Our fully qualified counsellors can provide specialised support for those times when life can be hard to manage due to personal reasons, or when studying becomes a challenge.
Counselling sessions can be booked by dropping into Student Services. Alternatively our counsellors can be contacted directly via email: counselling@crawley.ac.uk.
Should you have any concerns about safeguarding, students should contact their PSA in Student Services or a member of the safeguarding team. The team is available to discuss things in confidence. However, should information shared reveal that a student or someone else is at risk of being harmed, the team may need to pass it on.
If you are experiencing difficulties with fees or other costs associated with study, please contact a member of the Student Services team who will be able to assess if you are eligible for support.
You can find out more information about finance on our Financial Support page.
Although Crawley College does not have Halls of Residence, we can offer rooms within family homes on either a full-board or self-catering basis (subject to availability) to students aged over 18 years of age. For further details of this service or for help finding alternative accommodation please contact our Accommodation service on 01293 442205 or drop in to Student Services.


You started Friday afternoon at the office party, you think. Technically it was Friday morning with the eggnog instead of a second coffee by the fax machine where you started talking to Danielle. Okay, that much you have down. But where are you now? This is not my happy home...this is not my happy office...that is not my lovely wife...and you start singing all the wrong words to that Talking Heads song. My, my...chipper, aren't we? Always a bad sign when you know you passed out loaded. It means you're going to pay very hard and not much later. Think. Put on your pants. Be a man, that's it. Wallet. Four dollars. Oh. C'mon. Look around. Motel. What the? Oh. Angie's after-party party. Where's Angie? That was going good. Your Casio diver's watch -- that's a laugh -- 5:55. What? A.m. or p.m.? Dark.
You stood up too fast. Take a minute, hang on the drapes. Oh, Chri-i... here it comes...see what you ate last. False alarm. Out the window is a parking lot, half dozen cars in the light of an Easy-8 sign. That's almost no help. There's a half dozen of them in your half of San Diego County alone. You are in San Diego, no? Man, you don't even know. C'mon, c'mon.
Looking at the soap wrapper, you see you are in Chula Vista. Why? God only knows. Throwing up in the shower, geez. Aw, that's gross...could be worse. No warning.
Shaking now. You've got to stop the shaking and the paranoia. What did you do last night and maybe Saturday night, for all you know? The money. Hey, the Christmas-bonus check! First a look around. Thank God there's cans of flat, warm Newcastle Brown Ale. No memory of that. Thank God in heaven there is a tinfoil packet of Excedrin in your suit-jacket pocket. Where did all the mud come from on this thing?
Hands trembling out of control, that half-assed shower just accelerated the f-ing hangover. Curse the motherless sadist assholes that made this Excedrin pack. You would kill them right now with your shaking hands around the throat of some geek in a white lab coat and tie in packaging at --what is it? -- Bristol-Meyers-Squibb?
You eye a mostly full bottle of Bailey's Irish Cream, the only evidence you had a chick in here, except...lipstick on the pillowcase and the smell of gardenias long dead and pressed into the pages of an old lady's Bible. An old lady's smell fills the room. Oh, God, did you bang some old lady? A mouthful of Bailey's sends you up against the toilet seat but not quite on target: pizza, some kind of cheese, shrimp, and chocolate cake? None of that stuff was at the catered office party. You launch the Excedrin against the baseboard behind the toilet, floating in bile and spit-warm beer and Bailey's.
After draining every other can of Newcastle Brown, including one full one, you've got it together enough to walk outside and see where you are. The shaking has subsided a little. You figure you've got about 20 minutes before it returns.
You've been in a third-floor room and you see the elevator. At the lobby, the clerk looks at you as if you had slaughtered goats up there last night. A newspaper stand just outside informs you that it is still Friday. That is, of course, impossible unless you went back in time. You are scared. Yes.
Easy. You could have been arrested. Obviously you weren't. As you walk toward neon lights in the fog -- no idea what direction: Like a complete unknown, with no direction home... you half sing, half whimper.
Out of the fog, headlights along a freeway, 805 or I-5, you don't know. Rectilinear patterns of a chain-link fence separate you from oncoming traffic, which seems oddly welcoming now. Stuttering neon AUTO P RTS, and beyond, DONUTS. A wave of nausea almost brings you down. You stagger. Something tries to rise in your throat, fails. A break in the fog reveals a darkened sign, LIQUOR. A metal gate over the entrance. Leaning against the gate you remember to look for the check. Your Casio catches a streaking headlight. It is 6:26, morning. Gotta be. The shaking returns, cold and sugar/alcohol level dropping, and you walk along the frontage road toward a smear of floodlight against a parking lot and a brightly painted wooden sign you can't read except for the word Saloon.
As you approach, timing your arrival at what you can now see is the Boot & Saddle Saloon, for exactly 6:30 when, with God's mercy, they will open the doors, you find yourself weeping for no reason. Absolutely no reason at all.
What the hell is going on? There's one car in the lot. It's 6:32. A place with a name like that has to open at 6:30. What are they, Mormons? You turn away from car lights that enter the lot illuminating your tears and snot. Wiping your face on your jacket sleeve, you see there is dried blood up and down the right arm. It's been there for a few days. No idea.
The man who gets out of the '79 El Camino is a Mexican-looking guy in a white cowboy hat, carrying a newspaper and a coffee from McDonald's. You suddenly laugh and call out, "The good guys in the white hats are here!" The good guy eyes you just like the night clerk.
"You don't look too good, amigo."
Inside, $4 buys you a double screwdriver. You find the crumpled check for $1200; it had somehow gotten wet and the signature is smeared. "There's a Wells Fargo on Jacaranda, three blocks over, but it don't open 'til nine," the barman says. You get credit 'til nine because you help him load bottled beer into the cooler on the back bar. After the double, your shakes are fine, cool. Splendid.
Jaime, the cantinero, gives you some red quarters to play the jukebox. You're a lucky man, there; number A18, is the song you woke up with. You hit it and read Jaime's paper. It's Friday, January 5th, but you knew that pretty much somehow anyway. "Hey, at least I didn't kill anybody...probably. What's the problem?"
"What did you say, man?" Jamie's head is in the cooler.
"Nothing!" And you kind of sing/talk along with David Byrne on the jukebox, "Same as it ever was...same as it ever was."


I was born and raised in Victoria and have 2 grown children and 1 grandson. I've lived in the west shore for the past 17 years. I enjoy boating and all kinds of travel with my wife of 22 years. I've worked in the automotive industry for 35 years and with GM for 20 of those years.


As noted in our most recent post about Staufen im Breisgau, Germany, we tend to go to this area of the world quite often. We have a lot of friends from the region, but we also regularly have to fly through Frankfurt.
So, we often spend some time between flights in and out of Frankfurt heading to the Freiburg area of Germany to hang out for a while. This post is an amalgamation of two visits we made here.
Let's start it off with a coffee and a pretzel! I know I usually do when I'm in Germany.
Freiburg is a really cool city of about 220,000. It's a university town situated next to Germany's Black Forest, so it's quite scenic in both architecture and landscape. We didn't do a lot of sightseeing on this trip, so you won't be privy to much of that this time around. But, you might get some outside-the-box ideas about other things you can do in addition to sightseeing the city while you're here.
Oh, Rieselfeld! So, this town is essentially part of Freiburg, but has its own name. It's more or less a suburb next to the city, connected by easy tram routes to downtown Freiburg. Our Canadian friends live here part of the year, and are often one of our reasons for heading here.
The beauty of Rieselfeld is that it's next to a protected nature reserve and the large Mundenhof park. This provides some spectacular views and easy access to nature itself.
So anyway, we stayed in two different places on these two visits. The first place was totally insane and a real luxury.
Here's the view from our wintergarten, which is next to one of our three balconies.
And our rooftop terrace, because apparently, balconies aren't enough.
Pretty sweet. While it was nice and all that, this place was massive and a bit over the top for us. So, we found another place on our second visit, which we've already stayed at on another visit not featured here. It's a nice one-bedroom that's more our style, and it has some decent views. Also, the owner is amazing.
Random, but I've always dug the art on this building in Rieselfeld. It features the photos and names of everyone who worked on building it! Pretty sweet, even if the building isn't gorgeous.
This church is also very fascinating. It's shared by protestant and catholic congregations, and sits next to the main square of Rieselfeld. I love the architecture.
I don't know the story of its design, but it gets a thumbs-up from this guy.
Anyway, one of the easiest and most relaxing things to do in the area is to head to the aforementioned Mundenhof. This massive park is also home to a zoo and a beer garden. It makes for a great day of hanging out with animals, visiting the botanical garden, and eating and drinking big mugs of delicious German beer.
That dude let me feed him some plants, which was awesome. Goats!
So yeah, what's up in Freiburg?
The city is very walkable, and has some great architecture to check out. It also has an amazing market, which our friends, Bev and Bruce, like to visit to "do a shop," as they say in Canadian. Ha. Heading down to the market is also good for just hanging out, as we did by sitting in a cafe forever.
Of course, we liked exploring all of the things for sale here, too.
You can also check out the Freiburg Münster here, the main church of the city. You can climb it as well, but be prepared for something like 250 steps. We've done that in the past, and it's a one-time go for Angela and me!
It does provide killer views of the city and mountains, though.
There are actually several great craft breweries in Freiburg. And as you should know, we love us some craft beer. We visited a couple of breweries here on one of our trips, both to drink some beer and to meet some great people.
First up, we went to Martin's Bräu.
As you can see, it's been around since 1989, which is pretty long for a craft brewery. We actually went here to meet up with someone from another brewery, who had done a collaborative kölsch style with Martin's Bräu.
So yeah, that other brewer! Meet James, one of the founders of Brau Kollektiv.
While we didn't get to head out to the actual brewery on our trip, we did have a wonderful time talking to James and drinking some amazing brews from Brau Kollektiv.
You can head to Schlappen bar in the city if you'd like to sit down and drink some of their beer. We did!
Lastly, we headed over to Decker Bier, which has a tap room in the city as well as brewing classes for its customers and patrons.
The aptly-named Decker Garage is a great place to chill with friends and drink some tasty brews. Unfortunately, it was a bit cold on our visit to sit outside. Womp womp.
Meet Markus, 1/3 of the crew that runs Decker.
And David, another 1/3. Say hi!
Unfortunately, we wouldn't meet the third third, Daniel, until a later visit.
Us with the Decker crew, as well as our friends, David and Claudia. Rock on, guys.
Special, mid-post shouts to the guys at Brau Kollektiv and Decker. Some fine folks with some fine beers, I tells ya.
Now, who wants some food?
A restaurant called Shalimar in Rieselfeld had some really delicious Indian food. Unfortunately, they recently closed. We are all deeply sad about this, especially since another restaurant they own in central Freiburg is nowhere near as good. D'oh!
We also hit up a Turkish restaurant in Freiburg called Divan, which is a fave of Bev and Bruce and is mighty tasty.
We also checked out an Italian place called Casanova, with our friends, David and Claudia. These guys make some delicious food, especially their gnocchi.
Bev and Bruce also hosted us for some filet at their house, which was delightful. We always have a good time with this pair.
And, I guess you can't leave Freiburg without some Stefans cheesecake!
And that's it…bis zum nächsten Mal!
Be sure to check out our Staufen im Breisgau post here, and our other Germany posts here.
A very special and very big thanks to all the fine folks in Freiburg and Rieselfeld, especially our pals Bev, Bruce, David, Claudia, Christine, and Viviane, as well as our new pals at Brau Kollektiv and Decker Bier.
Have you ever been to Freiburg? If so, what'd you think? If not, what say ye? Let us know your thoughts in the comments!
Great post! Come back to Rieselfeld/Freiburg soon!
Will do, thanks for having us!
Great post, really makes me want to visit, we've been to Germany many times now and travelled around a fair bit but never to Freiburg, sounds like a really cool place will definitely check it out on our next visit.
I definitely recommend it, it's a beautiful area. Thanks for stopping by, Richard!


Magic Video FX 4.0 Review FE and OTO – Easily Create Stunningly Professional Videos In Just Minutes!
Smart Goals Expertise With PLR Review FE and OTO – Bringing Forth A Commendable Opportunity to Get your Hands-On our Incredible Private Label Rights Package and Generate Insane ROI without any Irk.
xPress Funnels Pro Review FE and OTO – Newbie-Friendly Breakthrough Cloud Based App Creates "Done For You" eCom Funnels In Just 60 Seconds!
Social Video Suite by Mo Latif Review – Get Freakin Awesome Videos In Less Than 60 Seconds That Are Getting Clicks, Leads & Buyers Today!
WP Social Proofs Review – Powerful WordPress Plugin that empowers portfolios of Local Businesses, Consultants and Online Marketers. This plugin boosts the conversion rate via gaining trust of the visitors by showcasing influencive testimonials and reviews directly fetched from Google and Facebook.


MOUNTAIN HOME, Ark. – Southern Nazarene shaved 15 shots off its second round score, as it closed its final round Tuesday with a 293 at the Southern Bancorp Invitational. That helped the Storm to finish in third place as a with an 891 three-round total.
The Crimson Storm had four players finish the tournament inside the top 20 and one inside the top 10. Ryan Roberts carded a final round 74, as he finished in a tie for eighth place with his 222 total. One shot behind Roberts, Dylan Igo posted a 223 total with his final round 74 Tuesday to finish in a tie for 13th. Preston Lovett closed with a 76, and finished in a tie for 15th place with his 224. Ondrej Melichar shot a one-over par 73 Tuesday, as he finished in a tie for 19th at 226. Rhett Bechtel rounded out the top five with a team-low 72 in his final round, closing him in a tie for 30th at 232. The Crimson Storm's Jacob Prenticealso participated as an individual in the tournament and he finished in a tie for 27th, as he posted a 231 total for the three rounds.
The host Henderson State took home the team title, as it won with an 883. The Reddies finished eight strokes ahead of the Crimson Storm. Missouri Southern State took second with an 887. Arkansas-Monticello finished six strokes behind SNU and finished fourth. Henderson State's Drew Greenwood also took the home individual title as he defeated Missouri Western State's Patrick McCarthy in a one-hole playoff. The pair each shot an impressive 214 for the tournament.


text:
Q: Why does returning a list from a function output the same twice? I'm trying to sum the even values of a Fibonacci sequence, however, when I do so I get the same output twice in a row:
[2, 8, 34, 2, 8, 34]

as opposed to just
[2, 8, 34]

Below is the code:
number_sequence = 10
list_of_numbers = []
sum_of_numbers = []

def fibb_sequence():
    # init variables
    current_term = 2
    previous_term = 1
    list_of_numbers.append(previous_term)
    list_of_numbers.append(current_term)

    for i in range(2, number_sequence):
        # the magic happens
        new_num = current_term + previous_term
        previous_term = current_term
        current_term = new_num
        list_of_numbers.append(new_num)

    return list_of_numbers

def sum_added_values():
    for i in fibb_sequence():
        # find all even values
        if (i % 2) == 0:

            sum_of_numbers.append(i)

    print(sum_of_numbers)

print(fibb_sequence())
sum_added_values()

Why is it repeating itself?

A: You are mutating the global lists list_of_numbers and sum_of_numbers  inside fibb_sequence(), so every time this function is called, the values are appended to these lists.
Either stop using such global objects, or only call fibb_sequence() once. For example, remove the print(fibb_sequence()) line. Also, as fibb_sequnce() is called from within sum_added_values(), each call to sum_added_values() will append the values once more. Here the call to fibb_sequence() has been extracted so that it only happens once:
number_sequence = 10
list_of_numbers = []
sum_of_numbers = []

def fibb_sequence():
    # init variables
    current_term = 2
    previous_term = 1
    list_of_numbers.append(previous_term)
    list_of_numbers.append(current_term)

    for i in range(2, number_sequence):
        # the magic happens
        new_num = current_term + previous_term
        previous_term = current_term
        current_term = new_num
        list_of_numbers.append(new_num)

    return list_of_numbers

def sum_added_values():
    for i in result:
        # find all even values
        if (i % 2) == 0:

            sum_of_numbers.append(i)

    print(sum_of_numbers)

result = fibb_sequence()
print(result)
sum_added_values()

redpajama_set_name: RedPajamaStackExchange


text:
Q: iOS Unable to simultaneously satisfy constraints in loadView I'm getting the Unable to simultaneously satisfy constraints error.
I don't get the error when the viewcontroller establishes itself using viewDidLoad but it does get the error when using loadView...
Why is this happening?
I thought the only difference between loadView and viewDidLoad is that viewDidLoad occurs after loadView. At least, that seems to be the going explanation...

A: I don't know whether my answer would completely address your issue,but it might act as a starting point to resolve your issue.
There are quite a few points(you might be aware of) which needs to be noted before you use loadView:

*

*loadView is a method that gets called when view is loading,viewDidLoad is method that will be executed after the
view is loaded.

*loadView is recommended when you are willing to create the view programatically instead of setting in xib file,other wise there is
no point in using or calling loadView(It all depends on your
application requirement though).

*Don't call super loadView if you initialise your view from story
board or xib file.

*If you initialise your view from story board, do not call
[super loadView] and you must assign your rootView to self.view
property, if you call [super loadView] inside the method, you better never override this method and put your code in viewDidLoad method..

*If you are using xib file to set up the view,do the modifications of objects set up in viewDidLoad and don't call loadView,if you are creating the view programatically,initialise the view in the loadView and do the additional set up in viewDidLoad.
The constraint error generally pops up in story board or xib file,when "Use AutoLayout" is selected,if you unselect it,the error disappears,since you are creating the view programatically in loadView,it is your responsibility to see to it that the auto layout option is disabled i.e. you need to make use of setTranslatesAutoresizingMaskIntoConstraints property by setting it to "NO".
You can also refer to some of related questions here and there which could well get you out of this issue.
Thanks and happy coding :)


text:
Buy Football Tickets
« Are the St. Louis Rams the Destination for Michael Vick?
Bengals Still Climbing the Salary-Capped Mountains »
Deadline Comes and Goes as Favre Leaves Vikings Twisting in the Wind
June 5th, 2009 Chris Boynton Posted in Brett Favre, Minnesota Vikings
The deadline imposed by the Vikings on Brett Favre has officially come and gone with no word from either side. Is this a surprise to anyone ? If Brad Childress thought he could make Favre "Blink" on this one then he is either naive or just plain dumb. Neither is true.
So, where are we now ? Well, from my perspective, we are right back where we started. Make no mistake about who is in charge. Favre will decide on if and/or when he will play for the Minnesota Vikings. Be it this week, or three days before training camp officially opens…….and the Vikings will welcome him with open arms.
What choice does Childress have ? A team loaded with talent at every position except quarterback simply cannot refuse a chance to snare a player of Favre's status. Childress has been rendered impotent in this drama.
The line Childress attempted to draw in the sand was an obvious ploy to illicit the illusion of being in charge. It was his desperate ploy to save face . Who could blame him ? None of this is surprising. What is surprising is the way that Favre continues to allow him to dangle. This is not an attractive component in the Mississippi mans character.
So now that Favre has called his bluff, Childress has little choice but to continue as if it doesn't matter. With little or no reaction at all. No announcements, no pretense and business as usual. The team must move on and prepare itself as if Favre will not be taking snaps under center.. Sound familiar ?
Childress knows that his ability to lead depends in part on the perception that he is in charge. That he makes the decisions and is thus beyond reproach in this realm. Favre's conduct, whether intended or not, seriously jeopardizes said perception.
I believe that Brad Childress is a man of character. He has taken over a team fresh from the "Love Boat" scandal and restored pride and dignity to a franchise in need of direction. Like anyone else, I have my own questions concerning play calling, talent evaluation, delegation of duties etc. But I don't question the mans commitment to ethics and merit.
The Sporting News ranks Brad Childress as a respectable 11th best coach out of 32 and had the following to say about him: " The team has gotten better every year under his watch in Minnesota, and last season he got the Vikings to the playoffs without a strong quarterback."
This whole fiasco makes me wonder if Favre cares about anything but Favre. His massive ego has done much to tarnish his legacy. Ask Green Bay GM Ted Thompson who has been much maligned by Favre. Ask his former coach Mke McCarthy who is among those "Thrown under the bus" by the future hall-of-famer. Ask Sage Rosenfels, Tarvaris Jackson or John David Booty who's NFL futures are entwined with whatever he finally decides.
So, for now we sit and wait. We speculate and twist along with Brad Childress in the wind on every update. As articles like this present today's news as ……No news at all.
Subscribe to NFL Gridiron Gab via RSS Feed or E-mail and receive daily news updates from us!
Tags: brad-childress, Brett Favre
8 Responses to "Deadline Comes and Goes as Favre Leaves Vikings Twisting in the Wind"
bica says:
Favre proves again that he only cares about himself. Since the Vikings seem to want him so badly, and disregard everything he did to his former team, maybe they deserve him.
What deadline? The Vikings never stated any deadline, Favre never said anything about a deadline. The media said there was a deadline. The same media that said Childress was in Mississippi meeting with Favre, when at that exact moment there was a TV camera showing him walking into his office in Minneapolis.
Neither the Vikings nor Favre has any requirement to meet "deadlines" that people in the media make up.
PackerNotFavreFan says:
Favre has proven that Thompson and tha Packers were right. Amazingly the Packers front office has been able to keep their composure and quietly take all the maligning from the fans and the media…while Favre shows what a jerk he is.
tixy360 says:
With the latest quotes from Favre's agent Friday regarding his comment that if the Vikings are interested in bringing Favre in that "they(vikings) should be pulling out all the stops". this tells me that the negotiation dance has begun. Favre's shoulder obviously has heeled enough to prompt Bus Cook to make the statements that he did on May 5. When Cook was asked if Favre is going to have the shoulder surgery or already had the surgery Cooks response was "no comment".
Cheeze says:
As articles like this present today's news as ……No news at all.
Then why bother writing it at all? Did it occur to you he might be waiting to see how his arm heals or would you rather act like it's a insult to you? If he can play and wants to fine, the Vikings we set without him. Yes adding him would be huge if healthy but in the end Favre owes the media and Vikings nothing.It's june, not September. Favre and Bevel are on the same page so other then some minor chemistry and communication details he could walk in opening day and win games. First lets see if he's healthy and has the desire. Thers your story.
iowachick says:
Today we hear Favre had surgery in May and is not recovered to the point he can play with the pros. These deadlines did not exist. No team wants Brett if he can't play, and Brett does not want to be out there wounded and not at 100%.
Leave him alone. The only news there really is is that Brett is still working on the health of his arm, which has been true since season's end. He's not dangling anyone.
By the way, I don't think the Packers have been restrained. Most of the critical Favre articles have somehow found their way to the Packer News. They are letting the press hang their legacy player.
Dieter says:
I'm so disgusted with the vikings.. We're a quarterback away from being a real contenter for the super bowl and what do we do? Childress sits around with his head up his @$$ while the chiefs sign Cassel, the Bucs sign Leftwhich, the Raiders sign Garcia, and the Bears sign Cutler!!! We sign Sage Rosenfels!!! And now, we're thinking about bringing in Brett Favre and just handing him the offense… How is bringing in a 40 year old, INT prone, QB who's arm will give out in October an upgrade from a young, mobile, inconsistant QB with a pretty strong arm?
Sport News have him #11? What a bunch of idiots. Mike Tice had a 9-7 on his last year, with way less talent, a cheap owner, the last payroll on coaches & assistants, a facility with holes in the ceiling, etc. This clown has a better record by 1, with tons of money thrown at free agents (Allen, Berrian, Madieu Williams, Chester T and others), he had the Purple Jesus falling on his lap, he has more coaches and assistants than anybody on the league and what does he picks to drive a Mercedes? A young QB from a div2 school. My goodness, what an idiot…
Look what the Vikes did with what they had last year. Favre would up grade them a lot, he knows Bevel and his system. His arm didnt "give out" he tore his bicep. Believe me Favre won't come back unless he knows he can give 100% all year. That would be the best thing to happen since they hired Bud Grant. And yes he needs to watch his INT's, it's been a problem for years, he also will have over 500 TD's if he plays. Both QBs the Vikes have now will learn a lot from a HOFer. It's the best shot the Vikes have at winning a Superbowl if they ever will.
Chargers Announce Firing of GM A.J. Smith and Norv Turner
Ken Whisenhunt and GM Rod Graves Relieved of Duties
BREAKING: Bears Have Already Requested A Possibly Controversial Interview
Bob Stoops, Jon Gruden, Kyle Shanahan Could All Interview For Bears Job
NFL Gridiron Gab Newsletter
Sign up to receive our daily NFL Gridiron Gab newsletter, and keep up to date with all the latest NFL football news.
Fans of NFL Gridiron Gab
Select Month January 2013 (1) December 2012 (164) November 2012 (160) October 2012 (186) September 2012 (216) August 2012 (167) July 2012 (145) June 2012 (170) May 2012 (178) April 2012 (212) March 2012 (180) February 2012 (207) January 2012 (227) December 2011 (248) November 2011 (1409) October 2011 (1844) September 2011 (1687) August 2011 (375) July 2011 (412) June 2011 (218) May 2011 (246) April 2011 (289) March 2011 (212) February 2011 (202) January 2011 (303) December 2010 (375) November 2010 (355) October 2010 (504) September 2010 (435) August 2010 (297) July 2010 (193) June 2010 (235) May 2010 (189) April 2010 (256) March 2010 (193) February 2010 (140) January 2010 (231) December 2009 (179) November 2009 (219) October 2009 (187) September 2009 (235) August 2009 (196) July 2009 (232) June 2009 (167) May 2009 (202) April 2009 (217) March 2009 (202) February 2009 (182) January 2009 (208) December 2008 (230) November 2008 (246) October 2008 (283) September 2008 (322) August 2008 (239) July 2008 (174) June 2008 (158) May 2008 (145) April 2008 (123) March 2008 (170) February 2008 (209) January 2008 (199) December 2007 (240) November 2007 (204) October 2007 (235) September 2007 (291) August 2007 (225) July 2007 (195) June 2007 (213) May 2007 (74) April 2007 (23) March 2007 (28) February 2007 (27) January 2007 (39) December 2006 (30) November 2006 (33) October 2006 (49) September 2006 (34) August 2006 (32)
Select Category 2008 Divisional Predictions (8) 2008 Free Agency (47) 2008 NFL Draft (103) 2008 Team Previews (32) 2009 Divisional Previews (16) 2009 Free Agency (149) 2009 NFL Draft (187) 2009 NFL Playoffs (32) 2009 Team Previews (29) 2010 Division Previews (8) 2010 Free Agency (159) 2010 NFL Draft (215) 2010 Video Previews (27) 2011 Division Previews (4) 2011 Free Agency (415) 2011 NFL Draft (406) 2011 NFL Preview (7) 2011 Preseason (29) 2011 Regular Season (378) 2011 Training Camp (148) 2012 Division Previews (8) 2012 Free Agency (192) 2012 NFL Draft (165) 2012 NFL Playoffs (32) 2013 Free Agency (1) 2013 NFL Draft (1) Andre Knott (7) Arizona Cardinals (611) Atlanta Falcons (550) Baltimore Ravens (897) Bears Banter (27) Bears Blitz (14) Bill Romanowski Show (6) Brett Favre (166) Buffalo Bills (622) Carolina Panthers (554) Charity (3) Chicago Bears (789) Cincinnati Bengals (781) Cleveland Browns (891) Coaches Corner (48) College Football (90) Contests (80) Dallas Cowboys (871) Darren McFarland (20) Denver Broncos (630) Destiney Bleu Lewis (4) Detroit Lions (653) Fantasy Football (205) Fantasy Spotlight (27) Fines & Suspensions (14) Football Toons (9) Future Stars (92) Green Bay Packers (958) Gridiron Gabbin (122) Gridiron Preview (16) Gridiron Rewind (15) Gridiron Roundtable (12) Gridiron Tailgating (27) Hall of Fame (60) Holdouts (17) Houston Texans (571) Indianapolis Colts (705) Injuries (2,039) Jacksonville Jaguars (543) Jenn Sterger (34) Joe Fortenbaugh (13) Kansas City Chiefs (522) Lloyd Vance (16) Madden Football (13) Media (370) Miami Dolphins (805) Minnesota Vikings (853) Monthly NFL Awards (2) New England Patriots (821) New Orleans Saints (702) New York Giants (880) New York Jets (852) NFL (1,946) NFL Combine (1) NFL Draft Prospect Scouting Report (89) NFL Owners (125) NFL Players Association (153) NFL Schedule (1) Oakland Raiders (748) Obituary (13) Odds & Lines (141) Off the Cuff (419) Off The Field News (783) Offseason Overview (49) Patriots Spygate Case (27) Philadelphia Eagles (857) Picks (528) Picks to Click Odds Show (32) Pittsburgh Steelers (1,168) Podcasts (121) Police Blotter (338) Power Rankings (102) Pro Bowl (23) Product Reviews (29) Roger Goodell (40) Rumors (249) San Diego Chargers (555) San Francisco 49ers (536) Seattle Seahawks (771) St. Louis Rams (726) Super Bowl (157) Super Bowl XLV (56) Super Bowl XLVI (56) Super Bowl XLVII (12) Super Bowl XLVIII (2) Tampa Bay Bucs (545) Tennessee Titans (657) The Gab Report (30) Trades (11) Video (480) Video Previews (25) Washington Redskins (781) Weekly NFL Awards (14)
Dan: Did a Cleveland fan post this nonsense?... »
wut: that post gave me cancer... »
Mia Lakes: Is it me, or everyone jumping the gun on firing this year? What happen... »
mordecai: wow, where do you get this stuff? or do you just make it up?... »
George Retseck: "Jason La Canfora from CBS Sports is reporting that Eagles head coach ... »
Copyright © 2020 NFL Gridiron Gab - Part of the Sports Gab Network
Privacy Policy | Terms and Conditions | Disclosure Policy


text:
Léon Janlet, né en  et mort en , est un architecte bruxellois à qui l'on doit des bâtiments datant du début du .

Réalisations
 Ixelles, rue Washington, n° 140, 142, 144, 1923-1924
 Saint-Gilles, place Maurice Van Meenen, n° 22, 28, 1913
 Forest, avenue Saint-Augustin, n° 26
 Ixelles, rue Berkendael, n° 161, 1912

Bibliographie
 Un siècle d'architecture et d'urbanisme : 1900-2000, Région de Bruxelles-capitale, Editions Mardaga, 2000, p. 44
 Saint-Gilles : Huit siècles d'histoire[s]. 1216-2016, Mardaga, 2016, p. 72

Notes et références

Liens externes

Architecte belge
Naissance en 1881
Décès en 1956
Décès à 75 ans


text:
Q: Use of typealias syntax within protocols in the Swift standard library In the Swift programming guide from Apple, it is described how to use the typealias keyword within protocols (from the section on Generics)
protocol Container {
  typealias ItemType
  mutating func append(item: ItemType)
  var count: Int { get }
  subscript(i: Int) -> ItemType { get }
}

which is then implemented:
struct IntStack: Container {
  typealias ItemType = Int // can sometimes be left out and inferred by the compiler
  mutating func append(item: Int) {
    self.push(item)
  }

// redacted
}

However, a significantly different use case is found in the Swift standard lib, e.g
public protocol ForwardIndexType : _Incrementable {

typealias Distance : _SignedIntegerType = Int

// redacted

}

or
public protocol CollectionType : Indexable, SequenceType {

typealias Generator : GeneratorType = IndexingGenerator<Self>
public func generate() -> Self.Generator

// redacted

}

together with:
extension CollectionType where Generator == IndexingGenerator<Self> {
  public func generate() -> IndexingGenerator<Self>
}

What does this syntax represent? It appears that the typealias is both declared, restricted (e.g. to GeneratorType) and assigned, all at once? What does this mean and why is it so? I expected to see assignment (=) only in implementing client code.
My understanding of typealias is that it represents a type, that is 'filled in' by the implementing code (as per generics) yet here it seems to implement a type for the typealias in the declaration, even though this is also done in the extension (where I would expect it).

A: Take a look at this answer. Use of a colon shows inheritance, use of an equals sign shows assignment.
In my understanding this means the following:
typealias X // defines associated type X for subclasses to override
typealias X: Y // defines associated type X and requires that it conform to Y
typealias X = Z // defines associated type X with a default of type Z
typealias X: Y = Z // defines associated type X with a default of type Z and requires that any overrides conform to Y

My interpretation seems to be supported by this article on Swift generics:

An associated type is declared by a protocol using the typealias
  keyword. It normally set by an item that conforms to that protocol,
  although you can supply a default.  Like type parameters, an
  associated type can be used as a token when building generic type
  rules.

The use of the keyword typealias can be misleading for defining associated types and may be replaced by associatedtype in the future.