text:
Dominic Shellard
Separate Tables, separate entities?
This chapter explores the 'separate entities' that are Terence Rattigan's play and screenplay, by distinguishing the strength of the theatre Separate Tables, and by trying to locate the distinction and peculiarity of the film, which earned two Oscars in 1959. It shows how some interesting problems of censorship and homosexuality arose in Rattigan's time. The theatrical Separate Tables is a double-hander consisting of 'Table by the Window' and 'Table Number Seven'. 'Table Number Seven' is a play which represents a significant shift in Rattigan's dramaturgy. All Rattigan's success as writer in Separate Tables, the shift in the tectonic plates of British theatre after the Look Back in Anger watershed of 1956 swiftly cast him to the sidelines. The well-spring of Separate Tables is isolation from one's fellow human beings, and there are few plays that manage so effectively to convey the debilitating effects of loneliness.
TERENCE RATTIGAN'S REPUTATION has essentially been that of a theatre writer, and a conservative one, who is supposed to have avoided the darker themes that invaded the British stage after (roughly) the arrival of Look Back in Anger in 1956. This view of Rattigan is by now surely on its way out. His relation to the theatre and the so-called New Wave is undoubtedly more complex. However, his track record as a screenwriter, sometimes but not always adapting his own plays, should not be forgotten. In 1939 we have French Without Tears, then Quiet Wedding (1940), The Day Will Dawn (1942), Uncensored (1942), English Without Tears (1944), Journey Together (1945), The Way to the Stars (1945), While the Sun Shines (1947), Brighton Rock (1947, from Greene's novel), Bond Street (1948), and then a wonderful version of his own play The Winslow Boy (1948). In the 1950s he wrote The Browning Version (1951), The Sound Barrier (1952), The Final Test (1953), then disappointingly The Man Who Loved Redheads (1954), but triumphantly another adaptation of his own play The Deep Blue Sea (1955). The Prince and the Showgirl (1957), starring Marilyn Monroe and Laurence Olivier, who also directed, is often seen as the end of his film career. (It was an unsatisfactory, though intermittently charming, tardy revival of his Festival of Britain stage play that celebrated nation and the Oliviers – Vivien Leigh had the Monroe role – called The Sleeping Prince.) But actually his last film was much more distinguished: Separate Tables (1959), an American adaptation by Rattigan himself – but see below – of his own play (or rather two oneacters) of the same name. In it the work of the 'West End dramatist' (the cliché view of Rattigan) was brought to the screen by director Delbert Mann who was at the heart of New York realism in his earlier films, with versions of Paddy Chayevsky's brilliant, working-class TV dramas Marty (1955) and The Bachelor Party (1957).
In this essay I am going to explore the 'separate entities' that are Rattigan's play and Rattigan's screenplay, first by distinguishing the strength of the theatre Separate Tables (1954), and then by trying to locate the distinction and peculiarity of the film, which earned two Oscars in 1959. On the way we will see how some interesting problems of censorship and homosexuality arose in Rattigan's time. The theatrical Separate Tables is a double-hander consisting of 'Table by the Window' and 'Table Number Seven'. It was first produced at the St James's Theatre, London, on 22 September 1954, two years before the frequently trumpeted theatrical watershed of 1956, when postwar drama allegedly came of age.1 The film which conflated the two plays was released in 1958, directed by Mann, produced by Harold Hecht and starring the very English David Niven, Wendy Hiller and Gladys Cooper as well as the very American Rita Hayworth and Burt Lancaster.
'Table by the Window' and 'Table Number Seven' are both set in the Beauregard Private Hotel (a deliberately significant name), near Bournemouth, the south-coast resort that was notable then and now for its large retirement population.2 The action of the two plays occurs within eighteen months. The atmosphere is one of stasis, the outside world a disconcerting presence for the majority of residents, mediated by television, gossip in the dining room or the expression of prejudice in the residents' lounge.
The well-spring of Separate Tables is isolation from one's fellow human beings, and there are few plays that manage so effectively to convey the debilitating effects of loneliness. In the opening scene of 'Table by the Window' the frigidity of the hotel is disrupted by the arrival of the glamorous Anne Shankland. This upsets John Malcolm, the dyspeptic, pub-frequenting resident in his forties, because they share an uncomfortable past. By piecing together snippets of biography from a tense conversation across the tables ('separate'), the audience can work out the play's pre-history. John and Anne had been married for three years; eight have elapsed since John attacked her and was jailed for domestic violence and assault on a police officer; her subsequent marriage ended in divorce on grounds of cruelty. John now earns his living by writing for a left-wing journal, New Outlook, and has been attempting to rebuild his life. The fragile equanimity of their conversation disintegrates when Anne hints that she is prepared to forgive him ('Eight years will cure most scars') and John rushes out into the night to seek solace at 'The Feathers'. The wise, realistic hotel manager, Miss Cooper (Pat), who remarks that superficial conversation is an obligatory part her job, observes pertinently to Anne, 'People are sometimes so odd about not talking to newcomers, I don't know why, and I hate any of my guests to feel lonely. [Conversationally] Loneliness is a terrible thing, don't you agree?'
Later the theme of loneliness and incompatibility is developed through a series of vignettes in a delicacy of characterisation which could earn Rattigan the title of 'the Jane Austen of British theatre'. The youngest guests, Charles and Jean, disagree about marriage. Interestingly, he wants respectability while she is eager to maintain her independence. An elder resident, Lady Railton-Bell, reveals to a tipsy John Malcolm her revulsion at the leftist slant of his New Outlook pieces and confesses she would rather die than vote for the Labour Party; and Miss Cooper and John, now ashamed of his 'sordid little piece of alcoholic self-assertion', discuss whether he could ever go back to his old career which was (a surprise to most audiences) as junior minister in the 1945 Labour government, before his prison term. Cut off from this previous life by his own hamatia, he has no way back, though he has found some quiet happiness with Miss Cooper, who is naturally destabilised by the arrival of Anne. In Separate Tables romantic closure and the false reassurance of a neatly congenial relationship is always avoided.
JOHN: [Simply] Do you know, Pat, that I love you very sincerely?
MISS COOPER: [With a smile] Sincerely? That sounds a little like what a brother says to a sister.
JOHN: [With an answering smile] You have surely reason enough to know that my feelings for you can transcend the fraternal.
[MISS COOPER rises and moves to JOHN, who puts his hand on her arm]
But 'they move apart, not in alarm, but as if from long practice'. This physical 'separation' is emblematic of 'Table by the Window's' poignant yearning for union.
A second conversation between Anne and John ends in disaster. They cannot agree why they broke up. He stresses their different backgrounds, her refusal to have children and impatience with his (lack of) social graces. She counters with her career as a model and his delusion that she never really loved him. As they talk they become gentler. Anne confesses she is in 'a bad way' and cannot bear her loneliness, dreading a life 'in a few years' time at one of those separate tables'. Relaxed by intimacy, their sexual attraction is reawakened and Anne proposes they go to her room, but she is called to the telephone by Miss Cooper – who corrects John's belief that the meeting with his wife was a true coincidence. Anne was on the phone that very minute to his publisher, Wilder. John realises she had tracked him down and, angry at seemingly being trapped into 'unconditional surrender', he melodramatically 'slips his hand on to her throat', but instead of injuring her he pushes her to the floor and leaves.
There is a short final scene to this one-act play which introduces a motif common to both one-acters that make up Separate Tables: abnegation. In spite of loving John, Miss Cooper, we learn, sat up all night with Anne, while John paced the seafront. In her kind, cautious way, she established that Anne was addicted to sleeping pills and drugs; she now says – incredibly – that she feels it necessary to give John up for Anne's sake:
She didn't win me over, for heaven's sake! Feeling the way I do, do you think she could? Anyway, to do her justice, she didn't even try… She didn't give me an act, and I could see her as she is all right. I think all you've ever told me about her is probably true. She is vain and spoiled and selfish and deceitful. Of course, with you being in love with her, you look at all those faults like in a kind of distorting mirror, so they seem like monstrous sins and drive you to – well – the sort of thing that happened last night. Well, I just see them as ordinary human faults, that's all – the sort of faults a lot of people have – mostly women, I grant, but some men, too. I don't like them, but they don't stop me feeling sorry for a woman who's unhappy and desperate and ill and needing help more than anyone I have ever known.
Miss Cooper's quiescence was soon to become outdated in the blast of angry rhetoric that swept through parts of the British theatre in the late 1950s, but its calm stoicism has a renewed resonance today in an era in which grandiloquent gestures are viewed with more suspicion. With quiet fervour, Miss Cooper is articulating a world view every bit as passionate as Jimmy Porter's outbursts, but in a lower key and a more equable tone. Her universal plea for greater understanding and tolerance of human frailty and her pointed emphasis on 'ordinary human faults' foreshadows 'Table Number Seven', the second play in Separate Tables, in which we see Rattigan's involvement with questions of sexual identity.
'Table Number Seven' is a play which represents a significant shift in Rattigan's dramaturgy. In his introduction to the second volume of his Collected Plays in 1953, Rattigan disastrously defined his ideal audience member by proclaiming the 'simple truth' that the theatre could not afford to offend a 'nice, respectable, middle-class, middle-aged, maiden lady with time on her hands and the money to help her pass it', whom he chose to call 'Aunt Edna'.3 But 'Table by the Window' deliberately subverted Aunt Edna's respectable expectations by an ending that stressed incompatibility and a lack of clarity. John's belief that they 'haven't very much hope together' is matched by Anne's questioning of whether they have very much hope apart. Instead of leaving the hotel, perhaps in a sunset together, they merely agree to share a table for lunch, a downbeat ending that might disappoint Aunt Edna.
'Table by the Window' cleverly uses bathos. It is tense, dispassionate and equivocal, but it is overshadowed by 'Table Number Seven' which has the most famous character in Separate Tables, Major Pollock. Absent in the first play ('away visiting friends') his presence in the second which takes place eighteen months later provides the dramatic focus. There seems something slightly bogus about this major from the beginning. His posh voice and locutions ('Lovely day, what?') are anachronistic in the postwar period. He says he was at Sandhurst, but gives a shaky response when asked if he was awarded the Sword of Honour. He embarrassingly confuses a Latin phrase for a Greek one which shocks the retired schoolmaster, Mr Fowler, and makes him doubt that the Major really was at Wellington.
It soon emerges that the Major has reason to be evasive about his recent past. He becomes suspiciously anxious to hide a copy of the local newspaper from his fellow residents and it is soon revealed that the paper has a report of the Major being bound over by the magistrates' court for committing a criminal offence. What does Major Pollock have to hide?
When he was writing 'Table Number Seven', Rattigan was very sure that he wanted the Major to be involved with something close to his own life: homosexuality.
The play as I had originally conceived it concerned the effect on a collection of highly conventional people of the discovery that one of their number was a sexual deviant, and that deviation I had naturally imagined as the one most likely to cause a dramatic shock, the one most likely to be outside the sphere of their sympathetic understanding: the one which the Major would be most ashamed of their finding out and the one for which the whole of the part of the character of the Major was originally conceived: obviously homosexuality.4
He himself felt obliged to conceal his sexuality, but he also wanted to show not only a version of the love (or sexuality) that dared not speak its name, but the tolerance of this love by ordinary people. This had been recently demonstrated after the actor John Gielgud's conviction in 1953 for propositioning a man in a public lavatory ('cottaging'). Rattigan was impressed by the fact that when Gielgud (bravely) went on stage after his court appearance, he was greeted by a standing ovation and empathetic warmth. It seemed that the audience had the good sense Rattigan portrayed in Miss Cooper in Separate Tables. But he soon acknowledged that the Lord Chamberlain would not allow the Major's offence to be related to homosexuality: "I realized that, if I were to get the play done in the West End at all, I would have to find a way round the Lord Chamberlain's present objection to any mention of this particular subject.'5The term actually used by the Lord Chamberlain's office was the 'forbidden' subject.6 Rattigan altered his plot and the Major's offence. Now the Major was in court for indecent behaviour in a cinema. He 'persistently nudged' one woman in the arm and later 'attempted to take other liberties. She subsequently vacated her seat, and complained to an usherette.' The censor had no difficulty with this and the reader's report for 'Table Number Seven' termed it 'a little masterpiece'. Separate Tables duly opened on 22 September 1954 and ran for 726 performances. Soon a Broadway transfer was organised. Perhaps because of the liberalising of attitudes seemingly announced by the arrival of Look Back in Anger in 1956, Rattigan was now eager to return to his original conception of the Major's offence. There had after all been two important American plays concerned with homosexuality: Arthur Miller's A View from the Bridge (1955) and Robert Anderson's Tea and Sympathy performed on the London stage in 1953 and filmed by Vincente Minnelli in 1956. Paddy Chayevsky, the television writer, author of Marty and collaborator with Delbert Mann, had written interestingly on the subject of homosexuality in the preface to Marty in his collected Television Plays (1955), though it was only published in America. Rattigan therefore rewrote the magistrates' court material more boldly and more interestingly than his rather anodyne segment on the Major nudging an arm in a cinema. This was how the charge was now framed.
A Mr. William Osborne, 38, of 4 Studland Row, giving evidence, said that about 11.15 p.m. on July the 18th Pollock had approached him on the Esplanade, and had asked him for a light. He had obliged and Pollock had thereupon offered him a cigarette, which he had accepted. A few words were exchanged, following which Pollock made a certain suggestion. He (Mr. Osborne) walked away and issued a complaint to the first policeman he saw. Under cross-examination by L. P. Crowther, the defendant's counsel, Mr. Osborne admitted that he had twice previously given evidence in Bournemouth, in similar cases, but refused to admit that he had acted as a 'stooge' for the police. Counsel then observed that it was indeed a remarkable coincidence. Inspector Franklin, giving evidence, said that following Mr. Osborne's complaint a watch was kept on Pollock for roughly an hour. During this time he was seen to approach no less than four persons, on each occasion with an unlighted cigarette in his mouth. There was quite a heavy drizzle that night and the Inspector noted that on at least two occasions the cigarette would not light, and Pollock had had to throw it away. None of them, he admitted, had seemed particularly disturbed or shocked by what was said to them by the defendant, but of course this was not unusual in cases of this kind. At 1 a.m. Pollock was arrested and, after being charged and cautioned, stated, 'You have made a terrible mistake. You have the wrong man. I was only walking home and wanted a light for my cigarette, I am a Colonel in the Scots Guards.' Later he made a statement. A petrol lighter, in perfect working order, was found in his pocket. Mr. Crowther, in his plea for the defendant, stated that his client had had a momentary aberration. He was extremely sorry and ashamed of himself and would undertake never to behave in so stupid and improper a manner in future. He asked that his client's blameless record should be taken into account. He had enlisted in the army in 1925 and in 1939 was granted a commission as a second lieutenant in the Royal Army Service Corps …7
However, American producer Bob Whitehead was horrified by the fore-grounding of this theme; 'in being so specific about his "offence" I feel the play becomes smaller', he wrote in September 1956. Rattigan therefore reluctantly shelved the new version.8
Arguably it does not matter too much what the Major did because the emotional centre of the play is the residents' reactions to some act outside their experience. The central segment is really a 'trial scene', a meeting called by the bully Mrs Railton-Bell who wants the Major expelled from the Beauregard Hotel. However, she is confronted with some surprising responses: the gentle Lady Matheson and Mr Fowler are discomforted by Mrs Railton-Bell's vehement bigotry; the female half of the 'nice young couple' in the previous play, Jean (now married to Charles), from whom tolerance might be expected, declares herself disgusted by the Major's sexuality. But Charles makes a rousingly positive speech:
My dislike of the Major's offence is emotional and not logical. My lack of understanding of it is probably a shortcoming in me. The Major presumably understands my form of love-making. I should therefore understand his. But I don't. So I am plainly in a state of prejudice against him, and must be wary of any moral judgements I may pass in this matter. It's only fair to approach it from the purely logical standpoint of practical Christian ethics, and ask myself the question: 'What harm has the man done?' Well, apart from possibly bruising the arm of a certain lady, … and apart from telling a few rather pathetic lies about his past life, which most of us do from time to time, I really can't see he's done anything to justify us chucking him out into the street.
In this plea for the appreciation of difference, Charles appears to be acting as Rattigan's mouthpiece and underlines, in his measured, insightful appeal, the difference between the strident polemic of the 'angry young men' and the plaintive, diplomatic persuasion of this representative of the old guard.
Not everybody is as magnanimous as Charles. Mrs Railton-Bell has a down-trodden, nervy daughter Sybil (beautifully played by Deborah Kerr), who had been drawn to the Major through a mutual insecurity. She is devastated by his offence. Her pitiful plea to the Major ('Why have you told so many awful lies?') provokes a moving moment of anagnorisis on his part: 'I don't like myself as I am, I suppose, so I've had to invent another person. It's not so harmful, really. We've all got daydreams. Mine have gone a step further than most people's – that's all. Quite often I've even managed to believe in the Major myself.' This is the key point about the two plays in Separate Tables. The characters suffer from loneliness and disappointment, against which they quietly battle, and we realise that their struggle might be alleviated if they opened themselves up to the understanding of others rather than rely on an isolating stoicism. Rattigan is saying that the stiff upper lip can cause disastrous emotional constriction – not a view that his detractors, then and now, are keen to acknowledge, just as they will not admit that he is a more multivalent writer than is usually believed. The climax of the plays occurs when the inhibited, now distraught, Sybil opens up, surely for the first time, about her real feelings to Miss Cooper: 'The Major says that we're both scared of life and people and sex. There – I've said the word. He says I hate saying it even, and he's right – I do. What's the matter with me? There must be something the matter with me – I'm a freak, aren't I?' Miss Cooper, embodiment of Rattiganesque (and British, postwar?) good sense, makes the core speech of the play about 'freaks'.
I never know what that word means. If you mean you're different from other people, then, I suppose, you are a freak. But all human beings are a bit different from each other, aren't they? What a dull world it would be if they weren't. You see, I've never met an ordinary person. To me all people are extraordinary. I meet all sorts here, you know, in my job, and the one thing I've learnt in five years is that the word normal, applied to any human being, is utterly meaningless. In a sort of way its an insult to our Maker, don't you think, to suppose that He could possibly work to any set pattern?
This open celebration of diversity makes Separate Tables a very forward-looking work and the beautiful simplicity of its final scene makes it a heartening one, too. It is believed that the Major will 'slink away', but finally he has the courage to make a quiet arrival which is electrifying. One by one the residents, to the mortification of the detestable Mrs Railton-Bell, engage in minimal but gently cordial pleasantries with him. We learn that he is no longer to call himself 'Major'; he tells the waitress he no longer says things like 'mea culpa'; and crucially he indicates that he is yet to make a decision as to how long he will be staying at the Beauregard. (In this we know he has the support of Miss Cooper.) There is no easy closure to the episode in his life, or the play. The acceptance of Mr Pollock is not guaranteed and his re-assimilation is far from complete, but the unsentimental humanity of the other residents is an encouraging start, brought about by his own honesty.
Mrs Railton-Bell, however, isolates herself by attempting to stage a dramatic walk-out from the dining room – and Sybil refuses to follow her, on the edge of emancipation. Mrs Railton-Bell retreats to the sound of Sybil engaging in conversation with her friend, Mr Pollock, and Rattigan takes great pains to avoid any facile symmetry at the end of 'Table by the Window'. The final stage direction is 'A decorous silence, broken only by the renewed murmur of the casuals, reigns once more, and the dining-room of the Beauregard Private Hotel no longer gives any sign of the battle that has just been fought and won between its four, bare walls.'
The Broadway production of Separate Tables was a smash-hit, opening on 25 October 1956 and running for 322 performances, followed by a six-month tour. Harold Freedman sold the film rights to Ben Hecht and his new partner, Burt Lancaster, for $175,000, rising to a maximum of $300,000. Rattigan was to be paid $50,000 for a script to be delivered by 1 June 1957. It was to be a United Artists production.
The production company insisted on significant changes. The film conflated the two one-act plays. On the stage the same actor (Eric Portman) played the disgraced politician and the Major, but for the film Burt Lancaster was John and David Niven took the part of Major Pollock. The film played up a hint of romance between the Major and Sybil Railton-Bell, suggesting at least a potential heterosexuality for the military man. Rattigan never wanted this, however, thinking it would be a 'bowdlerisation of the original'.9 So the studio covertly employed a second screenwriter, John Gay, to deliver its wishes. Rattigan was furious, but partly because of personal exhaustion, partly because he realised the change was commercially sensible, he agreed to a jointly devised screenplay so long as he had first place in the credits.
It would be completely wrong to see Hecht, Lancaster and Delbert Mann's Separate Tables as a watered-down version of the play. The conflation of the two plots adds intensity and there is a deeper characterisation of several of the residents, like the eccentric Miss Meacham (enthusiastic billiards player and committed student of racing form) and Jean Stratton, the antithesis of the passive 1950s wife, wearing slacks, refusing to dress for dinner and confidently stating that she intends to 'produce paintings and not children'.
The casting of the stars Burt Lancaster as John Malcolm, the leftist firebrand, and Rita Hayworth as Anne Shankland (his ex-wife, the model), necessarily imparted different significance to their characters. Hayworth gives glamour to Anne's arrival in the dowdy hotel. Beautiful, distant and disconcerting, she claims that she has come down to Bournemouth to help John having heard he was in difficulties: skilfully little time is left to consider the plausibility of this, as the crisis of the Major's court case swiftly envelops the Beauregard. Although the references to British party politics are removed and John is transformed into a reclusive American writer, he is still depicted as a class warrior who enjoys taunting the snobbish Mrs Railton-Bell. It is quite apparent that in this English-American film there is still latitude to consider the issue of class division, and there is, if anything, a greater sense of class consciousness than in the play. Lancaster and Hayworth are self-evident Americans, a fresh national presence which catalytically highlights the antiquated nature of the class codes by which the English residents appear to operate.
One crucial alteration in the film is the presence of John at the residents' meeting to discuss Major Pollock's future. He is refreshingly flippant about the number of nudges the Major is alleged to have made in the darkness of the cinema and Burt Lancaster obviously enjoys the rhetorical flourishes that this repointing of John's character allows.
After the drama of the residents' meeting, Anne and John retire to the verandah where their physical attraction for each other is made much more explicit than in the play. A very passionate embrace is interrupted by Miss Cooper – and this is, perhaps, the weakest moment of the film. The ambiguous nature of their relationship in 'Table by the Window' now becomes a more calculating, less open-ended affair which descends into a violence that seems more appropriate for A Streetcar Named Desire than a Rattigan drama. (Though elsewhere, in Hayworth's performance, the film is able to rise to Streetcar-like intensities, as we shall see.) But if the drama of the violence itself is heavy-handed, its consequence is one of the subtle touches which elevates the film. It is Miss Meacham who confirms that Anne is not seriously hurt by revealing that she is going to leave. 'She's not the alone type,' Miss Meacham concludes, and then, with a wistfulness that confirms the pervasive nature of the residents' isolation, observes that 'people have always scared me'. Sybil Railton-Bell, too, is afraid of human contact: she begs the Major not to 'pretend anymore' but when he explains, in the key moment of the film, that 'I'm made in a certain way and I can't change it', she is less distressed by this revelation than by his accurate diagnosis of their shared misfortune: 'You're so scared of life … We're awfully alike.' In a tender new scene, it is to the wounded Anne and not to Miss Cooper that Sybil confides her fear of sex. This allows Miss Cooper to become Anne's confidante after John's violence. In a highly effective set-piece, Miss Cooper explains to John that Anne takes three times the recommended dose of sleeping pills and in her palpable vulnerability is as similar to John as the Major is to Sybil. There is 'not much to choose between the two of you', she adds, and in a moment of poignant self-abnegation that must have contributed to Wendy Hiller's securing her Oscar as Best Supporting Actress, she urges John to go to her again because it is quite clear that 'you love her'.
The themes of Separate Tables come together in the final dining-room scene. John enters having spent the night walking on the seafront and sits at a separate table from Anne. She apologises to him for lying about how she had tracked him down and admits that he is all the things that she is not ('honest, true and dependable'). With simple symbolism, John joins her table. At this point, Major Pollock enters. Uncertain as to how to react, the fellow residents are nervously silent: a truly thrilling moment of cinema. After a long pause, the camera enquiring (as it were) of several characters, it is John who is first to address him with a simple 'Good morning', an affirmation of friendship.
The film Separate Tables was as much a box-office success as its stage counterpart. Its opening in Britain on 13 February 1959 was swiftly followed by the award of Oscars to David Niven (Best Actor) and Wendy Hiller (Best Supporting Actress). What is most striking today is how skilfully the film manages to convey the stifling claustrophobia of the Beauregard Hotel. Rita Hayworth, in one of her very few powerful mature roles, invites comparison with Vivien Leigh in A Streetcar Named Desire. Burt Lancaster has emerged as an actor of subtlety, having come far from the flamboyant heroics and circus skills of his early films like The Flame and the Arrow (1950). He is a real rebel in the dusty chintz. David Niven's bluster as the Major embarrassingly jars, a parody of his 'decent chap' screen selves. Gladys Cooper (Mrs Railton-Bell) is a beguiling mixture of the stern and the sinister, prowling the hotel with haughty elegance. The American factors in the film (the stars Lancaster and Hayworth and the noir-ish melodrama) heighten the Englishness of the theme and of the other performers, leading and supporting. And at the heart of this success is Rattigan, the discreet, adaptable, morally thoughtful dramatist. But for all Rattigan's success as writer in Separate Tables, the shift in the tectonic plates of British theatre after the Look Back in Anger watershed of 1956 swiftly cast him to the sidelines.
1 It was first published as Separate Tables by Hamish Hamilton in 1955; a second impression appeared in July 1955 and a third in January 1957.
2 The 1955 Samuel French 'Acting Edition' of Separate Tables renamed the two plays as 'Table No. 1' and 'Table No. 2', 'according to the Author's wishes', p. iv. I have retained the unamended titles of the third Hamish Hamilton impression of the play, since this was published two years later in 1957.
3 Terence Rattigan, 'Introduction', Collected Plays: Volume Two (Hamish Hamilton, 1953), p. iv.
4 Geoffrey Wansell, Terence Rattigan (Fourth Estate, 1995), p. 252.
5 Wansell, Rattigan, p. 253.
6 This was the term given to the theme of homosexuality by the Lord Chamberlain, who retained powers of censorship over British drama until 1968. There was a complete ban on any reference to the topic until 1958 when the Lord Chamberlain issued a secret memorandum to his readers that reluctantly explained his reasons for a relaxation of the edict. See Dominic Shellard, British Theatre Since the War (Yale University Press, 2000).
7 The altered version is in the Terence Rattigan Archive, Department of Literary Manuscripts, British Library.
8 Bob Whitehead, letter to Terence Rattigan (5 September 1956), British Library.
9 Wansell, Rattigan, pp. 256, 56–9.
My interest in the 1950s was sparked by my father giving up smoking on the death from emphysema of Kenneth Tynan, his schoolboy hero, in 1980. I subsequently wrote a study of Harold Hobson (Harold Hobson: Witness and Judge, 1995) and a survey of post-war theatre (British Theatre Since the War, 1999), and I am working on a book about Tynan and theatre criticism for Yale University Press. I am Head of Drama in the Department of English Literature at Sheffield University. Dominic Shellard


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Q: Generate a XSD from a JAXB-annotated class without using File I am trying to generate XSD from Java Annotated classes by following code mentioned in this post Is it possible to generate a XSD from a JAXB-annotated class
JAXBContext jaxbContext = JAXBContext.newInstance(Customer.class);
SchemaOutputResolver sor = new MySchemaOutputResolver();
jaxbContext.generateSchema(sor);

public class MySchemaOutputResolver extends SchemaOutputResolver {

    public Result createOutput(String namespaceURI, String suggestedFileName) throws IOException {
        File file = new File(suggestedFileName);
        StreamResult result = new StreamResult(file);
        result.setSystemId(file.toURI().toURL().toString());
        return result;
    }

}

This technique is using File system, My requirement is to get the XML as String without using file system.
Is there any possibility the Implementation of SchemaOutputResolver may not write file to disk and return or set some instance variable with the String value.

A: You can write the StreamResult on a StringWriter and get the string from that.
JAXBContext jaxbContext = JAXBContext.newInstance(Customer.class);
MySchemaOutputResolver sor = new MySchemaOutputResolver();
jaxbContext.generateSchema(sor);
String schema = sor.getSchema();

public class MySchemaOutputResolver extends SchemaOutputResolver {
    private StringWriter stringWriter = new StringWriter();

    public Result createOutput(String namespaceURI, String suggestedFileName) throws IOException  {
        StreamResult result = new StreamResult(stringWriter);
        result.setSystemId(suggestedFileName);
        return result;
    }

    public String getSchema() {
        return stringWriter.toString();
    }

}

redpajama_set_name: RedPajamaStackExchange


text:
Hoard of Cash Lets Qaddafi Extend Fight Against Rebels
James Risen and Eric Lichtblau|The New York Times
Published 7:55 AM ET Thu, 10 March 2011 Updated 10:28 AM ET Thu, 10 March 2011 The New York Times
The Libyan leader Col. Muammar el-Qaddafi has "tens of billions" in cash secretly hidden away in Tripoli, allowing him to prolong his fight against rebel forces despite an international freeze on many of the Libyan government's assets, according to American and other intelligence officials.
Mahmud Turkia | AFP | Getty Images
Muammer Gaddafi
Colonel Qaddafi has control over the huge cash deposits, which have been stored at the Libyan Central Bank and other banks around the Libyan capital in recent years, the officials said.
Since the protests and fighting erupted, some of the money may have been moved into Colonel Qaddafi's Tripoli compound, Bab Al Azizia, according to one person with ties to the Libyan government. While United States intelligence officials said they could not confirm such a move, one official said that Colonel Qaddafi "likely has tens of billions in cash that he can access inside Libya."
The money — in Libyan dinars, United States dollars and possibly other foreign currencies — allows Colonel Qaddafi to pay his troops, African mercenaries and political supporters in the face of a determined uprising, said the intelligence officials, speaking on the condition of anonymity.
The huge cash reserves have, at least temporarily, diminished the impact of economic sanctions on Colonel Qaddafi and his government. The possibility that he could resist the rebellion in his country for a sustained period could place greater pressure for action on the Obama administration and European leaders, who had hoped that the Libyan leader would be forced from power quickly.
President Obama's national security team met at the White House on Wednesday to discuss how to oust the Libyan leader, including the possible imposition of a no-flight zone, but made no decisions, according to the White House press secretary, Jay Carney.
The United States has relied so far on imposing financial pain on the Qaddafi government, freezing nearly $32 billion of Libya's assets, according to Treasury Department officials. The United Nations and the European Union have imposed separate sanctions and have frozen assets as well.
But those actions have been limited to funds in the international banking system and to business investments outside of Libya. Inside the country, the intelligence officials said, Colonel Qaddafi has amassed a huge rainy day fund of cash.
Kenneth Barden, a lawyer who specializes in Middle East financing and advises financial institutions on ways to guard against money laundering, said there were indications that Colonel Qaddafi had moved billions of dollars in assets just days or weeks before the outbreak of violence in Tripoli, apparently to protect his family wealth from global sanctions.
"The money that is kept in Qaddafi's name is probably small," Mr. Barden said, "but he's got a lot in the names of family members and close associates."
But Colonel Qaddafi probably began hoarding liquid assets far earlier, officials said. He has built up Libya's cash reserves in the years since the West began lifting economic sanctions on his government in 2004, following his decision to renounce unconventional weapons and cooperate with the United States in the fight against Al Qaeda. That led to a flood of Western investment in the Libyan oil and natural gas industries, and access to international oil and financial markets.
show chapters
Oil Shock 7:31 PM ET Wed, 9 March 2011
Colonel Qaddafi, however, apparently feared that sanctions would someday be reimposed and secretly began setting aside cash in Tripoli that could not be seized by Western banks, according to the officials. He used the Libyan Central Bank, which he controls, and private banks in the city. He also directed that many government transactions, including some sales on the international oil spot market, be conducted in cash. "He learned to keep cash around," said the person with ties to Libyan government officials, who asked to remain anonymous for fear of putting them in jeopardy.
The reserves are likely to prove even more critical to Colonel Qaddafi as the government's revenues dwindle from oil production.
With the unrest, Libya is pumping just 300,000 to 400,000 barrels of oil a day, down sharply from its typical production of 1.8 million barrels a day, according to Holly Pattenden, head of oil and gas analysis at the Business Monitor International in London.
The current levels would be worth about $30 million to $40 million a day, but export markets are now virtually closed to the country, as international banks refuse to provide letters of credit for oil company shipments, according to Greg Priddy, a global oil analyst with the Eurasia Group in Washington.
"I don't think they are deriving a lot of income from the export market right now," Mr. Priddy said. "The international banks don't want to touch it." Still, several small Libyan refineries remain open, and Mr. Priddy said they were probably refining oil for the domestic market and fuel for Colonel Qaddafi's military operations.
OPEC's Plan to Ease Oil Pain 11:25 AM ET Wed, 9 March 2011
With other sources of income drying up, the Libyan leader is heavily dependent on his pile of cash, and apparently spending it to stay in power. He is making cash payments to political supporters in Tripoli to retain their loyalty, while also buying the services of African mercenaries.
The person close to the government estimated that 3,000 to 4,000 mercenaries from Mali, Niger and a rebel group operating in Darfur, Sudan, the Justice and Equality Movement, have been hired by the Libyan government for at least $1,000 a day apiece. United States intelligence officials said they could not confirm those numbers or amount of payments.
Intelligence officials and other experts credit Colonel Qaddafi with becoming very adept at hiding his money, and said it had often been difficult to distinguish between the assets of the Libyan government, including its $70 billion sovereign wealth fund, and the Qaddafi family's assets.
Mr. Qaddafi's history of financial dealings indicate that he has "surreptitious accounts and unaccounted sums that are significant enough to give him security even if the world caves in on him," said David Aufhauser, a top Treasury Department official in President George W. Bush's administration.
Justice Department documents show that Libya had worked with Swiss banks to launder international banking transactions for years, with "hundreds" of senior Libyan officials allowed to surreptitiously move money.
Tim Niblock, an expert on Libya and professor at the University of Exeter in Britain, said he believed that Colonel Qaddafi had hidden cash as far back as the 1990s. He said that it was part of a larger effort by the Libyan leader to protect his money from both the international community and his domestic foes.
"He's always aware that he faces problems from outside and within," Professor Niblock said. "It would be quite foolish for him to not amass money for an eventuality like this."
— Helene Cooper contributed reporting from Washington, and David Rohde from New York. Barclay Walsh contributed research from Washington.
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Australian Country Choice (ACC), together with Australian Cattle and Beef Holdings (ACBH) are proud industry leaders in producing and supplying highest quality beef products to the local and export markets. We employ over 1500 Queenslanders and together our diverse operation processes 300,000 head of cattle across our large-scale breeding, backgrounding, farming and feedlot operations through to our state of the art food processing and value add packing facility. We are the world's largest, family owned vertically integrated beef supply chain.
You really do get the best of both worlds. You get the opportunity and security that comes with a progressive corporate pastoral operation who continue to grow, develop and innovate, along with the support and personal interest that comes with being part of an authentic family business. We're solid, we're progressive and we continue to invest in our infrastructure, our technology and our people.
Make your next move your best yet. Apply now to join the ACC Group and broaden your skills, your agribusiness knowledge and experience with an Australian and family owned, industry leader. You'll enjoy a great team environment, ongoing learning, diverse career opportunities, comfortable living conditions and staff facilities plus competitive wages.
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Taxpayers looking at last year's return to get help in filing this year's return are in for some surprises.
For tax year 2018, the Internal Revenue Service no longer provides Form 1040A or Form 1040EZ but, instead, uses a streamlined Form 1040 with up to six different schedules to attach, depending on types of income or credits claimed. Other schedules usually attached to Form 1040, such as Schedule A Itemized Dedutions, still survive, but are revised to account for the Tax Cuts and Jobs Act.
The revised Form 1040 and related Schedules 1 through 6 can be viewed here.


T-Mobile has its T-Mobile Tuesdays, Verizon has its VerizonUp and AT&T has its AT&T Thanks. After long being the only carrier without one, Sprint on Tuesday is finally getting into the rewards game.
Called simply My Sprint Rewards, the new program echoes the others by offering perks, contests and other goodies to those who subscribe to Sprint's service. Sprint users can check the offers by downloading the My Sprint Rewards app for iOS or Android and logging into their accounts.
There is no cost to join the program with Sprint promising "exclusive deals" from the carrier as well as from a "large variety of well-known brands in apparel, auto, beauty, electronics, health, home, sports, travel and more." Exactly what those offers will be was not immediately clear, though companies listed on the My Sprint Rewards website include AMC, Sam's Club, Shipt and H&R Block.
One perk for those hungry is a free large one-topping pizza from Papa Johns, who Sprint partnered with to launch the app.
Sprint is also promising to offer "cash back rewards" for money back on certain purchases, but again exact details remain a mystery.
Sprint also won't be segmenting its rewards in tiers depending on what services you pay for, something AT&T does for its program.
While the odds are it won't amount to much if you're already paying for Sprint, the free program is worth a shot. Even if it's just a free pizza every once in a while.


text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">

<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1">
<title>Boost.Geometry (aka GGL, Generic Geometry Library)</title>
<link href="doxygen.css" rel="stylesheet" type="text/css">
<link href="tabs.css" rel="stylesheet" type="text/css">

Main Page

Related Pages

Modules

Namespaces

Classes

Files

Examples

home

ubuntu

boost

boost

geometry

geometry Directory Reference

Directories

directory  	algorithms

directory  	arithmetic

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directory  	geometries

directory  	io

directory  	iterators

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directory  	strategies

directory  	util

directory  	views

April 2, 2011

Copyright © 2007-2011 Barend Gehrels, Amsterdam, the Netherlands

Copyright © 2008-2011 Bruno Lalande, Paris, France

Copyright © 2009-2010 Mateusz Loskot, London, UK

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text:
In this series, I am going to outline some basic approaches to authenticating your .NET Core API using either ASP.NET Core
    Identity or token-based authentication with a JSON Web Token (JWT). I will also explore how to configure your application
    to return proper response types to both Redirect To Login and Redirect To Access Denied events when using ASP.NET Core
    Identity.

Authentication In A Dot Net Core API

      ASP.NET Core Identity, Accessed Denied.

      ASP.NET Core Identity, Accessed Granted.

      Token based authentication with a JSON Web Token (JWT).

      Migrating to ASP.NET Core 2.0. (Coming Soon)

In part 1 (
  ASP.NET Core Identity, Accessed Denied) of this series, I explored how to deny access to your ASP.NET Core API endpoints
  and return proper response types to both the Redirect To Login and Redirect To Access Denied events using ASP.NET Core
  Identity. In this post, I will show you how to register a user with ASP.NET Core Identity and authenticate that user so
  that it will have access to our now secure endpoints.

Registering A User

When we set up our DB Context to derive from a
  IdentityDbContext type and created the database through our Entity Framework migrations, we were provide with the necessary
  tables needed to support our Identity configuration.

To register a user and populate these tables with the data needed to authenticate, I created the following endpoint in a
  new controller called
  AccountApiController located in the
  Admin area of my project.

[HttpPost]
public async Task<IActionResult> Create([FromBody] AccountRegisterLogin model)
{
  if (!ModelState.IsValid)
  {
    return BadRequest(ModelState.Values.SelectMany(v => v.Errors).Select(modelError => modelError.ErrorMessage).ToList());
  }

  var user = new UserEntity { UserName = model.Email, Email = model.Email };
  var result =  await _userManager.CreateAsync(user, model.Password);

  if (!result.Succeeded)
  {
    return BadRequest(result.Errors.Select(x => x.Description).ToList());
  }

  await _signInManager.SignInAsync(user, false);

  return Ok();
}

We start by passing a representative of the
  AccountRegisterLogin to this endpoint. Of which looks like this.

{
  "email": "you_email@email.com",
  "password": "youpassword1"
}

This payload will serialize to the
  AccountRegisterLogin model.

public class AccountRegisterLogin
{
  [Required]
  [EmailAddress]
  [Display(Name = "Email")]
  public string Email { get; set; }

  [Required]
  [StringLength(100, ErrorMessage = "The {0} must be at least {2} and at max {1} characters long.", MinimumLength = 6)]
  [DataType(DataType.Password)]
  [Display(Name = "Password")]
  public string Password { get; set; }
}

In the
  Create method, we are...

    Checking the Model State to ensure the data populating our model is valid.

If it is not valid, return our model validation errors.

Create a mapping to our
    UserEntity object.

Make an asynchronous request to our
    UserManager<UserEntity> to create a new user record.

    Check the result for success.

If it is not valid, return our
        UserManager service errors.

Make an asynchronous request to our
    SignInManager<UserEntity> object to sign that user in.

That is it for registration!

Authenticating

Now that we have a user record in our tables, we need to create a method to log in that user. Of which will again live in
  the
  AccountApiController located in the
  Admin area of my project.

[HttpPost("login")]
public async Task<IActionResult> Login([FromBody] AccountRegisterLogin model)
{
  if (!ModelState.IsValid)
  {
    return BadRequest();
  }

  var result = await _signInManager.PasswordSignInAsync(model.Email, model.Password, isPersistent: false, lockoutOnFailure: false);

  if (!result.Succeeded)
  {
    return BadRequest();
  }

  return Ok();
}

In this method, we again pass in our
  AccountRegisterLogin request and start by checking to see if the state of that Model is valid. If it is, we make a
  request to our
  SignInManager<UserEntity> object to attempt to sign in that user with the Model's current properties. If that
  request succeeded, we return a status of
  200 Ok.

During the sign in request, when successful the necessary cookie needed to authenticate with Identity is passed back as part
  of the response.

With this cookie set on the client, we now have everything we need to authenticate with Identity. So long as the cookie is
  current, all future requests to our API endpoints that are guarded with the
  [Authorize] will be authenticated.

This is it! We now have a way to register a user and log that user in while supplying the necessary cookie. In the next part
  of this series, I will talk about adding token authentication to my blog using JSON Web Tokens. Until then, feel free to
  leave any comments you might have below.


The Russian company Detalstroikonstruktsia (DSK) is a participant of a large Cluster of the Automotive Industry of the Samara Region. The manufacturer of auto components with a quarter century history, DSK built its production system on strict compliance with international quality and environmental standards. This gives an opportunity to cooperate with the world's leading brands and significantly increase the level of competitiveness of the national Russian automotive industry. Auto components of DSK largely form the comfort and environmental safety of cars.
One of the important expectations of the car user is the high acoustic comfort and aesthetic properties of the interior. The key business of DSK is the production of important elements of noise insulation and interior details. This includes details with a heavy polymer layer of complex shape that separates the interior from noise, vibrations and temperature of the engine compartment, and noise-absorbing details of the interior. In particular, such components are used in the Russian model of LADA Vesta, which is included in the TOP-3 domestic market. Consumers and experts of the auto business highly appreciated the level of vibro-acoustic isolation of this model and in there is a significant contribution from DSK in this success. Alexander Zaitsev, General Director of DSK, emphasizes, that the success of partners is one of the priorities of the company, and one of the conditions on which the long-term development strategy of the company is based. Due to the specificity of the auto-component production, the life cycle of the final product is quite long, and the preparation of production begins a few years before the new car goes on sale. Therefore, only long-term relationships with the customer based on high quality and attention to every aspect of production and to each customer's requirement are beneficial. Another important condition for DSK's work is the uninterrupted delivery to customers. Automobile production is strictly synchronized: for example, the pace of the car factory in Togliatti is such that every 20-25 seconds the finished car comes off the conveyor. In such conditions, every minute of delay can cost very much. Therefore, the rhythm of supply is one of the most important aspects of the DSK, along with high quality and constant development.
DSK strengthens strategic cooperation with the leading enterprise of the Russian automotive industry AVTOVAZ and constantly expandsits range of partners. The company is a supplier of automotive components for Renault, Nissan, Ford, Hyundai and Chevrolet, which are among the leading brands of the Russian market. Recognition at the international level is a special award and a strong incentive for quality effective work for the company. DSKs were the first in Russia to receive the status of an excellent Q1 supplier from Ford in 2006 and launched the technology of manufacturing plastic fuel tanks, which later became the basis for creating a successful joint venture.The automotive market in Russia largely consists of local assembly machines: TOP-10 leaders in sales are made in the cities of Russia, such as St. Petersburg, Moscow, Vsevolozhsk, Togliatti or Izhevsk. The goal of DSK is the leadership status among Russian suppliers for the world auto assembly plants.Developing an international partnership, DSK is implementing joint production projects: two joint ventures have been established on the territory of the company. One of them is LLC DESKA- a joint venture with the French group DEFTA and another one is LLC DIPO - a joint venture with the world leader in the production of automotive components Plastic Omnium. DIPO is the leader in Russia in the production of plastic fuel systems for cars complying with the Euro-4 and Euro-5 environmental standards. The company started manufacturing the products, which should meet "Euro" eco-standards back in 2003, when the program for development technology of production of fuel system parts in accordance with the requirements of Euro-3 standards was introduced.
The company has been actively implementing lean-tools since 2002. In the DSK shops there is nothing superfluous, the operators' work is built considering the best productivity and ergonomics, and the production process is maximally protected from errors. By achieving maximum efficiency and environmental friendliness, DSK engineers have built the technological process in such a way as to minimize the amount of production waste. In particular, the design of the molds allows the secondary use of non-woven waste as a semi-finished product, and the modernization of the process of cutting fuel pipe blanks has reduced the amount of metal waste. In order to remain the market leader and offer modern and high-quality products, DSK LLC independently conducts research and tests of all products. This allows the company to timely identify all the properties of the product and fully meet all the requirements of the consumer. Testing of auto components includes daily quality control and research of promising products. Since2009, the accredited testing laboratory of carpet and noise insulating products has been operating in DSK. It is engaged in determining a set of material characteristics, including the sound absorption coefficient, wear resistance, durability, burning speed of the material, resistance to rot and odors.Thanks to the accreditation received in the Federal Agency for Technical Regulation and Metrology, DSK has the opportunity to conduct tests not only of its products, but also of products of other companies.
Flexibility of production is one of the important factors of the company's survival in modern conditions. Therefore, the DSC seeks to apply the experience gained in working for the automotive industry to develop projects for the manufacturing of products not related to the automotive industry - this will help expand the range and maximize the loading of production lines. The company is also working out the opportunities for entering the export market, and experience in international standards is a favorable factor here. In parallel, the development of new automotive components continues. In recent years, several production lines have been launched. Thanks to new developments, the nomenclature includes such elements as a raised floor of the trunk, noise insulation of arches of wheels. The cars become more complicated and consumers become more attentive to the details. Therefore, the client-oriented nature of the DSK company will support the strong position and status of one of the leading auto component manufactures in Russia.
Located in the Samara region, LLC DSK is one of the enterprises of the DSK group of companies.
LLC DESKA (2012) - JV with French DeftaGroup - production of carcasses and seat components.
Today, every second car in Russia is equipped with products of the DSK group of companies.The products are delivered to the countries of near and far abroad, including Brazil and Colombia.


Some of the features available on SocialPilot are Geared towards online advertising professionals, such as choices to share social media account management or with clients. However, many of the tools are helpful for promoting a blog through social media, particularly with experience of digital marketing or social media marketing.
The scheduling calendar allows you to plan your out Social media strategy and conserves work posting with bulk uploads to sites. SocialPilot also provides professional analytics and reporting so you can monitor things like how many click throughs you are getting to your blog from particular accounts, along with the demographic of your audience. Content tips also help you keep a continuous stream of thoughts for submitting regularly up.
SocialPilot Provides a cheap plan aimed at Bloggers and site owners gives you access to the majority of the tools that are core. You can also use the service free of charge to join a restricted number of profiles, and you can sample all the paid services using a 14 day no obligation trial.
The primary advantage SocialPilot gives you Is that you can do all of your updating and posting on multiple social media accounts in precisely the same place. All you need to do is produce the articles and click on the profile that you want to post to. It is possible to choose destinations for the identical post, which is perfect for enabling followers all of your followers understand you have a blog article, for instance. Simply add the URL to SocialPilot, select your accounts and it will post them to all.
You can also select when posts go live using the scheduling tool. This allows you to post by way of instance, in various time zones, so your articles are new for followers. You can schedule articles hours, days, months, weeks and even a year beforehand, and use the in-built monitoring calendar to plan out a plan over a specified time period. This means that you may stockpile content and then trickle feed it so you are frequently appearing in followers' news feeds, maintaining your profile top-of-mind.
SocialPilot can be used allowing you To join to 3 social media accounts. You schedule up to 30 posts beforehand, and may make up to ten articles per day. Movie can not be included by Articles, and you simply have access through the SocialPilot blog and online guides.
While the program is great for getting a feel for SocialPilot, three linked social media accounts is currently restricting. The basic subscription aimed at personal websites and bloggers is reasonably priced, you can connect up to ten accounts and create 50 posts per day. You can even queue up a maximum of 1,000 posts beforehand, which can be generous.
Running more than a few social media profiles May be time consuming. But bloggers are finding they want a presence on all the primary platforms to attract attention to their website and build a following up.
SocialPilot conserves copying and time by Enabling you to handle all of your social media accounts without needing to log in and out of different websites. The interface is clean and intuitive to use and linking your profiles is simple.
The allowance of 200 profiles that are linked is Huge, so you've got liberty to test as many different social media accounts as you like.
Part of the struggle of running lots of social Media accounts is currently keeping content. SocialPilot helps by creating content tips. Pick a category relevant to your topic, and SocialPilot will find content which you can comment on, discuss or re-post. The categories are inclined to be broad, so you must do some work narrowing down the suggestions . You can even add an RSS feed into SocialPilot and collect ideas.
SocialPilot is first and foremost a specialist Social media marketing service aimed toward in-house and agencies business advertising groups , with subscription prices. The availability of a basic subscription and a free plan reveals SocialPilot recognizes it is keen to adapt them, and that its tools will attract bloggers.


text:
Q: I don't want to see into file-output the last character #include <stdlib.h>
#include <stdio.h>
#include <string.h>
int main(int argc, char **argv){

FILE *fp;
if((fp=fopen("Example.txt", "r"))== NULL){
    printf("Errore apertura file");
    exit(0);
}
char s[50];
int i=0;
while(!feof(fp)){
if(!feof(fp)){
s[i++]=fgetc(fp);
    }
}
s[i]='\0';
fclose(fp);
char nome[20];
printf("Inserisci il nome che vuoi dare al file di uscita\n");
//fgets(nome,20,stdin);
scanf("%s",& nome);
char tipo[5]=".txt";
strcat(nome,tipo);
if((fp=fopen(nome,"w"))== NULL){
    printf("Errore apertura file");
    exit(0);
}
fputs(s, fp);
fclose(fp);
return 0;
}

The output file over the string is even printed an abnormal character, how can I not see it?
The output is "string"+'ÿ'`
The problem is only in the output file and not in the capture.

A: Your input loop should be:
char s[50];
int i=0;
int c;
while (i < (50 - 1) && (c = fgetc(fp)) != EOF)
    s[i++] = c;
s[i] = '\0';

Or even:
char s[50];
int i;
int c;
for (i = 0; i < (50 - 1) && (c = fgetc(fp)) != EOF; i++)
    s[i] = c;
s[i] = '\0';

These avoid buffer overflow and do not try to store EOF in the array s.  They also doesn't use feof(); you seldom need to use it, and when you do, it is after a loop has ended and you need to distinguish between EOF and a read error (see also ferror()).


text:
Undergraduate Grants
Swipe to view Grants
Funding for Language Studies
Funding for Research
Winter Term
Funding for Taiwan
Support for Student Groups and Organizations
Summer Language Grants
The Fairbank Center, in cooperation with the other Asia related area centers at Harvard, offers a number of grants and fellowships to students interested in China and Taiwan. These grants are open to undergraduates who plan to enroll in a summer Chinese language program for intermediate or advanced language study (2nd year or above) of the languages necessary to pursue research related to Chinese studies. Please apply through CARAT and follow the instructions carefully as they include all requirements, supplemental materials, and submission information.
All proposals should adhere to current University health and safety guidelines relating to the COVID-19 pandemic as detailed here. Due to the pandemic and ongoing travel challenges, proposals need not take place outside of the US and can be for fully remote programs.
opens in a new windowApply here through CARAT
Please apply to all funding sources that could cover your request and note on your application that you have done so. This will not hurt your chances of being selected for this grant, but it will increase your chances of being co-funded.
Taiwan Study Grants
Application Deadlines: July 1; October 1; December 1
The Fairbank Center offers travel grants to support Harvard University undergraduates to study in Taiwan for advanced language training.
All proposals should adhere to current University health and safety guidelines relating to the COVID-19 pandemic as detailed here. Please apply through CARAT. Follow the instructions and upload your materials there. Please note that the December deadline is for Taiwan study during the spring semester. For summer study please apply for the Fairbank Center's Summer Language Grant. Due to the pandemic and ongoing travel challenges, proposals need not take place outside of the US and can be for fully remote programs.
Jeffrey Gu Memorial Fund for Study in Taiwan
Application Deadline: March 1, 2022
This fund supports Harvard College students who wish to study Chinese language and culture in Taiwan.
Drs. Jane and Ron Gu established this fund in memory of their son, a member of the Harvard College Class of 2000. Currently two grants of approximately $5,000 are available.
Applicants are encouraged to apply to summer programs in Chinese language, literature, history, or other research fields. Students should consult with their academic advisors, language instructors, or the Office of International Education for recommended programs in Taiwan.
In addition to the common application, the following materials are required:
Transcript record, online printout accepted
Statement of purpose (500 words max), addressing these questions:
Why do you wish to attend the proposed study program?
What are some of your personal goals and interests?
What previous knowledge do you have of Taiwan or Chinese culture?
One letter of recommendation from a faculty member or academic advisor
Budget with expected expenses and funding sources
Winter Term Grants
The Fairbank Center offers a limited number of small grants to assist undergraduate students with financial need to participate in Optional Winter Term programs related to Chinese studies, language study, or research. Please apply through CARAT and follow the instructions carefully as they include all requirements, supplemental materials, and submission information. All proposals should adhere to current University health and safety guidelines relating to the COVID-19 pandemic as detailed here. Due to the pandemic and ongoing travel challenges, proposals need not take place outside of the US and can be for fully remote programs.
Summer Research Grants
The Fairbank Center, in cooperation with the other Asia related area centers at Harvard, offers a number of grants and fellowships to students and student groups interested in China and Taiwan. Please apply through CARAT and follow the instructions carefully as they include all requirements, supplemental materials, and submission information.
The Fairbank Center offers travel grants to support Harvard University undergraduates to study in Taiwan for research at an academic institution, independent research, or attendance at academic meetings. All proposals should adhere to current University health and safety guidelines relating to the COVID-19 pandemic as detailed here. Due to the pandemic and ongoing travel challenges, proposals need not take place outside of the US and can be for fully remote programs.
Preference is given to projects that study post-1949 Taiwan in the humanities and social sciences, and in some cases research on imperial China. Most grants will be limited to support for roundtrip airfare. Please apply through CARAT. Follow the instructions and upload your materials there. Please note that the December deadline is for Taiwan study during the spring semester. For summer study please apply for the Fairbank Center's Summer Research Grant.
The Fairbank Center offers a limited number of small grants to assist undergraduate students with financial need to participate in Winter Term programs related to Chinese studies, language study, or research. Please apply through CARAT and follow the instructions carefully as they include all requirements, supplemental materials, and submission information. Decisions will be made by November 30 at the latest. All proposals should adhere to current University travel, health, and safety guidelines relating to the COVID-19 pandemic as detailed here. We currently cannot fund the hiring of research assistants. Due to the pandemic and ongoing travel challenges, proposals need not take place outside of the US and can be for fully remote programs.
Apply here through CARAT
The Fairbank Center for Chinese Studies offers travel grants to support Harvard University undergraduates to study in Taiwan for advanced language training or research. All proposals should adhere to current University travel, health, and safety guidelines relating to the COVID-19 pandemic as detailed here. We currently cannot fund the hiring of research assistants. Due to the pandemic and ongoing travel challenges, proposals need not take place outside of the US and can be for fully remote programs.
Preference is for study of Taiwan in the period after 1949 in humanities and social science disciplines, and in some cases research on imperial China. Eligible activities are: study at an academic institution in Taiwan, independent research, or attendance at academic meetings. Please apply through CARAT. Follow the instructions and upload all of your materials there. Please note that the December deadline is for Taiwan study during the spring semester. For summer study please apply for the Fairbank Center's Summer Research or Language Grant.
Throughout the academic year, student organizations, groups, and individuals organizing workshops, conferences, exchanges and special events may apply to the Fairbank Center for funding. The Asia-related Centers pool resources, depending on the content and regions covered, to support student group activities.
In recent years, the Fairbank Center has supported the following Harvard student organizations:
Harvard Buddhist Studies Forum
Harvard East Asia Society Graduate Student Conference
Harvard College in Asia Program
Harvard Graduate Conference on the History of Capitalism
Harvard Graduate Student Conference on International History
Harvard Project for Asian and International Relations
Harvard Taiwan Leadership Conference
Please apply through the Fairbank Application for Student Organization Grantsopens PDF file .
Fairbank Center
CGIS South Building
Email: fairbankcenter@fas.harvard.edu


text:
Let's Talk Loneliness > Blog > Helping Gateshead residents feel connected
Helping Gateshead residents feel connected
Guest author: Karolynne Hart | Cultural & Arts Programme Manager, Gateshead Libraries, Arts & Heritage Service
A year ago this week, Gateshead Libraries and Arts Services were bustling with festive activity, from carol concerts and coffee mornings to youth theatre Christmas performances and wreath making workshops. 2020 has been a very different year for us all.
But our enthusiastic team of staff have been determined to ensure that those older and more isolated residents in the borough are still able to take part and feel connected with activities. We've had to work in a different way, solve problems, think creatively, but continue to put people at the heart of our service – and that's what Libraries do best.
Since March we have been keeping in touch with 190 Art Diamonds. Set up in 2018, Art Diamonds* uses arts activities to improve wellbeing in people of retirement age. We've stayed in touch through fortnightly newsletters with creative ideas, post out art packs, virtual tours with galleries and online workshops.
Our Art Diamonds have really appreciated feeling part of this community and sharing what they've been up to individually at home. Last week we sent out awards to 20 of our diamonds with a letter from the Mayor. These small acts make such a difference and we've had lovely feedback from the recipients.
"I just wanted to call to thank you for the nomination for the award and for keeping us all going this year. It was such a lovely surprise and completely out of the blue to get the award and letter from the Mayor. I'm so proud, I want to show everyone! It was so completely unexpected and I just can't believe it. I have never won anything and to have that recognition. Thank you, I feel very honoured. You've made an old man very happy."
Our Ring & Read service has provided books when the library has been unable to open for browsing. Customers call to order books by genre then collect their book bags from the library. It's like having your own personal shopper!
"Every brown paper bag at the library door has its own story. But the stories they contain wouldn't be possible without the understanding and obliging library staff. Thank you so much."
Artist Sharon Bailey is helping those who live on their own feel connected this winter through her Home Alone Together art project. Rather like having a pen-pal, Sharon is keeping in touch monthly, offering creative ideas and tasks inspired by each individual's interests, skills, or things they fancy having a go at.
Small acts of kindness
It's those small acts of kindness we all do each day that have helped people feel connected and less isolated this year. I'm proud to be part of a service that encourages us all to take the time to take notice and its these things that have helped make a difference in 2020.
"A gentleman rang a Gateshead library this morning to see if it was possible to have some library books. We discovered that he isn't able to get out of the house as he has lung cancer and COPD and he isn't going to be able to able to see his family as much this Christmas.
We usually offer a doorstep delivery but he has missed our last van drop! Staff wanted to ensure that he has a great bag of books to keep him company and offered to deliver the books themselves. The gentleman was in tears he was so grateful."
*Art Diamonds is part of the Celebrating Age programme supported by Arts Council England and Baring Foundation.


We've brought out the lightning bolts and zapped up some kryptonite.
Zap into action and kit out a gang of superheroes with these fun party supplies.
Our kit contains everything you need to throw a fun party for your little guests.


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Once upon a time, in a sequel far far away..
KH3 has made a long awaited splash…
Any KH fans who played the hand-held titles, were fortunate enough to be waiting only 7 years since the last chapter. Us console gamers though, have been waiting since 2005 for this drop.
Needless to say we had no chance but to abandon all hope and faith that this game would ever come to fruition. Fast forward to January 29, 2019 (almost 15 years since the last console title) and we finally have a full-fledged, fully realized, and fully matured console title! A series finale, an epic sendoff to the franchise that so many of us hold dear in our hearts.
It's hard to put into words the nostalgic power this game holds. Merging together the worlds of Disney, Final Fantasy, The World ends With You, Pixar Studios and the original storyline of Sora and the Keyblade Masters.
I could go on, but IGN did a great 6 minute review!
PrevPreviousJump Force | Review
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Make the crust. Crumble graham crackers into the work bowl of a food processor and process until finely ground... or graham cracler crumbs works fine, too. Pour melted butter into crumbs and mix with hands until the butter is fully incorporated and the texture is that of wet sand. Butter or oil a 9-inch pie pan and firmly press the graham cracker crumbs against the sides, then against the bottom of the pan. Chill for 30 minutes.
Meanwhile, preheat oven to 350 degrees. Put chocolate in a large mixing bowl. Heat the cream in a saucepan until scalded (DO NOT BOIL!). Pour the cream over the chocolate and allow to stand for 1 minute. Whisk the cream and chocolate together until glossy and smooth. Add a pinch of salt, then crack the egg into the chocolate mixture and whisk to fully incorporate. Pour into chilled crust and bake for 25 minutes, or until the filling is set but still slightly wobbly in the center. Remove from the oven and cool completely.
For the marshmallow topping, pour 1/4 cup water into the bowl of a stand mixer and sprinkle the gelatin on top. In a large saucepan over medium-high heat, stir together the remaining 1/4 cup of water, sugar and corn syrup just until sugar is dissolved. Heat until a candy thermometer reads 260 degrees, or hard-ball stage. Remove from heat, turn stand mixer to medium speed to begin beating the bloomed gelatin, and slowly pour in sugar syrup, aiming it down the side of the bowl to prevent splatter, and scraping any remaining syrup from the pan with a heat-proof spatula. Slowly increase the speed of the mixer, and beat until the mixture is white, fluffy and doubled in volume. Add vanilla and beat for a few moments more. Pour the mixture on top of the cooled chocolate layer, gently spreading it to the edges of the crust with a spatula. Refrigerate, uncovered, 30 to 60 minutes.
To slice the pie, it helps to dip your knife in hot water, then dry it with a towel. The heat facilitates easy slicing through the marshmallow layer.


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Q: Google Cloud Functions throw "connection error" on Python background functions Google Cloud Functions throws "connection errors" randomly since yesterday. We had this error couple of months ago and without a fix, it just disappeared after we redeployed the same code.
Even the previous version of code which never had any issue or error has the "connection errors" now.

Runtime: Python 3.7
Memory: Usually 512MB We tried 2GB as well.
Triggers by Pub/Sub message.
requirements.txt
google-cloud-datastore==1.7.3
google-cloud-pubsub==0.39.1
influxdb==5.2.3
pandas==0.24.2
numpy==1.19.2
googleads==23.0.1
croniter==0.3.30
sendgrid==6.1.1
oauth2client==4.1.3
gspread==3.2.0
requests==2.22.0
pyarrow==0.17.0
google-cloud-core==1.3.0
google-cloud-storage==1.23.0
google-cloud-logging==1.15.0
pydantic==1.6.1

Based on some answers on the same error on nodejs. It's fixed by updating to the recent runtime of node. So, we are trying to update to python 3.9 with updated python modules as well.
Has anyone faced the same problem in Python 3.7 and knows how to fix it?

A: This issue occurs in Python 3.7 function, when it encounters a logging throughput issue. This throws SIGTERM, which is a signal to terminate, sent by a function or worker and the connection error is observed.
To resolve this issue, it is recommended to either:

*

*Reduce logging, or

*Upgrade to python 3.8 runtime. Python 3.8 doesn't have this logging throughput issue.

A: This is weird. The problem has gone after we redeployed the same code yesterday. Seems like something was off in google cloud.


Experience pure motor sport feeling with the TECHART Formula Race. From January 2011 TECHART offers its customers with petrol in their veins a 20-inch lightweight forged centerlock wheel in sizes of 8,5J x 20 ET 40 and 8,5J x 20 ET 52 for the front axle and 12J x 20 ET 50 for the rear axle.
This is TECHART: Perfection, even in the details. A basic prerequisite to be successful in motor sports. The rigidity and weight ratio was optimized one more time for the TECHART Formula Race and – based on the lighter twin spokes and the connection through the centerlock – provides a weight advantages of 10% if compared to the TECHART Formula III forged wheel and an impressive 25% if compared to a light alloy wheel. The result: a reduction of the rotating and unsprung mass, which results in an even more agile driving behavior and increased driving dynamics.
Another advantage if compared to a conventional 5-hole screwed: A fast wheel change, which represents an important plus factor when used on the race track. In addition, the high material stability permits the known filigree design of the TECHART forged wheels, which results not only in visual dynamics but significantly improves the ventilation of the brakes.
The TECHART Formula Race is available in titanium grey matt as well as in individual matched custom colour. For the necessary road grip, TECHART recommends Continental ContiSportContact 3 and Michelin Pilot Sport PS2 in sizes of 245/30R20 and 325/25R20 as well as Michelin Pilot Sport Cup+ in dimensions of 245/30R20 and 315/25R20.


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Apanteles riograndensis är en stekelart som beskrevs av Brethes 1920. Apanteles riograndensis ingår i släktet Apanteles och familjen bracksteklar. Inga underarter finns listade i Catalogue of Life.

Källor

Bracksteklar
riograndensis

redpajama_set_name: RedPajamaWikipedia


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The Story Of Breeze Airways: Why The Airline Changed Its Name From Moxy
Breeze Airways' first flight landed earlier today. The Embraer E195 touched down in Charleston, South Carolina from Tampa, Florida, to kick off the startup's operations. The aircraft was the first plane to be delivered to the airline, arriving in October 2020 in Breeze's fresh livery. Amid this progress, Simple Flying spoke with Gianfranco "Panda" Beting, the man behind the branding of the new outfit, about the launch.
Breeze is looking to create a stir in the regional market. Photo: Breeze Airways
Consulting the right minds
Beting is a household name in global aviation. The Brazil-born entrepreneur has released a series of books about the industry and has been behind the growth of airlines such as Brazil's Azul, where he was co-founder and brand, product and communications director. Moreover, he is presently a branding, marketing and communications consultant for aviation-related companies.
Already having a strong relationship with Breeze's leadership, such as CEO David Neeleman, he could be trusted to deliver a great brand for the new airline. Interestingly, the E195 that arrived from Beting's former airline of Azul could have come in a very different livery if plans remained the same.
Readers of the site would be familiar with the name of Moxy, a moniker initially given to the new carrier in its infancy. However, at the turn of 2020, it became evident that the airline had gone in a different direction, referring to itself as Breeze.
Breeze will initially be flying with solely Embraer aircraft before taking on A220s later this year. Photo: Breeze Airways
Having to adapt
Beting explains that Neeleman and his group came to me and said, "we're thinking about starting an airline and want you to create the brand." This name was Moxy, which is in reference to the fact that it would take a lot of moxie to launch a carrier in the competitive climate at the time. However, the team soon had to change the name due to the existence of a hotel chain going by the same name across the United States. Therefore, an alternative title was needed.
"I first started with a list of names. On that very first list, Breeze was there because that was pretty much answering the original briefing, which was, 'we want to make life easier for our customers. We want to make a flying experience that is seriously nice for the travelers.'" Beting told Simple Flying.
"So, we're talking about something that needs to be easy, something that needs to be approachable, something that needs to be human. It's got to be nice and easy. It's got to be a Breeze."
The aircraft would have been painted with different wording and even colors if the company didn't have to go back to the drawing board. Photo: Breeze Airways
No going back
There was notable opposition to the name. Even Neeleman himself wasn't totally sold. However, as the decision-making team pondered over a list of over 100 names, time was starting to run out.
"Airbus started to put pressure on the livery. We wanted to see how the planes are going to be painted. That needed to be done by December 15th, 2019," Beting added.
"The clock was ticking. So, we came up with the final winner."
Thus, as 2020 got underway, the airline was fully incarnated as Breeze. Beting is proud that of the name and what it represents. The businessman adds that the title can fit in seamlessly across different markets around the world. He is undoubtedly keeping a close eye on the progress of the carrier now that operations are underway.
What are your thoughts about Breeze Airways and its name? Are you looking to fly with the airline this year? Let us know what you think of the carrier in the competition.
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byDaniel Martínez Garbuno
Air Force One 747 Lands At London Stansted Ahead Of Trump Visit


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How 2 girls, a boat ride and social media transformed the filthy ghats of Varanasi.
Post author:Shreya Pareek
Post category:Inspirational / Nagaland / Sanitation
Temsutula Imsong and Darshika Shah took matters into their own hands and cleaned some of the filthiest ghats in Varanasi on their own, with help from social media. Here's how they even caught the attention of the PM.
We all have been hearing about PM Narendra Modi's Swachha Bharat Abhigyan. While some have started following it in their communities, this girl from Nagaland has taken the initiative to next level.
It is very rare that the PM himself commends you for your efforts, and Temsutula Imsong is one such change maker who has impressed the PM with her extra ordinary work of cleaning the Ghats of Varanasi.
This effort by @temsutulaimsong & the entire team to clean the Ghats in Varanasi is phenomenal! I salute them. http://t.co/MVp6apZA3B
— Narendra Modi (@narendramodi) April 1, 2015
Imsong, who runs an NGO named Sakaar Sewa Samiti along with her friend Darshika, started her cleanliness drive long back in 2012 and has been promoting cleanliness of the ghats since then. But it was the success story of Prabhu Ghat in Varanasi that caught everyone's attention.
Imsong's Mission Prabhu Ghat came into existence when a casual boat ride turned into a bad experience due to the unbearable filth on the ghat.
Temsutula is highly inspired by PM Modi and wants to see a clean India.
"There was such a foul smell and the Ghat looked so filthy. It was a very disgusting sight, I wanted to puke. I could not believe that a holy site was in such a condition," she recalls.
This ugly boat ride gave shape to the much talked about cleanliness drive of Prabhu Ghat on 14th March 2015, and within a week, managed to get over 20 volunteers who contributed in cleaning the filthy ghat.
"We were sure we wanted to do something and change the scenario. We contacted local authorities but we did not receive a positive response. So we decided to take matters into our own hands and started cleaning it ourselves," she says.
The young team has taken matters into their own hands.
They both pitched in Rs. 5,000 each for some basic expenses to clean the filth from the Ghat. They hired some people to do the initial cleaning and purchased brooms, buckets, phenyl, masks, trash bags, etc to carry out the task. They used the power of social media to gather more volunteers for their initiative and planned to clean the ghat by 22nd March.
"There were polythene bags, waste clothes, excreta and so much filth. Initially, it looked like an impossible task, but we were determined to finish what we had started. We began spreading awareness among local communities and asked people to sign a pledge to keep the ghat clean," says Imsong.
They also started using hashtag #missionprabhughat to make their initiative more popular and reach out to the masses.
Before and after view of the ghat
What was once a filthy place is a transformed site now. But all was not a piece of cake for this duo. The high footfall at the ghat made the task difficult to carry out. Also, as the team would start working early in the morning, it became tiring for the volunteers to continue the work in the heat for such long hours.
"But we kept motivating each other. As more people joined, our determination became stronger. We became a regular presence at the Ghat and the children who played there started accompanying us everywhere," she says. Gradually people started recognising them and they managed to get some good-hearted people to contribute to their cause.
They have been working without any external financial support.
The team's efforts created an impact which was visible in the attitude of people. Whenever the children saw anyone relieving or defecating in the open, they would start yelling and taunting them. "One day they chased and a made a man run away from the ghat while he was peeing there," Imsong laughs as she recalls the incident.
Temsutula Imsong
The team has been implementing the project with their personal savings and some help from family and friends. Their initiative #MissionPrabhuGhat has reached hundreds of thousands of profiles on social media and has received appreciation from many people.
Even as the ghat looks much cleaner now, Imsong and Drashti's journey does not end here. They want to keep their work going to spread more awareness in order to prevent people from dirtying it again.
They pitched in their own savings to give shape to their project.
"I want to tell people to treat the country like their home. We clean our houses everyday. Just like that, if we clean our roads and colonies regularly, filth from the entire country will be gone," says Imsong.
As this dynamic duo moves from one Ghat to another to make it cleaner, we wish to see many more people getting inspired from their amazing work.
The ghat looks much cleaner now
To know more about Imsong's work, check out their website.
Like this story? Or have something to share? Write to us: contact@thebetterindia.com, or connect with us on Facebook and Twitter (@thebetterindia).
Next PostFrom Cremating Dead Bodies to Tackling Sewage – Guddu Baba Did It All for a Clean Ganga


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Die Inovallée ist ein französisches Technologiezentrum in der Nähe von Grenoble. Es entstand 1971 im Zuge der Gestaltung des Gewerbegebietes der Stadt als eines der ersten französischen Zentren dieser Art. Ursprünglich unter der Bezeichnung ZIRST (Zone pour l'innovation et les réalisations scientifiques et techniques) gegründet, wurde der Name 2005 in Inovallée geändert (aus innovation und vallée, Tal, nach dem amerikanischen Silicon Valley). Die Inovallée liegt auf dem Gebiet der Gemeinden Meylan und Montbonnot. Auf 110 Hektar Fläche haben sich heute rund 380 Unternehmen wie z. B. Orange und Sun Microsystems mit insgesamt  Angestellten angesiedelt. Das Technologiezentrum ist mit einer eigenen Autobahnausfahrt an der Autoroute A41 angebunden.

Gründe für die Einrichtung waren:
 Förderung der Ansiedelung von Unternehmen aus der Hochtechnologiebranche
 Förderung der Zusammenarbeit zwischen Forschung, Universitäten und Wirtschaft
 Bewahrung der ökologischen und unverschmutzten Umgebung
 Schaffung von zukunftsträchtigen Arbeitsplätzen

Weblinks

 https://www.inovallee.com/ Homepage (französisch)

Einzelnachweise

Meylan
Wirtschaft (Auvergne-Rhône-Alpes)
Montbonnot-Saint-Martin


Shared Ownership is an affordable way to buy and is designed to help you purchase your new home. With Shared Ownership you part buy and part rent a home by purchasing a share in a property and paying a reduced rent on the remaining share.
You usually start by buying between 25% and 75% of the full value, and you may, if you wish, purchase further shares until you eventually own outright.
You need to raise a mortgage to purchase your share. If you have a large deposit or equity from the sale of a property, this can also be used towards purchasing your share.
We sell new build and occasionally refurbished properties, and we also refer buyers to existing shared owners who are ready to sell their share to a new buyer.
Eligibility to buy a home using Shared Ownership is governed by Homes England. In summary, you need to be over 18 and resident in the UK.
Buying a share means you need a lower mortgage and deposit than purchasing a property outright. This makes it a cost-effective way to own your own home and ideal for first-time buyers. Shared Ownership usually works out less per month than renting privately, and you can enjoy the benefits of being a homeowner rather than a tenant.
You'll buy a share ranging from 25% to 75%, we'll tell you in the property listing on our website the minimum percentage that can be purchased.
You'll need to be able to get a mortgage or have savings to cover the price of the share. You should remember that you need to pay your mortgage and rent payments each month as well as the usual household outgoings. To help you, we'll carry out an affordability check to make sure you won't be stretching yourself too much financially.
We can put you in touch with our panel of mortgage brokers who specialise in Shared Ownership sales so you can be confident that you'll get expert advice during the buying process.
You can use a solicitor of your, or we can put you in touch with one of our panel of solicitors to help you purchase your new home.
We have both brand new and pre-owned Shared Ownership homes across England, you can search for properties using the search function here.
Once you've moved in and you've settled well you might decide to buy further shares until you own the property outright or alternatively you might sell your home. We will help you with both these options.
For more information, you can download our guide to buying your Shared Ownership home. You can also read our frequently asked questions below.


Sources tell FTVLIve that KCBS Traffic Anchor Stephanie Simmons is packing up and headed to Houston.
Simmons joined KCBS/KCAL in 2012 and has worked as the station's Traffic Reporter and also covered lifestyle and trending stories for the CBS O&O.
Word is that Simmons is headed to Tegna's KHOU in Houston for a much bigger role.
KCBS has been bleeding talent for months and still sits in last place in the ratings.


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Q: Program to convert hexadecimal to decimal not working #include <iostream>
#include<stdio.h>
using namespace std;

int main()
{
    int x,i,y,d=0;
    char c[255];
    gets(c);
    for(i=0;c[i]!='\0';i++)
    {
        if(c[i]>=0 && c[i]<=9)
        {
            x=c[i];
            cout<<x;
            d=(d*16)+x;
        }
        else if(c[i]>=65 && c[i]<=90)
        {
            y=c[i]-55;
            d=(d*16)+y;
        }
    }
    cout<<d;
    return 0;
}

Here integer d will be the decimal number. The program upon running in Code::Blocks doesn't show any errors.
Thank you for help :)

A: Your keyboard input will return ASCII-characters, i.e. '0'..'9', which is 30..39, not 0..9. Similarly, 'A' is 65 (not 55):
    if(c[i]>='0' && c[i]<='9')
    {
        x=c[i] - '0';
        cout<<x;
        d=(d*16)+x;
    }
    else if(c[i]>='A' && c[i]<='F')
    {
        y=c[i] - 'A';
        d=(d*16)+y;
    }