Xi'an Jiaotong-Liverpool University (XJTLU) Scholarship Committee met on 17 July and approved to award Academic Scholarships to 396 students in recognition of their academic achievements during the 2014/15 academic year.
The University offers Progression Scholarships and Retention of Entry Scholarships to students based on their academic performance in the previous academic year. The Progression Scholarship is further categorised into two categories 1) University Academic Excellence Award and University Academic Achievement Award.
Students in the top five percent of the programme cohort receive a University Academic Excellence Award of 10,000 RMB and students in the top 5.1 percent to 10 percent of the programme cohort receive a University Academic Achievement Award of RMB 5,000. In both cases, students must also have achieved an overall average mark of 65 percent. The recipients of the Entry Scholarships in 2013/14 can retain their scholarship if they continue to rank in the top 25 percent of the programme cohort in 2013/14.
XJTLU's Registry Office is pleased to announce that this year 196 students are awarded with University Academic Excellence Award, 172 students are awarded the University Academic Achievement Award and 28 students are awarded their Retention of Entry Scholarship.
Click to view the Academic Scholarship List.


text:
March 15, 2022 by SSM 0
Spanish Football
The Spanish Football Pyramid
It is fairly easy to have a look on Wikipedia to get a quick understanding of the top of the Spanish football pyramid. This article aims to explain some of the recent changes, delve a bit deeper into the differences at regional level and draw a brief comparison with the English football pyramid at lower levels. This is essential for anyone wishing to get involved in Spanish football or hopefully just interesting to anyone that works in football.
In Spain, as in England, the names of football divisions can be somewhat confusing because of the long history and evolution of the football pyramid. It was not invented overnight, but has been developed over the course of a century, with disputes between clubs, leagues and other stakeholders causing fractures in tiers and separations of responsibilities. The Spanish league survived through the Spanish Civil War from 1936 to 1939 and of course the Second World War, in which Spain remained neutral (sort of).
It should also be recognised that Spain is split into autonomous regions, partially due to all that happened during that civil war. These autonomous regions act similarly to the separate countries that make up the United Kingdom or the states that make up the USA. They have their own elected governments, their own tax systems, separate health systems and when it comes to football, they have separate administrations that run their own leagues and coach education systems.
The Spanish National League did not exist until 1929, in fact the Copa Del Rey was the first national competition in Spain beginning in 1903. Whilst most people can point out Spain on a map, its size is often underestimated – at over 500, 000 square kilometres, it is more than double the size of the UK and almost four times the size of England. In the context of the early 20th Century, it is easy to understand why the creation of a nationwide league system took some time.
Even with today´s modern infrastructure, when Elche play Villarreal (two teams from the Valencia region) the drive takes more than three hours and if Elche were to drive to play Celta Vigo, it would take them ten hours or more. The Spanish national league also includes several teams from the Spanish Islands including Mallorca, Ibiza and Tenerife. In England, the maximum driving time to an away match is about 4-5 hours, whereas in Spain you often need flights and a hotel.
It is most likely this geography that has forced the Spanish football pyramid to stay reasonably flat when compared to England and why Spain spreads into regional football fairly quickly.
Below shows the top of the Spanish league system as of the season 2021/22:
Tier Division Name Number of Groups Teams in each group
1 Primera – "La Liga Santander" 1 20
2 Segunda – "La Liga Smartbank" 1 22
3 Primera RFEF 2 20
4 Segunda RFEF 5 18
5 Tercera RFEF 18
(One group for each region of Spain) 18
6-9 Regional Divisions See regional tables below
As the table shows, the top two divisions run by the "La Liga" franchise in a similar way to the Premier League in England. There are then three tiers controlled by the Spanish Football Association (RFEF). As you can see, none of the RFEF divisions are whole nation groupings. Primera RFEF and Segunda RFEF are divided into groups by geography and Tercera RFEF is divided with one group for each of the regions of Spain (there are two groups in Andalusia due to its large size and population).
Until last season the RFEF divisions did not exist in this format. After the top two divisions, the next division down was called Segunda B (split into 4 geographical groups) and then the same Tercera format that exists now, split into its regions. However, the decision was made by the Spanish FA to create an extra tier, with Primera RFEF and Segunda RFEF replacing Segunda B.
Not only do the names now make more sense, but it was also because the gap between teams promoted from Tercera and teams coming down from the second division was far too big in the old Segunda B – teams such as Elche, Hercules or Deportivo La Coruña were playing village teams on a regular basis. It was also too big a gap financially for any Tercera teams to make the jump to Segunda B, and likewise, teams coming down from Segunda were often ruined financially by the large drop in TV money (Segunda B received zero TV money).
Once we look below Segunda RFEF, you can see that Tercera RFEF is split into regional leagues. There a large differences in terms of geographical size, population size and economic power between regions in Spain and so logically, the can be a difference in ability and professionalism in each of the Tercera groups.
For this article we will have a look at the difference between the Murcia region and the Valencia region as a comparison.
The Valencia region has a population of around 5 million whereas the Murcia region has a population of less than 1.5 million people.
The Valencia region generates almost 10% of Spain´s GDP whereas Murcia generates only around 2.5% of Spanish GDP.
The Valencia region has 3 international airports, whereas Murcia only has one.
The Valencia region has four Primera division (La Liga) teams as of the 21/22 season, whereas Murcia does not have any.
Because of these differences, it is clear that the talent and buying power in the Valencia region will be much higher than in Murcia.
These regional differences become even greater once we look beyond Tercera RFEF and into the part of the football pyramid that is controlled by each regional FA. There are three tiers of what we would call 'fútbol federado', that is, football which is organised and regulated by the federation and directly connected via promotion to the RFEF tiers above. Each player must be properly signed, registered and licensed and all referees and coaches must be qualified to a certain level (minimum UEFA B or higher for coaches, depending on the tier).
Let´s have a look at Valencia and Murcia again for a comparison:
Valencian Regional Pyramid
National Tier Name Groups Teams per group
6 Preferente 5 16
7 Primera Regional 9 15
8 Segunda Regional 16 14-16
Murcia Regional Pyramid
6 Preferente Autonómica 2 15
7 Primera Autonómica 1 16
8 Segunda Regional 2 11-12
Teams at the top of their Preferente groups qualify for the Region´s Tercera division and some will enter playoffs. Teams at the bottom of Segunda Regional cannot be relegated, they remain at that level indefinitely as long as they re-register for the following season.
There are far more teams in the Valencia region mainly due to the population size difference, however, it is hard to compare the ability of teams across regions once we get down to this level. In fact there are even large differences within league groupings. It is a regular occurrence for clubs to start up from nothing in Segunda Regional with grand plans for various promotions. This is often signalled by offering financial incentives for players in a league which is generally amateur and these clubs often go unbeaten across the entire season.
There are also sometimes arrangements whereby an outsider will buy out the 'owners` of a club in Primera Regional, Preferente or Tercera RFEF and are then allowed to change the name, thus essentially buying their way into a higher tier straight away. The legalities of this however are complicated and we will be writing a piece about this at a later date.
Let´s briefly compare the Spanish pyramid at regional level with the same level in England.
In England, beyond League Two is what would be considered 'non-league' or what is officially part of 'The National League' system. The fifth tier is still one nationwide group and even the sixth tier is only split into two regional groups (North and South). Below that in England, whilst the system has been organised slightly more in the last decade and standards are improving, the large majority of people in England have no idea of league hierarchy at this level and are confused by nomenclature. In Spain, the structure is clear and progression and pathways are obvious.
Spanish reserve teams also play in the same league system as their first teams. The Valencian Tercera division this season includes Valencia Mestalla (Valencia´s B team), CD Roda (Villarreal´s B team), Villarreal C and Ilicitano (Elche´s B team) amongst others. Therefore players hoping to attract the attention of bigger clubs could play for Villajoyosa, Orihuela or Athletic Torrellano in Tercera and be spotted by staff of Elche B or Hercules B who are competing in the same league, same location and play at the same standard facilities.
This is advantageous compared to the 'Premier League 2' system currently running in England, which is a weird hybrid under-23s and reserves league run completely separately from English football.
In Spain, there is not a huge gap for players to overcome when moving upwards or when being dropped from the likes of Valencia, Elche or Villarreal. They do not need to decide, as in England, between staying in the reserves of an 'elite' club or playing "real football" in the English Football League.
When we look at 'National League' level in England, the drop off is fairly drastic in terms playing facilities and also the regard within which football is held. Many teams struggle to find pitches for training in the winter or maintain their own playing surface.
In Spain, all pitches at all levels, for both training and matches are obtained for free through the local council. There is a set number of days for training per team, depending on age and division of competition. For example, Segunda and Primera Regional teams will train two nights per week, whilst Preferente teams will be allocated three training pitches per week.
In my opinion, the flatness of the pyramid in Spain means that the pathways for players, coaches and even clubs in Spain are transparent and more achievable than in England. The same can be said about the way youth football operates in Spain compared to in England, but that is also a whole different topic in itself which we will hopefully be writing about soon.
This article was written by Bruno De Martino, Head Coach for a Spanish Football Club & Business Development Manager at Sol Sports Management (Sister company – Sol Sports Properties)
If you would like to learn more about Spanish football or are thinking of moving your sporting career or life to Spain, please do not hesitate to get in touch. rpe@solsportsmanagement.com / +34 644 956 495
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© Copyright 2013 to 2020 - Sol Sports Management

redpajama_set_name: RedPajamaCommonCrawl


text:
Judge denies Blagojevich's bid to lighten 14-year sentence
CHICAGO (AP) - A federal judge refused Tuesday to lighten Rod Blagojevich's original 14-year prison sentence for corruption, rejecting pleas for lenience by the now white-haired former Illinois governor who attended the resentencing hearing by video from a Colorado prison a thousand miles away.
Blagojevich, 59, was eligible for resentencing after an appeals court last year threw out several convictions related to his alleged attempt to sell or trade an appointment to President Barack Obama's old Senate seat.
A somber, contrite Blagojevich spoke for 20 minutes in a sometimes apologetic, sometimes rambling statement before U.S. District Judge James Zagel announced the sentence, telling the court he understood he made mistakes.
"I wish I could turn back the clock and make different choices," said Blagojevich, who didn't use notes. "These have been hard years."
Zagel said that even though the appeals court threw out five of the 18 counts against the former governor, the remaining ones still justified the original sentence. The appeals court said in its ruling last year that Blagojevich wasn't necessarily entitled to a lower sentence, adding that the 14-year term fell below what federal guidelines recommended.
As the judge announced his decision, Blagojevich could be seen on screen bowing his head. In the courtroom, his two daughters sobbed, the younger one placing her head on her mother, Patti's, shoulder.
The one-time contestant on Donald Trump's "Celebrity Apprentice" reality show wanted Zagel to sharply reduce his sentence to just five years, which would have meant him going free within months. Instead, with the 14-year term reaffirmed, his projected release date remains 2024, which includes two years' credit for good behavior.
Zagel said he went through more than 100 letters from fellow prisoners. Many portrayed Blagojevich -- known as brash in his days as governor -- as humble and self-effacing, as well as an insightful life coach and lecturer on everything from the Civil War to Richard Nixon.
But Zagel said they had not seen the same evidence jurors saw of Blagojevich's corruption.
Defense lawyers said Blagojevich has been a model prisoner, noting in one filing how the Elvis Presley fan formed a prison band called "The Jailhouse Rockers." The group, which had a 21-song play list, dissolved after another inmate, the lead guitarist, was released.
Zagel told Tuesday's hearing that Blagojevich's exemplary behavior behind bars wasn't relevant to deciding on an appropriate punishment.
The resentencing, where attendees could see Blagojevich on several screens around the courtroom, marked his first appearance in a public forum since entering prison.
Blagojevich was famously fastidious about his dark hair as governor, but it went all white because hair dyes are banned in prison. He sat in a chair during the two-hour hearing in blue-green prison garb with a nametag with his Inmate No. 40892-424 on his shirt. Other than his hair, the avid runner who has continued to exercise behind bars looked fit.
Subdued for much of the hearing, Blagojevich wiped tears from his eyes when his daughters, 13-year-old Annie and 20-year-old Amy, made statements in court. Annie, an aspiring pianist, described how much her father had missed of her childhood, saying she could only play "Mary Had a Little Lamb" when she last saw him at home, but has since begun playing Beethoven.
"I don't want to grow up because I want to wait for him to come home," she said.
Prosecutors urged Zagel to impose the same 14-year prison term -- one of the stiffest sentences for corruption in Illinois history, arguing that would send a message to would-be corrupt politicians in a state where four of the last 10 governors have ended up in prison.
Speaking at the hearing Tuesday, assistant U.S. attorney Debra Bonamici countered the notion that Blagojevich is a fundamentally changed man, noting how he has expressed remorse for having made "mistakes" rather than for "committing crimes."
"He really is the same man who appeared before you in 2011," she said.
Bonamici conceded that seeing Blagojevich's kids in court was "heartbreaking," but added, "we can't forget the people of Illinois. They were the victims of his crimes."
Blagojevich's wife told reporters outside court that the resentencing was "cruel and heartless and unfair."
"I'm dumbfounded and flabbergasted at the inability for the judge to see that things are different than they were 4 1/2 years ago and his unwillingness to bestow even the smallest amount of leniency or mercy or kindness," Patti Blagojevich said.
The 7th U.S. Circuit Court of Appeals last year tossed convictions tied to Blagojevich's bid to win a White House appointment for appointing someone to Obama's Senate seat. It upheld his convictions on allegations that he tried to swap the Senate appointment for campaign cash, finding that trading one job appointment for another does not break the law.
After the appellate court's finding, Blagojevich appealed to the U.S. Supreme Court to toss his remaining convictions, including for trying to extort a children's hospital for a campaign contribution and lying to the FBI. But the high court refused to hear the longshot appeal.


Al Ahli Plastic Industries is a major member of the Al Ahli Holding group. The company was established in Fujairah in the year 2000, to manufacture plastic films and shopping bags. Within two years of inception, the company achieved tremendous progress by reaching production capacity of 20,000 Tons per annum.
Al Ahli Plastic industries strongly believe in the importance of delivering high quality and price competitive products, with reliable service and on-time delivery. The company has an impressive share of the UAE and overseas markets.
We have a dedicated team of professional and technical personnel who are well experienced in this industry and capable of extending their expertise customers.
Al Ahli Plastics is a one-stop source for high quality packaging products and delivers outstanding and innovative customer solutions to the construction, agriculture, food & beverages and pharmaceutical industries. Encompassing the regions most recognized brands together, Al Ahli Plastics are managed by a highly motivated team of over 300 employees.
Being one of the largest and most advanced integrated manufacturing plants in the middle east, the company is IS0 9001:2015 certified and is equipped with state-of-the-art European machines for processing, printing and producing a wide range of polymer based films for packaging material for industrial, commercial, food and pharmaceutical applications.


View our gallery to see the beautiful windows & doors we've installed.
From sales to installation to finish, we are your only stop for your door and window needs.
Find Us at our New Location - 2402 NW 72 Avenue, Miami, Fl 33122.
All About Doors & Windows is a family-owned and operated business that opened its own doors in April of 2000. Our showroom and main office is located in Miami, Florida.
While proudly specializing in the sales and installation of impact doors and windows, we carry a variety of window and door styles to satisfy all property needs. Some of the products we provide include fiberglass and aluminum doors; as well as impact/non-impact single hung, horizontal rolling, picture, casement, and vinyl windows. This company sets itself apart by offering complete, start to finish service.
We take pride in our products and above all in the quality of our workmanship. We don't use subcontractors therefore can offer a one year warranty on our installations.
All About Doors and Windows is an A-Rated company on Angie's List and is also a proud Y-Grene Certified Contractor.


text:
James William Lindberg (ur. 26 lipca 1965) – amerykański piosenkarz, wokalista i twórca tekstów punkrockowego zespołu Pennywise, założonego w roku 1988 wraz z Fletcherem Draggsem (gitara), Jasonem Thirskiem (bas), oraz Byronem McMackinem (perkusja). Wszyscy uczęszczali wcześniej do tej samej szkoły - South Bay High Schools, następnie do Redondo Union High School oraz Mira Costa, którą Lindberg ukończył w roku 1983. Jest także absolwentem UCLA z roku 1989.

Pennywise wydało łącznie osiem albumów długogrających dla wytwórni Epitaph pomiędzy rokiem 1991 a 2005. Obecnie związani są z MySpace Records i nagrali dla tej wytwórni pierwszy album - Reason to Believe, który wydany został 25 marca 2008 roku.

Lindberg jest także autorem książki, wydanej w maju 2007 roku, zatytułowanej Punk Rock Dad: No Rules, Just Real Life (Punkrockowy tata: Bez zasad, po prostu prawdziwe życie). Książka zgłębia trudność, jaką jest bycie odpowiedzialnym mężem i ojcem trzech dorastających córek, a jednocześnie występowanie w antyrządowej, punk rockowej kapeli. Ta pełna humoru opowieść opowiada o tym, jak Jim Lindberg radzi sobie w tej sytuacji.

Albumy wydane dla Pennywise
 A Word From A Wise (1989, EP)
 Wildcard (EP) (1989, EP)
 Pennywise (1991)
 Wildcard/A Word From the Wise (1992, kompilacja dwóch wydawnictw EP)
 Unknown Road (1993)
 About Time (1995)
 Full Circle (1997)
 Straight Ahead (1999)
 Live at the Key Club (2000)
 Land of the Free? (2001)
 From the Ashes (2003)
 The Fuse (2005)
 Reason to Believe (2008)
 Brats on the Beat (piosenka zespołu Ramones, w wersji dla dzieci)

Linki zewnętrzne
 Wywiad z Lindbergiem dla Rockdetector.com

Amerykańscy wokaliści punkowi
Amerykańscy wokaliści rockowi
Urodzeni w 1965

redpajama_set_name: RedPajamaWikipedia


text:
package cn.internship.service;

import java.util.List;

import cn.internship.entity.Homework;

/**
 * 上传作业业务层接口
 * @author MengHan
 */
public interface HomeworkService {

	public void uploadHomework(Homework homework);

	public Homework get(Integer homeworkId);

	public Homework get(Integer studentId,Integer courseId);

	public List<Homework> getByCourse(Integer courseId);

	public void saveHomework(Homework homework);
}

redpajama_set_name: RedPajamaGithub


text:
package zq.whu.zhangshangwuda.tools;

import java.util.ArrayList;
import java.util.HashMap;
import java.util.List;
import java.util.Map;
import org.json.JSONArray;
import org.json.JSONException;
import org.json.JSONObject;
import org.jsoup.Jsoup;
import org.jsoup.nodes.Document;

public class NewsTool {
	private static boolean flag = true;

	/**
	 * 获取自强新闻列表
	 *
	 * @return
	 * @throws JSONException
	 */
	public static List<Map<String, String>> getNewsList(String url)
			throws JSONException {
		String jsonData = HtmlTool.downLoadZqNewsJson(url);
		// System.out.println(jsonData);
		if (StringUtils.isEmpty(jsonData))
			return null;
		if (url.substring(url.indexOf("p=")).equals("p=1"))
			FileCache.getInstance().setUrlCache(jsonData, url);
		JSONArray arr = null;
		arr = new JSONArray(jsonData);
		List<Map<String, String>> list = new ArrayList<Map<String, String>>();
		for (int i = 0; i < arr.length(); i++) {
			JSONObject temp = (JSONObject) arr.get(i);
			// System.out.println(temp.get("title"));
			// System.out.println(temp.get("category"));
			if (temp.get("category").equals("图说"))
				continue;
			Map<String, String> map = new HashMap<String, String>();
			map.put("title", temp.getString("title").trim());
			map.put("time", temp.getString("published"));
			map.put("hits", temp.getString("hits"));
			if (temp.getString("category") != null
					&& temp.getString("category").contains("院系"))
				map.put("category", temp.getString("category"));
			map.put("href",
					"http://news.ziqiang.net/api/article/?id="
							+ temp.getString("id"));
			list.add(map);
		}
		return list;
	}

	/**
	 * 从缓存获取自强新闻列表
	 *
	 * @return list
	 * @throws JSONException
	 */
	public static List<Map<String, String>> getNewsListFromCache(String url)
			throws JSONException {
		String jsonData = FileCache.getInstance().getUrlCache(url);
		if (StringUtils.isEmpty(jsonData))
			return null;
		// System.out.println(jsonData);
		JSONArray arr = null;
		arr = new JSONArray(jsonData);
		List<Map<String, String>> list = new ArrayList<Map<String, String>>();
		for (int i = 0; i < arr.length(); i++) {
			JSONObject temp = (JSONObject) arr.get(i);
			// System.out.println(temp.get("title"));
			// System.out.println(temp.get("category"));
			if (temp.get("category").equals("图说"))
				continue;
			Map<String, String> map = new HashMap<String, String>();
			map.put("title", temp.getString("title").trim());
			map.put("time", temp.getString("published"));
			if (temp.getString("category") != null
					&& temp.getString("category").contains("院系"))
				map.put("category", temp.getString("category"));
			map.put("hits", temp.getString("hits"));
			map.put("href",
					"http://news.ziqiang.net/api/article/?id="
							+ temp.getString("id"));
			list.add(map);
		}

		// // System.out.println(list);
		//
		// for (int i = 0; i <80; i++) {
		// Map<String, String> map = new HashMap<String, String>();
		// map.put("title", "title");
		// map.put("time", "time");
		// map.put("hits", "hits");
		// map.put("href",
		// "http://news.ziqiang.net/api/article/?id="
		// + "href");
		// list.add(map);
		// }
		return list;
	}

	/**
	 * 获取自强新闻完整标题+正文代码
	 *
	 * @param url
	 * @return map
	 * @throws JSONException
	 */
	public static Map<String, String> getNewsContent(String url)
			throws JSONException {
		String jsonData = HtmlTool.downLoadZqNewsJson(url);
		if (StringUtils.isEmpty(jsonData))
			return null;
		JSONArray arr = null;
		arr = new JSONArray(jsonData);
		// System.out.println(jsonData);
		JSONObject temp = (JSONObject) arr.get(0);
		Map<String, String> map = new HashMap<String, String>();
		map.put("title", temp.getString("title").trim());
		map.put("content", temp.getString("content"));
		// System.out.println(temp.getString("content"));
		map.put("author", temp.getString("author"));
		map.put("time", temp.getString("published"));
		map.put("category", temp.getString("category"));
		map.put("id", temp.getString("id"));
		map.put("hits", temp.getString("hits"));
		map.put("href", temp.getString("url"));
		return map;
	}

	/**
	 * 获取自强新闻首页头条列表
	 *
	 * @param urlString
	 * @return list
	 * @throws JSONException
	 */
	public static List<Map<String, String>> getPicList(String url)
			throws JSONException {
		String jsonData = HtmlTool.downLoadZqNewsJson(url);
		// System.out.println(jsonData);
		if (StringUtils.isEmpty(jsonData))
			return null;
		FileCache.getInstance().setUrlCache(jsonData, url);
		JSONArray arr = null;
		arr = new JSONArray(jsonData);
		List<Map<String, String>> list = new ArrayList<Map<String, String>>();
		for (int i = 0; i < arr.length(); i++) {
			JSONObject temp = (JSONObject) arr.get(i);
			// System.out.println(temp.get("title"));
			// System.out.println(temp.get("category"));
			Map<String, String> map = new HashMap<String, String>();
			// System.out.println(temp);
			map.put("title", temp.getString("title").trim());
			if (!StringUtils.isEmpty(temp.getString("image")))
				map.put("image", temp.getString("image"));
			else
				map.put("image", null);
			map.put("href",
					"http://news.ziqiang.net/api/article/?id="
							+ temp.getString("id"));
			list.add(map);
		}
		return list;
	}

	/**
	 * 从缓存获取自强新闻首页头条列表
	 *
	 * @param urlString
	 * @return list
	 * @throws JSONException
	 */
	public static List<Map<String, String>> getPicListFromCache(String url)
			throws JSONException {
		String jsonData = FileCache.getInstance().getUrlCache(url);
		// System.out.println(jsonData);
		if (StringUtils.isEmpty(jsonData))
			return null;
		JSONArray arr = null;
		arr = new JSONArray(jsonData);
		List<Map<String, String>> list = new ArrayList<Map<String, String>>();
		for (int i = 0; i < arr.length(); i++) {
			JSONObject temp = (JSONObject) arr.get(i);
			// System.out.println(temp.get("title"));
			// System.out.println(temp.get("category"));
			Map<String, String> map = new HashMap<String, String>();
			map.put("title", temp.getString("title").trim());
			if (!StringUtils.isEmpty(temp.getString("image")))
				map.put("image", temp.getString("image"));
			else
				map.put("image", null);
			map.put("href",
					"http://news.ziqiang.net/api/article/?id="
							+ temp.getString("id"));
			list.add(map);
		}
		return list;
	}

	/**
	 * 过滤出自强新闻通知列表
	 *
	 * @param list
	 * @return list
	 */
	public static List<Map<String, String>> getNewsTZList(
			List<Map<String, String>> list) {
		int size = list.size();
		// System.out.println("size "+size);
		String ttitle, tstring;
		Map<String, String> tmap;
		List<Map<String, String>> ans = new ArrayList<Map<String, String>>();
		for (int i = 0; i < size; ++i) {
			ttitle = list.get(i).get("title").trim();
			tstring = ttitle.substring(0, 4);
			if (tstring.indexOf("】") < 0) {
				ans.add(list.get(i));
				continue;
			}
			if (tstring.indexOf("公告") > 0 || tstring.indexOf("通知") > 0) {
				tmap = list.get(i);
				Map<String, String> map = new HashMap<String, String>();
				map.put("title", tmap.get("title").substring(4));
				map.put("time", tmap.get("time"));
				map.put("hits", tmap.get("hits"));
				map.put("href", tmap.get("href"));
				ans.add(map);
			}
		}
		return ans;
	}

	/**
	 * 过滤出自强新闻活动列表
	 *
	 * @param list
	 * @return list
	 */
	public static List<Map<String, String>> getNewsHDList(
			List<Map<String, String>> list) {
		int size = list.size();
		String ttitle, tstring;
		Map<String, String> tmap;
		List<Map<String, String>> ans = new ArrayList<Map<String, String>>();
		for (int i = 0; i < size; ++i) {
			ttitle = list.get(i).get("title").trim();
			tstring = ttitle.substring(0, 4);
			if (tstring.indexOf("】") < 0) {
				ans.add(list.get(i));
				continue;
			}
			if (tstring.indexOf("活动") > 0 || tstring.indexOf("讲座") > 0) {
				tmap = list.get(i);
				Map<String, String> map = new HashMap<String, String>();
				map.put("title", tmap.get("title").substring(4));
				map.put("time", tmap.get("time"));
				map.put("hits", tmap.get("hits"));
				map.put("href", tmap.get("href"));
				ans.add(map);
			}
		}
		return ans;
	}

	public static List<Map<String, String>> getNewstype(
			List<Map<String, String>> list, String NonType) {
		if (list == null)
			return null;
		int size = list.size();
		String ttitle, tstring;
		List<Map<String, String>> ans = new ArrayList<Map<String, String>>();
		for (int i = 0; i < size; ++i) {
			if (list.get(i).get("category") != null) {
				list.get(i).put("type", list.get(i).get("category"));
				ans.add(list.get(i));
				continue;
			}
			ttitle = list.get(i).get("title").trim();
			tstring = ttitle.substring(0, 4);
			if (tstring.indexOf("】") < 0) {
				list.get(i).put("type", NonType);
				ans.add(list.get(i));
				continue;
			}
			String title = list.get(i).get("title");
			list.get(i).put("title", title.substring(tstring.indexOf("】") + 1));
			list.get(i).put("type", tstring.substring(1, tstring.indexOf("】")));
			ans.add(list.get(i));
		}
		return ans;
	}

	private static String trim(String s, int width) {
		if (s.length() > width)
			return s.substring(0, width - 1) + "...";
		else
			return s;
	}

	public static String washHtml(String html) {
		Document document = Jsoup.parse(html);
		document.select("br").append("\\n");
		document.select("p").prepend("\\n\\n");
		return document.text().replaceAll("\\\\n", "\n");
	}

	public static String changeStr(String s) {
		int errorSpaceValue = 160;
		int rightSpaceValue = 32;
		char[] c = s.toCharArray();
		int charToInt = 0;
		for (int i = 0; i < c.length; i++) {
			charToInt = c[i];
			// 查看后发现?对应的char值为160
			// 而正常的空格对应的值应该为32则可以进行转换下在输出
			if (charToInt == errorSpaceValue) {
				c[i] = (char) rightSpaceValue;
			}
		}
		return new String(c);
	}
}


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text:
lim-genny Altro
Genny Lim
The following is a comfusion e-mail interview with Genny Lim. Conducting the interview through email gives the respondent a chance to consider the question, yet due to the informal nature of email, the interview doesn't lose that bit of personality and spontaneity captured face to face.
Jaime Wright: Are you currently working on anything?
Genny Lim: I have begun research for a book I would like to write about the Chinese of Indonesia.
Wright: Do you consider yourself a certain type of poet? (i.e., woman, Chinese American, American, San Franciscan, etc.) Have you been termed a certain type of poet by others? If so has it frustrated you or has it reinforced your own feelings on who you are as a poet?
Lim: Types. I don't think in terms of types. I am what I am. Chinese, American, woman--not in that particular order, mind you. I could have said it the other way around as well. Labeling is a preoccupation of mass media, marketers, and politicians who need to classify their products or politics for consumers and constituents. Culture changes all the time because circumstances and people change. It would be pointless to pigeonhole me or my work because my work is so different than what it was before. My priority has never been to fit in a particular box. I don't know what others say about me or my work. If I did it would probably make me too self-conscious. I haven't tried to cater to a particular taste or audience. The frustration in that comes in not having a niche. People like to inhabit niches in this country. There exists a kind of cultural apartheid. I find that so limiting. Either you're jazz or avant or new age or hip-hop or ethnic or whatever. I guess it makes people comfortable to know they belong somewhere or other. For me, I've always crossed over in my relationships, aesthetics, and interests. Maybe too much so. That comes perhaps from being raised in a first generation immigrant home with five siblings, who spanned the cultural spectrum from Perez Prado and Frank Sinatra to Eric Dolphy and Elvis. It's more of a process of integration for me. How you take in everything around you and make it part of your own psychic landscape. If I stay in one place too long, I get crazy bored. My muse is movement. Change and renewal.
Wright:The first time I came in contact with your work was at San Jose State. You performed with the Eddy Gale Jazz Ensemble. So my first contact was with you was as a performance poet and then I bought your book, Winter Place. Is there any difference between Genny Lim the performance poet and Genny Lim the poet of written word?
Lim: That's a good question. You can probably answer that better than me. I consider myself an aural poet. Even when I'm writing I'm hearing my voice. Sometimes the voice feels as if it's coming from somewhere or someone else. "Dropping down the well," I think is how Julia Cameron describes the creative process. The deeper you sink your Qi or root energy into the core of your being the more aspects of your hidden self you uncover. My teacher Shri Karuna Mayee says that the Eastern voice is round and deep. When a classical Indian singer begins he or she always tunes him/herself by vocalizing the low tones. Writing affords me this same avenue to drop into empty space and follow my voice wherever it takes me--rhythmically, melodically, tonally, texturally, emotionally, structurally--because it's a solitary practice. A meditation with words. Performing live, on the other hand, is a co-creation in the sense that I am not a solo artist creating in solitude. I am engaging with the musicians' and the audience's energy. That synergy is critical to the performance. It can't happen without it. It's the social dynamic that is key to what makes live poetry. I'm a people person. A performance junkie. I love communing with an audience through music and poetry.
Wright: Are there truths in the sound of poetry that are lost when poetry is read silently? Are there poems that are meant to be read in silence, perhaps a silent meditation on meaning, that don't need to be read out loud? What kind of poems do you write? Which ones do you prefer?
Lim: I don't think the truth of poetry can be lost in silent reading, no more than it can be cornered out loud. Like the Buddha said, there are as many ways to hear the Dharma as there are individual capacities to understand it. Ten people can read the same poem and come up with ten different interpretations of it. I do agree however, that there are poems, due to various factors such as density of their abstract ideas or imagery, abstruseness or linguistic idiosyncrasies that might lend themselves better, to reading and re-reading. As well, there are poems that are conundrums, like koans or minimalist like haiku, meant for spiritual contemplation.
Wright: In the NOV/DEC issue of Poets & Writers there is an interview with Yusef Komunyakkaa wherein he says of Robert Hayden, "Here is this great American Voice--An American presence that should even be more than what it is--hidden in the African-American section." Do you agree with this point of view when it comes to defining a type of poet, is it limiting to the poet?
Lim: As I said before the marketplace is antithetical to art. Historically we were confined to ghettos such as Chinatown, Bayview-Hunters Point, J-Town, the Mission, etc., now we've graduated to the academic and literary ghettos such as "Asian-American, African-American, Native-American, etc. We get trapped in our own political agendas behind the labels and no matter how the political winds turn we are still trapped. We graduated from colored, to Negro, to Black, to Afro, to African-American, from Indian to Native-American to American-Indian, and Asians, who were once Orientals are now Asian-Americans, etc. It's like the dog chasing its tail. As long as the same categorical biases are still in place, whatever name we choose will still be inferior. If all the "rainbow" writers are stacked on "rainbow" shelves in the basement or the back of the store on consignment, it's still a no-win victory. If an alien came to earth, he'd ask, "Are you a human?" not "Are you a Black human or a White human?"
Wright:When doing a bit of research to find an Asian Poet in the American Canon that I could compare to the example of Robert Hayden I noticed that there is only one Asian Poet who has been included in the canon, Li Young Lee (originally from Indonesia). How do you feel about the lack of Asian or more specifically Chinese-American poets in the American Canon?
Lim: This comes as no surprise. In my generation there has been no significant shift in the mainstream confusion about what is Asian and Asian-American. People seem to understand why an African is not the same as an African-American, but for some reason, Westerners still hold fast to their romanticization of Asians being intrinsically Eastern. I've had people not know how to react to my poetry because my "voice" seemed so "Un-Asian" to them. When I come out blasting with a poem about rage or violence they are often perplexed, even offended. That's the type of attitude they'd expect from a Black poet but not an Asian poet. It's all a product of this labeling again that's at the crux of racism. In the literary and music industry it's a question of commodification through economic stratification. If there's no slot for you because you don't figure as a bona fide "Asian" and you don't fit their idea of "language," or "alternative" or "Jazz," then you're an anomaly, a miscellaneous person. But I'm used to this "comfusion." As long as you're clear on what you're trying to do it's not on you to define what others perceive.
Wright: Were you inspired at all by Li Young Lee or any other poets of Asian descent? Who are your influences?
Lim: While I've absorbed the rhythms, vernacular, and themes of the urban moderns, with a period of confessionalist women like Plath and Sexton, a heavy dosage of jazz from musicians I hung out with in New York during the early seventies, and seminal blues poets like Langston Hughes, Imiri Baraka, and Gwendolyn Brooks, I'll have to confess that my profound spiritual influences come more from ancient mystics of the East like Tu-fu, Basho, and Rumi. Li Young is a wonderful poet and his work deeply reflects his affinity for Chinese poetry, consistent with western expectations. Because we Asian-Americans have been uprooted from our source for several generations here, we are always looking back to the distant homeland for spiritual sustenance. For that reason we look further than our own peers for excavation of our identity. If you're lost you don't go to someone else who's lost to find the way do you?
Wright: Did reading a poem first spark the desire to write poetry or was it an experience?
Lim: I was writing a lot of poems that were political and personal and it was just a matter of how to make my statements sound fresh. It became harder and harder after a time to interest myself let alone others. I went underground to figure it out and did nothing much except to read books that had eluded me through my western education. I read the Upanishads from the Vedas, which blew my mind, and I read translations of the Lotus, Diamond, Heart, and Vimalakirti Nirdesa Sutras. I read the songs of Milarepa, an eleventh century Tibetan yogi, which were extemporaneously sung spiritual teachings. They were all written in verse poetry and for the first time in my life I felt a profound connection with my cultural identity as an Asian and a validation of my voice as an Asian-American. I can't describe exactly what that moment ignited, but it was a combination of meditation, connection with spiritual teachers, and a realization of the sacred power of the word that gave me a whole new outlook.
Wright: In Vine Deloria, Jr's book, God is Red: A Native View of Religion, he states the following argument: "Christianity has traditionally appeared to place its major emphasis on creation as a specific event while the Indian tribal religions could be said to consider creation as an ecosystem present in a definable place. In this distinction we have again the fundamental problem of whether we consider the reality of our experience as capable of being described in terms of space or time--as "what happened here" or "what happened then." Which approach more clearly defines your approach to the creative process? Could you explain your reasoning in terms of your poem, "Ahmisa" (time oriented) vs. your poem "Winter Place" (placed locally)?
Lim: The Native American view of nature as a continuous, cyclic process has always resonated with me much more than the Christian linear view of reality as historical chronology beginning with the creation and culminating with the end of the world. Hegel said we lived under constant tyranny of history. I would add that we live under constant tyranny of death. There is an implicit collusion with historical events beginning with original sin, followed by the crucifixion of Christ, which condemns man to perpetual sin. In Buddhist cosmology there are countless worlds co-existing simultaneously in the three times: past, present, and future. These are intersecting realities existing within our relative experience of physical space and time. This corresponds with the Native American description of three interlocking worlds, lower, middle, and upper. When these realms are balanced and in harmony we are happy and well. When not, we can wreak havoc. Through a process of transformation and healing, self-liberation can take place. My poem, "Ahimsa" recreates the self-intoxicating power of our negative projections: "I walk with a gun, a gun to my head, a gun to my heart, with a gun, with a gun, with a gun, gun, gun, gun, gun . . ." We constantly recite mantras, whether we realize it or not and mantras generate power. Unfortunately many of our mantras reify our negative emotions like hatred, jealousy, greed, and lust; these emotions in turn become manifested in violent actions against other people. War is the common global symptom of our collective negative karma. We demonize the "other" so that we can rationalize our ability to harm, kill, and destroy. If the victim is human that would be murder, but if he is a monster then we are actually engaging in an act of heroism. If, from a distance, someone sees a twisted rope as a venomous snake, there's no convincing that person the snake is all in his mind. I recite the names of great nonviolent teachers of our times, like Gandhi, who have the spiritual wisdom and vision to cut through enormous political bullshit and see the root of the problem and then, to commit to ending the cycle of destruction through unwavering compassion and nonviolent action. This of course can only be achieved with enlightened spiritual authority. Ordinary people are too caught up in mental confusion to ever see the big picture. "Winter Place" is specifically located in place and time. While it looks at time and place, it is rooted in a narrative framework. "Winter Place" is emblematic of an identity constructed by places, objects, and people that inhabit a particular bygone era. This mixed gentrified, yuppified, bohemian/ immigrant old shadow of a new world. It's also a lament the way that "Ahimsa" is a lament, but in a very different way, because it's much more personal and sentimental. "Ahimsa" is unsentimental, almost cold and detached in its incantatory tone.
Wright: All in all your newer poetry seems to be reaching out toward some universal, such as "Ahmisa" and "Bardo," this is different from the poetry in Winter Place, with poems such as, "Grandmother," "Portsmouth Square," "Song for Colette," and even "The Other Side" which all display specific relationships, people, places. What is triggering this shift in your poetic focus?
Lim: I think the big difference between my newer poems such as "Ahimsa" and "Bardo" in contrast to poems in Winter Place, like "Grandmother" and "Portsmouth Square" is that they deal with relationships a bit differently. "Ahimsa" and "Bardo" looks at the world from a more philosophical, less personal place. It tries to come to terms with the world in a form that is less autobiographical, less self-generated. Winter Place looks at the world from my alley window. Some of the newer stuff is trying to pull away from this narrow window and to see things from a broader or as you call it, more "universal" perspective. I'm not saying this is preferable, I'm just not inclined to crawl into the exclusive universe of my own skin and see everything from that side the way I was conditioned to.
Wright: What is it that draws you to Jazz so much? Not only do you invoke the names of Miles, Coltrane, Parker, etc. in your written word you also use jazz or bluesy tones in your performances.
Lim: Jazz more than any other western art form has sustained the purity of the creative impulse. The art of improvisation that lies at the heart of this creative music has challenged its artists to maintain the highest standards of spontaneous composition and collaboration. There is little room for contrivance or rote when a live solo is in progress. The written musical composition is a launch pad for a journey into space. That space is three-dimensional sound. We cannot predict the notes before they're played nor what the notes will uncover, no more than we can predict the exact location of a shooting star once it lands. Pioneers like Miles, Coltrane, Parker, and Cecil Taylor are like our astronauts. They charted a whole new course for generations of musicians to come. They described new galaxies of sound. As a performing poet, I never want to use the written word as a literal document, but as a jump-off point, like musical notes I must inject with life. My poems are structured like jazz compositions. The jazz and blues I've heard growing up are part of my internal landscape. It's the natural course for my poetic excursions. I'm quite comfortable working with jazz musicians because we share a common language.
Wright: Do you find correlations between Buddhism and Jazz? Chinese culture and African Culture?
Lim: Actually yes. Zen and Tantric Buddhism constantly strive to do away with our conceptions and assumptions and to work directly with our true nature. Jazz takes the form, which is the tune, lays it out once and then turns it on its head. It's an act of faith to know that once you've left the safety of the melodic framework, you're going to be able to keep the tempo going and still take a flying leap into the unknown. The trick is it's all happening inside you. Buddhism and jazz both hinge on creative improvisation, which could be called mindfulness, or being in the moment. Jazz is taking risks. Buddhism is trusting in your Buddha Nature. Funny you ask about Chinese and African culture. I recently collaborated with Jon Jang and James Newton on the cantata, "Songline: The Spiritual Tributary of Paul Robeson Jr. and Mei Lanfang." Most people have heard about Paul Robeson, (another great artist of our time who was not only marginalized, but blacklisted for his political activism) but no one in the country has heard of Mei Lanfang, the greatest Chinese opera actor of all time. What we discovered was the common thread that linked these two men spiritually and philosophically. Both African and Chinese spirituality center on ancestral worship. Lineage is very important to both cultures. In addition, African pantheism and Chinese Taoism center on being in harmony with nature and the universal flow. Taoist rituals focus on mediating between heaven and earth and African rituals focus on mediating between the invisible spirit and the human world.
Wright: Do you think the chiding of Asians by people such as Howard Stern or by cartoons such as, Mr. Wong (icebox.com) encourage or reinforce racism, or do they help to relieve the racial tensions that are ignored by the language and attitude of political correctness?
Lim: Sorry, I'm not current on media controversies. I have no idea what Howard Stern said about Asians and I have to confess my ignorance of Mr. Wong as well. There's a fine line between political correctness and paranoia. On the other hand, racist stereotypes are all too often passed off as harmless jokes in the media at the expense of innocent people. If entertainers, politicians, and other high-profile people insist on making ethnic minorities the butt end of their jokes, they should be prepared for the consequences.
Wright: What goal do you seek through your poetry, to discover, to influence, to re-vision history?
Lim: Illumination. Poetry gives us a glimpse at the sublime as well as the ridiculous. It's a two-way street into the ephemeral realm of the human mind. Like blowing smoke on a windowpane. Your breath leaves the imprint of your existence for only a split moment before it evaporates without a trace. Like our lives. I used to believe in the importance of history. Now I'm less concerned about re-shaping the myths than living my truth. Let the pundits and textbook writers revise history as they so desire. What matters is how one thinks and acts now in spite of history, in spite of politics. The cynicism of our times is due to an unwillingness to take personal responsibility for our global degradation. We're always reacting to what the media, what the experts, what the others say or do. Taking control of your life is about examining your self and then setting things right. That's more empowering than trying to change others.
Wright: Are you only retelling the story of specific people in poems such as, "Atsuko," "Grandma's Portrait," "Looking Glass," or are you accessing archetypes of the modern landscape? What role does the folklore of Chinatown and San Francisco play in your poetry, or your approach to poetry?
Lim: Atsuko and Grandmother are folk heroines. Folks who will never figure into a Who's Who of rich or famous people. They are among the legions of invisible people who in their own time and place wield an immense influence on the people in their own lives. I've always had an affinity for everyday working people. I guess that comes from my working class roots. My father emigrated to the U.S. from China as a young boy without his mother and he struggled just to stay alive. He once worked as a janitor at the Fairmont and brought home little pastries and carpet scraps from the main lobby, thick black pile with magenta fleur de lys. My mother was a piece-working seamstress for Fritzi's and sewed into the wee hours of the morning. Paul Robeson was someone who understood the unacknowledged debt the world owed to the workingman and woman. He was the most effective labor advocate of any artist in history. He sang work songs from the south and treated the African spiritual with dignity and respect. When I heard the wooden fish songs from the peasant villages of Southern China, I thought I was listening to the blues of the Deep South. The five-toned scale is as ancient as early man and that link between Africa and China, through the pentatonic scale still remains. The irony is that old traditions have been preserved not among the seat of royalty or among the capitals' well-heeled, but among the poor, downtrodden peasants in remote deltas, tundra, and valleys. It is their voices I listen for, their singing I hear, and their wailing I carry in my belly.
Wright: What advice do you have for young poets/writers?
Lim: Imitate the best, then forget about it and everything you've ever learned and start from there.
Genny Lim è una poetessa , drammaturga e performer Cinese-Inuit Americana. Ha collaborato con alcuni dei maggiori musicisti jazz dek mondo, incluso Max Roach, Billy Higgins e Herbie Lewis. Ha partecipato a numerosi festivals jazz negli Stati Uniti, da San Francisco, San Jose, San Diego a Houston e Chicago. Genny ha partecipato a The World Poetry Festival in Caracas, Venezuela nel 2005 e ha inciso numerosi CD insieme ai suoi collaboratori Jon Jang, in "Immigrant Suite" e Francis Wong, in...
Per approfondire leggi i nostri libri
prodotti_libri_titolo La morte del tempo Anno: 2017 Pagine: 128 Collana: Altre Americhe


Build Paths from a Series of Features: This extension enables you to calculate distance, bearing and angular measurements between a series of features (points, lines or polygons). This is useful if the features represent places along a path or route and you want to calculate indices for each step of the route. The extension creates a results table (described below) and/or polyline shapefiles containing various user-selected fields such as distance and bearing between features, X/Y coordinates, centroids vs. closest edges, angular measurements, etc. Optionally, you can request graphic lines to be drawn connecting each feature with the next feature in the series.
Generate Statistics on Existing Paths: This extension generates several statistics describing the geometry of existing polyline features, and allows you to decompose them into a series of segments or vertices.
Input Data can be either a Table or Point/Line/Polygon Theme: This extension can use either a Table for the input data, in which case the table will need to have fields for the X- and Y-coordinates, or a Feature Theme (point, line or polygon theme).
Centroids vs. Closest Edges: If desired, you can use this extension can calculate the distance and bearing between the centroids of the series of features as well as the distance and bearing between the closest edges of those features. For example, if a polygon theme is used in the analysis, then this extension will determine what points on the edges of the respective polygons (not necessarily vertices) are closest to each other, and calculate the distance and bearing based on these closest points. If the features intersect or if one lies within the other, the distance between edges will be zero but there will still be a calculated value for the distance between centroids. You can have graphics drawn connecting the centroids and/or the closest edges of each feature in the series.
All or only selected records: You can either use all the features or only a selected subset of features for the analysis. If any features in the input theme are selected, then only those selected features in that theme will be used when calculating the path. If no features in a theme are selected, then all features in that theme will be used in the analysis.
Projected vs. Unprojected Views: If your original data are in Lat/Long coordinates (the Geographic Projection) and your View has been projected, then you have the option of calculating RESULTS data based on either the Geographic Projection or your View Projection. The choice of projections can dramatically affect distances, bearings and coordinates of nearest edge points.
Geodesic Curves: If your data are in geographic coordinates (i.e. Latitude/Longitude or "Unprojected"), then you have to option to calculate distances and bearings using geodesic curves in order to get the most accurate measures possible. If you are building routes from a series of features, then these features must be either points or table records in order to use the Geodesic Curve option.
Output Options: If you are building a path from a series of features, you can generate your path as either a Results table, a Polyline shapefile representing the entire route, or a Polyline shapefile representing each separate segment along the route, or any combination of these. Each of these options offers a variety of data fields to calculate, reflecting segment ID values, series values, segment lengths, bearings, coordinates and internal angles. See Data for Results Table on p. 7 for a discussion of the various data fields. If you are generating statistics on existing polyline paths, then you can produce either a Results table, a Polyline shapefile of path segments, or a Point shapefile of path vertices.
Add a Record Number Field: This extension provides a simple way to generate a field of unique ID values by adding a field of record numbers to the attribute table.
Jenness, J. 2007. Path, with distances and bearings (pathfind.avx) extension for ArcView 3.x, v. 3.2b. Jenness Enterprises. Available at: http://www.jennessent.com/arcview/path.htm.
UPDATES: The 1.1 update fixes a bug involving distances and bearings to complex polygons (multipart polygons and/or those containing holes) and complex polylines. It also includes options to conduct calculations in Geographic vs. View Projections.
The 2.0 update adds the option to save output in shapefile format, adds some internal angle measures, and adds the option to use a table as input data.
Repairs a bug in which the internal angle and the deviation angle were reversed.
Removes all internal code references to global variables in order to prevent any potential conflicts with other extensions.
Includes modifications to generate any new segment and route shapefiles in the same coordinate system as the current view, ensuring that these shapefiles will be visible in the view regardless of the coordinate system of the view.
The 3.1 update again repairs the bug in which internal angles and deviation angles were reversed. Sorry about that!
Version 3.2 (February 23, 2005) adds the option to generate statistics on currently existing polyline paths. This version also corrects a bug in which Date fields could not be used as ID fields.
Version 3.2b (March 14, 2007) corrects an issue in which bearings generated using geodesic curves might be reported as negative numbers, such that Due West might be reported as -90º instead of 270º.


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This entry was posted on Thursday, August 4th, 2011 at 5:03 pm. You can follow any responses to this entry through the RSS feed.


text:
See All the Royals You Had No Idea Used to Be Handsome
Mar 21, 2017 10:55 am·
By Tiffany White
Royals are known for a lot of things — their poise, their excellent fashion sense, their etiquette. But their air of nobility tends to hide something else about them — they're hot, of course. From Prince Philip to Prince Edward, these pictures of princes and kings from various royal families prove they were all quite handsome in their heyday.
MUST SEE: See Kate Middleton and the Rest of the Royal Family Then and Now!
Click through the gallery to see pictures of princes and kings when they were young.
Prince Edward, Earl of Wessex
The youngest of Queen Elizabeth II's children, Prince Edward sported a dashing appearance back in 1982 that would rival Prince Henry's.
Queen Elizabeth's husband today is 95 years old, but back in 1947 he was a sharply dressed lieutenant.
The oldest son of King Henrik of Denmark is not only next in line to the throne, he's also known for his dashing good looks.
Prince Joachim
Prince Frederick's younger brother is also not one to be outdone — he too inherited his family's good genes.
King Felipe VI
The King of Spain apparently used to have an uncanny resemblance to young Mel Gibson — at least back in the '90s.
Prince Carl Philip
The Duke of Värmland might be fourth in line to the throne of Spain, but his dapper appearance would have you thinking otherwise.
Andrew, Duke of York, looks almost unrecognizable while posing by a Royal Air Force helicopter in 1981.
King Harald V
Fun fact: He might be the king of Norway, but before taking over the throne in 1991, he competed in the Olympics in sailing in 1964.
Prince Haakon
As King Harald's only son, Prince Haakon has taken after his dad in not only appearance, but also in his love for sports, mainly windsurfing.
Prince Michael
The paternal first cousin of Queen Elizabeth II, Prince Michael looked handsome, and surprisingly tan, during his engagement ceremony in 1978.
Prince Albert II
The prince of Monaco is the son of movie icon Grace Kelly, so it comes as no surprise that he takes after her in the looks department.
NEXT: John Stamos, Alan Thicke, and More Heartthrob Sitcom Dads — Then and Now!


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Many People with Diabetes Can't Afford 'Good' Insulin. What Should They Know About Switching to the Cheaper Stuff?
By Laura Geggel
The newer insulins work faster and are easier to use, but the older ones tend to be more affordable.
(Image credit: Shutterstock)
Josh Wilkerson began taking over-the-counter insulin for his type 1 diabetes when he aged off his stepfather's health insurance policy at age 26. But compared with the insulin Wilkerson had previously taken, the less expensive medication was difficult to use and left more room for error. Within a year, the young man — who was saving money for his upcoming wedding — was dead, according to reporting by The Washington Post.
As the price of insulin surges, heartbreaking stories like Wilkerson's are becoming more common. Some people with diabetes in the U.S. travel to Mexico or Canada, where insulin is sold at a fraction of the U.S. cost. Others ration insulin, a risky move that can lead to a host of medical problems, including mood swings, severe dehydration, increased infection risk, kidney and eye problems, limb amputation and even death.
In many cases, people like Wilkerson switch from the expensive but easier-to-use "analogue" human insulins to the more-difficult-to-use traditional insulins (we'll explain the difference later) but then struggle to correctly time and partition each dose. Here's why this switch can be so challenging and how medical professionals can help patients do it safely.
Related: 27 Oddest Medical Cases
Insulin then
More than 100 million adults in the United States have diabetes or prediabetes, according to a 2017 report from the Centers for Disease Control and Prevention. Many people with diabetes need supplemental insulin, a hormone normally made in the pancreas. When people eat a meal, their blood sugar, or glucose, rises. Like a traffic cop, insulin enters the bloodstream, where it signals cells to absorb these sugars, so that the nutrients can then be used for energy.
If they didn't take insulin, people with diabetes would experience high blood sugar, or hyperglycemia, after eating. "[Insulin's] job is to prevent the rise in sugar after a meal or after stress," said Dr. Kathleen Wyne, an endocrinologist at The Ohio State University Wexner Medical Center, who was not involved with Wilkerson's case. Many people with diabetes also need supplemental insulin to maintain their basic metabolic function, even when they are not eating.
People with type 1 diabetes, whose bodies may make no insulin, "have a finer margin of error, where if they take too much [insulin], they can cause severe low glucose," Wyne told Live Science. In contrast, people with type 2 diabetes make some insulin in their bodies but not enough (and usually less as they age).
Diabetes used to be a death sentence. But it became a treatable, chronic condition after two Canadian scientists extracted active insulin from an animal pancreas in 1921. They treated their first patient in 1922 and later sold their patented technique to the University of Toronto for $1, saying that their goal was not profit but rather public health, according to a 2015 piece in The New England Journal of Medicine. However, the researchers soon realized they could not produce enough insulin to meet the demands of the North American markets. As a result, the university then allowed drug companies to make insulin and patent any improvements.
Over the decades, this has led to skyrocketing insulin costs. While researchers have made major advancements, incremental improvements have essentially kept insulin under patent for more than 90 years, which partly explains why there are hardly any generic insulins on the market, according to the 2015 report. (Pharmaceutical company Eli Lilly announced in March that it would release a generic, Insulin Lispro, but this insulin's retail price still costs more than $100 a vial, according to goodrx.com.)
"Nearly a century after its discovery, there is still no inexpensive supply of insulin for people living with diabetes in North America, and Americans are paying a steep price for the continued rejuvenation of this oldest of modern medicines," the authors of the New England Journal of Medicine study wrote.
Related: 7 Medical Myths Even Doctors Believe
Old vs. new
Before the newer insulins came onto the market, people with diabetes would get their insulins in a vial and deliver them with a syringe, injecting either a regular (also known as short-acting or "R") insulin before a meal and "neutral protamine Hagedorn" (of NPH, an intermediate-acting insulin) once or twice a day. Regular insulin had to be taken about 30 minutes before a meal, so people had to know when they were eating, Wyne said.
People with diabetes could also get a vial that had a mixture of regular and NPH insulin, which decreased daily injections, she said.
But then, vials and syringes went out of fashion as injector pens with more-efficient, short-acting insulins came onto the market.
That brings us to the current crisis. Wyne remembers insulin prices started creeping up with the 1996 introduction of the short-acting insulin Humalog, made by Eli Lilly. Because it worked within 15 minutes, Humalog allowed people to inject insulin right as they sat down to eat.
Humalog was the first analogue (meaning it's lab grown) insulin that came onto the market. It initially sold for $21 a vial, about a month's supply, Wyne said. Over the next 20 years, that price increased more than 30 times, and five injector pens, about the equivalent of a vial, now have a retail price of more than $300, according to a recent goodrx.com search. (A vial is less expensive, selling at a retail price of $165 to $195, another goodrx search showed.)
Meanwhile, glargine (brand name Lantus), the first replacement for the longer-acting NPH, came to the U.S. in 2001. At that time, it was $35 a vial; now it is $270, according to IBM Watson Health, as reported by The Washington Post. (Most people with type 1 diabetes will need to have vials of each.)
Insulin differences
It's important to note that, despite several caveats, the old and new insulins are fairly similar, said Dr. Robert Rushakoff, a professor of medicine at the University of California, San Francisco (UCSF) and medical director for inpatient diabetes at UCSF Medical Center.
"With the introduction of the more-rapid-acting insulins, like aspart, Humalog and NovoLog, the difference is not [in] any efficacy at all," Rushakoff told Live Science. "The difference is it just starts working a little bit quicker and disappears a little bit quicker. So that means that you can take it just a few minutes before you eat, or if needed, right after you eat."
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However, the few differences that exist can be a big problem for some people. For instance, many people with diabetes need a long-acting insulin in the background. The older NPH insulin might last anywhere from 14 to 24 hours, depending on the person, and it has a peak. When it peaks, it can cause a person to have low blood sugar, unless they just ate. In contrast, the newer, long-acting insulins, such as glargine, "are relatively flat — there's no peak," Rushakoff said. "Most of them last about 24 hours or more."
In addition, scientists obtain the older insulins from animal pancreases but produce the newer ones by inserting a human gene into bacteria, such as E. coli, which then pumps out insulin in a vat. People might respond differently to animal insulin than they do to the human variety, so they might have to adjust the number of units they take when switching from the new to the old insulins, said Dr. Loren Wissner Greene, an endocrinologist at New York University Langone Health.
Moreover, NPH contains protamine, a fish protein that allows the insulin to be gradually released and absorbed so that it lasts longer. However, some people have allergic reactions to protamine; that includes one man in China who died after getting an NPH injection. The newer insulins do not have this ingredient, Greene said.
In the case of Wilkerson, it's not clear if one of these rare issues was the cause of his problems or whether he was rationing insulin, Wyne said.
Education needed
But either way, the older vials of insulin don't require a prescription and are less expensive than fast-acting insulins (they can be purchased at Walmart and other pharmacies for around $25 a vial). So, an increasing number of people who are underinsured or uninsured are going back to the old ways, Wyne said.
This can be a risky move for those who don't know how to use the older type of insulin, Wyne said.
If people are unsure how to convert from the newer brands and pens to the traditional vial and syringe, "you might not do it right," Wyne said. "How are you going to get a hold of your doctor and get the information on how to make the conversion?" Given how complicated it is, the doctor will likely ask patients to schedule a visit, but people without insurance often can't afford to do that, Wyne said.
Related: 11 Ways Processed Food Is Different from Real Food
So, Wyne and her colleagues are now trying to guess who might be losing their insurance, either because these patients are aging off their parents' insurance plans or because they're in a precarious situation. "Obviously, we don't know who is going to lose their insurance," she said. "But we need to be aware that they need the information in case that happens."
Until politicians or drug companies move to lower the costs of insulin in the U.S., patient education is an essential step, she said.
Wyne encouraged people with diabetes to alert their doctors if a change in insurance coverage is expected. Likewise, by educating patients about how to use vials and syringes, telling them how to take advantage of price-checking services such as GoodRx, and advising against the dangerous practice of rationing, doctors could save lives, Wyne said.
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Laura Geggel
Laura is the archaeology/history and Life's Little Mysteries editor at Live Science. She also reports on general science, including archaeology and paleontology. Her work has appeared in The New York Times, Scholastic, Popular Science and Spectrum, a site on autism research. She has won multiple awards from the Society of Professional Journalists and the Washington Newspaper Publishers Association for her reporting at a weekly newspaper near Seattle. Laura holds a bachelor's degree in English literature and psychology from Washington University in St. Louis and a master's degree in science writing from NYU.


A German-language publication bearing the above title has been appearing in Switzerland since September 1, 1915. It carries the subtitle: "Militant and Propaganda Organ of the International League of Socialist Youth Organisations". Altogether six issues have appeared so far. The magazine merits our attention and should be strongly recommended to all Party members in a position to contact foreign Social-Democratic parties and youth organisations.
Most of the official European Social-Democratic parties are advocating the foulest and vilest social-chauvinism and opportunism. This applies to the German and French parties, the Fabian Society and the Labour Party in England, the Swedish, Dutch (Troelstra's party), Danish, Austrian par ties, etc. In the Swiss party, notwithstanding the withdrawal (to the great benefit of the labour movement) of the extreme opportunists, now organised in the non-party "Grütli Verein", there still remain within the Social-Democratic Party numerous opportunist, social-chauvinist and Kautskyite leaders who exercise tremendous influence on its affairs.
With this state of affairs in Europe, there falls on the League of Socialist Youth Organisations the tremendous, grateful but difficult task of fighting for revolutionary internationalism, for true socialism and against the prevailing opportunism which has deserted to the side of the imperialist bourgeoisie. The Youth International has published a number of good articles in defence of revolutionary inter nationalism, and the magazine as a whole is permeated with a fine spirit of intense hatred for the betrayers of socialism, the "defenders of the fatherland" in the present war, and with an earnest desire to wipe out the corroding influence of chauvinism and opportunism in the international labour movement.
Of course, the youth organ still lacks theoretical clarity and consistency. Perhaps it may never acquire them, precisely because it is the organ of seething, turbulent, inquiring youth. However, our attitude towards the lack of theoretical clarity on the part of such people must be entirely different from what our attitude is and should be towards the theoretical muddle in the heads, and the lack of revolutionary consistency in the hearts, of our "O.C.-ists", "Socialist Revolutionaries", Tolstoyans, anarchists, the European Kautskyites ("Centre"), etc. Adults who lay claim to lead and teach the proletariat, hut actually mislead it, are one thing: against such people a ruthless struggle must be waged. Organisations of youth, however, which openly declare that they are still learning, that their main task is to train party workers for the socialist parties, are quite another thing. Such people must he given every assistance. We must be patient with their faults and strive to correct them gradually, mainly by persuasion, and not by fighting them. The middle-aged and the aged often do not know how to approach the youth, for the youth must of necessity advance to socialism in a different way, by other paths, in other forms, in other circumstances than their fathers. Incidentally, that is why we must decidedly favour organisational independence of the Youth League, not only because the opportunists fear such independence, but because of the very nature of the case. For unless they have complete independence, the youth will be unable either to train good socialists from their midst or prepare themselves to lead socialism forward.
We stand for the complete independence of the Youth Leagues, but also for complete freedom of comradely criticism of their errors! We must not flatter the youth.
1) The incorrect position on the question of disarmament (or "disarming"), which we criticised in a preceding article [ see pp 94 – 104 in this volume. - ed ]. There is reason to believe that this error arises entirely out of the laudable desire to emphasise the need to strive for the "complete destruction of militarism" (which is perfectly correct); but the role of civil wars in the socialist revolution is forgotten.
a) "...It is absolutely wrong to seek the difference between socialists and anarchists in the fact that the former are in favour of the state while the latter are against it. The real difference is that revolutionary Social-Democracy desires to organise social production on new lines, as centralised, i. e., technically the most progressive, method of production, whereas decentralised, anarchist production would mean retrogression to obsolete techniques, to the old form of enterprise." This is wrong. The author raises the question of the difference in the socialists' and anarchists' attitude towards the state. However, he answers not this question, but another, namely, the difference in their attitude towards the economic foundation of future society. That, of course, is an important and necessary question. But that is no reason to ignore the main point of difference between socialists and anarchists in their attitude towards the state. Socialists are in favour of utilising the present state and its institutions in the struggle for the emancipation of the working class, maintaining also that the state should be used for a specific form of transition from capitalism to socialism. This transitional form is the dictatorship of the proletariat, which is also a state.
The anarchists want to "abolish" the state, "blow it up" (sprengen) as Comrade Nota-Bene expresses it in one place, erroneously ascribing this view to the socialists. The socialists—unfortunately the author quotes Engels's relevant words rather incompletely—hold that the state will "wither away", will gradually "fall asleep" alter the bourgeoisie has been expropriated.
b) "Social-Democracy, which is, or at least should be, the educator of the masses, must now more than ever emphasise its hostility to the state in principle.... The present war has shown how deeply the state idea has penetrated the souls of workers," writes Comrade Nota-Bene. In order to "emphasise" our "hostility" to the state "in principle" we must indeed understand it "clearly", and it is this clarity that our author lacks. His remark about the "state idea" is entirely muddled. It is un-Marxist and un-socialist. The point is not that the "state idea" has clashed with the repudiation of the state, but that opportunist policy (i.e., the opportunist, reformist, bourgeois attitude towards the state) has clashed with revolutionary Social-Democratic policy (i.e., the revolutionary Social-Democratic attitude towards the bourgeois state and towards utilising it against the bourgeoisie to overthrow the bourgeoisie). These are entirely different things. We hope to return to this very important subject in a separate article.
3) The "declaration of principles of the International League of Socialist Youth Organisations", published in issue No. 6 as the "Secretariat's draft", contains not a few inaccuracies, and does not contain the main thing: a clear comparison of the three fundamental trends (social-chauvinism, "Centre" and Left) now contending against each other in the socialist movement of all countries.
We repeat, these errors must be refuted and explained. At the same time we must make every effort to find points of contact and closer relations with youth organisations and help them in every way, but we must find the proper manner of approach to them.


To honor this noble profession, Original Grain has created a unique timepiece: The Brewmaster. Each watch is made with authentic reclaimed wooden beer barrels, using a tempered carbonization process that extracts the utmost individuality from every ale-soaked artifact. Flame tempering brings out the true grain, yielding a distinctive finish to the Oakwood dial.
The brushed silver steel lends contemporary strength, while the custom "Brewmaster" crest on the face says it all. It's a watch made with the same passion and patients found in the world's greatest brewmasters. It can only be worn with pride.
Featuring the unique, luxurious look of a case, bezel, dial, and bracelet finished in silver-tones and set with 412 Swarovski crystals, this Bulova Men's Crystal Day-Date Watch is a truly unique addition to any wardrobe.
Crafted from brass for a substantial feel, this eye-catching timepiece also showcases a smooth second tracker on the outer dial, three chronograph subdials, black and white indices, a delicate second hand, and sword-shaped hour and minute hands accented in blue.
Polished silver accents on the case and bracelet bring out the shine from all those crystals, while dependable Japanese quartz movement ensures precision. This brilliant dress watch is water resistant to 99 feet.
100M DEPTH WATER RESISTANT SPORTS WATCH – Great for Snorkeling & Swimming. Big Precise Elegant Analog Date & Dual Time Black Display on a Large Face Menswatch. 2 Year Manufacturer Warranty!
Technical Specifications Super-Full-Auto-LED light If the ambient light fades, a turn of your wrist illuminates the watch display particularly brightly and in color. Low-temperature resistant (-10 C) Even temperatures as low as -10 C has no effect on this watch.
it also sets itself automatically to summer and winter time. Digital-compass A built-in direction sensor detects the magnetic north. Barometer (260 / 1.100 hPa) A special sensor measures the air pressure (measuring range: 260/1100 hPa) and presents this on the display in the form of a symbol.
This enables early detection of weather trends. 10,000 m Altimeter A pressure sensor detects changes in the air pressure and converts the result into an altitude up to 10,000 m. Height Gain The height gain sums all the meters you have climbed in a session so that you can see at a glance the total ascent on a tour.
Stainless steel case with a brown leather bracelet. Fixed stainless steel bezel. Black dial with luminous hands and Arabic numeral hour markers. Minute markers. GMT scale around an inner ring. Luminescent hands. Date displays at the 3 o'clock position.


Growing in popularity is Christian metal-core band August Burns Red. Having six full lengths out already and another currently being produced. They are quite the shock to listen to in my opinion.
One of my favorite bands to date, they have amazing lyrics and deep meaning in most, if not all, of their songs. Being a guitarist I can't help but to have a sliver of jealousy on how lead guitarist JB Brubaker can shred and tear up the guitar as if it was a child's' toy. Jake Luhrs, current lead vocalist, completely overdoes himself again and unleashes brutal screams along with chilling growls.
Simply put, Rescue and Restore is the most creative and thought out album that they have made. However, that is not saying it is their best album, that title would go to Leveler or Messengers. Rescue and Restore is a album that you can listen to over and over again. Drum are fast and furious like always, and leave very little left to ask for.
Breaking apart from their usual style, some songs have some inspiring breakdowns and soft parts that left me with shivers. without hesitation I happily give this album a five out of five.
I'm a metal head that plays guitar and video games. that's all folks.


Use of aggregates from recycled construction and demolition of alternative aggregate for production of waste as recycled aggregate in India.
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recycled aggregates in concrete, cement and aggregates production contributes about 5% to amounts to around 520kg/person/yr in India.


Nowadays, slot machines account for over 2/3 of casino profits, which is proof of how popular they have become. If you are a slot machine enthusiast, or if you find the idea of playing the slots appealing, one of the main reasons is probably the idea that you may win one of the jackpots.
Still, many people don't understand exactly how jackpots work, so we're going to tell you a bit about them and what you should keep in mind when going after them.
There are two types of jackpots: fixed jackpots, and progressive jackpots. Machines promising fixed jackpots are also called flat-tops. Their maximum output is fixed – for instance, hitting the jackpot will always get you let's say 5,000 credits. Progressive jackpot machines have a meter which shows how large the jackpot is. The jackpot actually increases the more people play the machine. Sometimes, more machines are linked to the same jackpot. Playing either of them increases the value of the jackpot, and winning the jackpot on either of them resets the collective jackpot. The linked machines could be in the same casino or, in some cases, throughout the state. This is why progressive jackpots can be pretty high.
Although the value of a flat-top jackpot is lower, you generally have better odds of winning the jackpot at a flat-top than at a progressive machine. Unfortunately, that goes for winning chances in general. Progressive machines are generally tighter, because hundreds of machines can be linked to the same jackpot and it's in the best interest of the establishment that the jackpot reaches values which will tempt players.
The value of the jackpot for each of the machines should be displayed on the glass. Take a moment to read the information there, you will certainly find it useful. Identically looking machines may pay off different jackpots. You will notice that the differences between jackpots can be significant – sometimes one machine may offer a jackpot ten times lower than its identically looking neighbor.
While it's your call which machine you play, you should know that smaller jackpots are usually easier to hit. The bigger the jackpot, the less likely it is you will win it. Then again, hitting the big jackpot once may equal hitting a smaller one several time, so it all depends on personal preferences and length of play really.
You should know that a majority of slots only pay jackpots when the player has bet the maximum number of credits. This is similar to flat-tops, where the value of the jackpot payoff becomes larger the higher the bet.
Because you will need to bet the maximum amount to get a chance to win the jackpot, you should think what your betting range really is. Maybe choosing a lower denomination machine will allow you to play for longer and thus get more shots at the jackpot.
Slots can be really fun, but you can go through an impressive amount of money surprisingly quick. Take your time playing, and don't press the auto-spin button. That way you will get to enjoy your experience more, for the same money.
Are online pokers safer to gamble in?