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L'Institut Franc-Alemany (Deutsch-Französisches Institut - dfi) és un centre d'investigació i documentació independent sobre la França contemporània i les relacions franc-alemanyes. L'institut té la forma jurídica d'una associació declarada.

Rep suport per part del Ministeri d'Afers exteriors Alemany, del Ministeri d'Investigació del Länder de Baden-Württemberg i de la ciutat de Ludwigsburg, la qual a més acull la seva seu. A més, els projectes de l'Institut són finançats amb fons proporcionats per organismes i terceres persones.

Història
L'Institut ha estat fundat en 1948 en la ciutat de Ludwigsburg amb l'objectiu d'animar la unió franc-alemanya en tots els àmbits a través de la via intel·lectual i publica (article 1 dels seus estatuts). La seva seu central es troba en Ludwigsburg però té una altra subseu a París inaugurada l'any 2004. La Franckreich-Bibliothek del dfi, es va inaugurar en 1990, i està situada en un edifici adjacent a la seu central de l'institut a Ludwigsburg. Eminents representants de la societat civil han participat en la creació de l'institut, personatges de l'alçada de Carlo Schimd, Theodor Heuss i Friz Schenk per la part alemanya, així com Joseph Rovan i Alfrend Grosser, associats de la part francesa.

El primer director de l'institut va ser Fritz Schenk (en funcions de 1948 a 1972), a qui va succeir Robert Picht (de 1972 a 2002) i Frank Bassner (director des de 2002 fins a l'actualitat). Al capdavant de l'institut es troba un president, càrrec que ocupa des de 2005 l'expresident del Länder de Baden-Würtember, Erwin Teufel. L'Institut compta en l'actualitat amb una vintena de col·laboradors entre els quals es conten cinc investigadors.

Perfil i activitats
La investigació basada en casos pràctics i les activitats d'assessorament són les activitats principals de l'Institut. Els treballs analitzen essencialment l'evolució de les polítiques econòmiques i socials de la França contemporània així com a tot allò que concerneix a les relacions franc-alemanyes. Es concedeix una importància molt particular en aquestes diferents activitats als temes de política econòmica, social i europea així com a la qüestió transversal de la comunicació intercultural. La major part del temps, aquests treballs s'efectuen en el marc de projectes realitzats a llarg termini, que són finançats sencera o parcialment per fons posats a disposició per tercers. Les subvencions procedeixen generalment de fundacions sense ànim de lucre i empreses.

Aquests projectes es realitzen amb la idea d'interconnectar ciència teòrica i pràctica, el que pot traduir-se concretament en conferències o seminaris especialitzades, nombroses publicacions i fins i tot entrevistes amb els mitjans de comunicació.
A més, l'institut organitza, independentment dels diferents projectes, seminaris i programes de formació contínua, en particular, per als estudiants, els funcionaris i els periodistes de França i Alemanya.

Els investigadors del centre exerceixen al seu torn com a professors d'Universitats tant alemanyes com estrangeres. Els treballs de l'institut van dirigits no només als responsables i a les persones influents del món polític, econòmic, educatiu i de la informació sinó també a l'opinió pública d'Alemanya i França.

Biblioteca (Frankreich-Bibliothek)

La Biblioteca (Franreich-Bibliothek) del dfi va ser creada en 1990. Es tracta d'una biblioteca científica especialitzada oberta a tothom que reuneix obres referents a la França Contemporània i a les relacions franc-alemanyes.
La biblioteca reuneix aproximadament 37.000 obres en ciències socials contemporànies. A això s'afegix un fitxer de premsa creat en els anys setanta i que conta més de mig milió d'articles sistemàticament classificats.

El dfi, representat per la seva biblioteca, és membre de la Xarxa d'informació especialitzada "Relacions internacionals i estudis regionals" i participa activament en aquest marc en el manteniment i en el bon funcionament de les bases de dades World Affaires Online (WAO). El conjunt de les obres de la biblioteca (inclosos articles d'estudis o obres col·lectives, però llevat dels articles de premsa) està recollit en aquesta base de dades i en el seu catàleg, així com en altres catàlegs regionals i nacionals, és accessible a través d'Internet.

La biblioteca és un membre associat de Südwestdeutscher Bibliotheksverbund (SWB). Per a permetre a joves investigadors alemanys o estrangers efectuar estades d'investigació més llargues en Ludwigsburg, el dfi oferix un programa de beques adaptat.

Bibliografia
 Bock, Hans Manfred (éd.): Projekt deutsch-französische Verständigung: Die Rolle der Zivilgesellschaft am Beispiel des Deutsch-Französischen Instituts in Ludwigsburg.. - Opladen: Leske und Budrich, 1998,
 Institut Franco-Allemand (éd.): Frankreich Jahrbuch 2.... - Wiesbaden: VS Verlag für Sozialwissenschaften, 2..., ISSN 0935-6649
 Institut Franco-Allemand (éd.): dfi aktuell. - Ludwigsburg: dfi, 19..

Enllaços externs
 Pàgina Web del dfi
 Catàleg Online del dfi

Institucions
Ludwigsburg
Relacions entre Alemanya i França


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Greener Journal of Agricultural Sciences
ISSN: 2276-7770; ICV: 6.15
Vol. 3 (1), pp. 027-032, January 2013
http://gjournals.org/GJAS
Behind the Hidden Face of Eve: Alifa Rifaat's Distant View of a Minaret as a Metaphor
Ogbeide O. Victor
Department Ofof English Andand Literary Studies, Faculty Ofof Arts, Ekiti State University, Ado-Ekiti, Ekiti State, Nigeria
DOI: 10.15580/GJAS.2013.1.111212259
This paper is an imaginative flight, with Alifa Rifaat as guide, to the closed world of the typical Muslim woman living in a patriarchal Muslim society. Behind her veil of invisibility lie her silent pains, sexual dissatisfaction and emotional anguish which are often male-inflicted in their chauvinistic ambition to continue to oil the machinery of patriarchy; an institution that has attracted many unislamic accretions and man made oppressive anti-woman practices over the years. Her reflection of the women as voiceless and powerless in deference to the status quo notwithstanding, the paper contends that by "daring" to portray many of the norms and attitudes related to women in her society, Rifaat has contributed in no small measure to widening the frontiers of women liberation struggle all over the world.
E-mail: ogbeide_v@yahoo.com
Patriarchal, Muslim, Society, Feminism, Veil, Metaphor, invisibility
Most African female writers create out of the necessity to tell their own stories in thin-veiled fictional forms; seeing themselves as representatives of African women and correctors of certain well-worn prejudices concerning African women. In short, they tell it as it is. (Adebayo, 1996:39)
One of the most enduring criticisms of male writers by feminists has been the tendency of the former to regard their creative works as patriarchal templates for entrenching phallocentric domination. Feminists (hard core or liberal, capital "F" or small "f") are essentially united by their claim that in most masculine fiction, representative male characters are presented as vigorous, realistic and complex while female characters are made complaisant, objectified and oversimplified; who not only lack the humanism of their male counterparts but also come across to the readers as undeveloped simpletons. According to Flora Nwapa (1998:90),
Nigerian males have in many instances portrayed women negatively or in their subordination to men. Ekwensi's Jagua Nana is a prostitute, Wole Soyinka's Amope is a ceaselessly nagging woman who makes life intolerable for her husband. Achebe's Miss Mark does not hesitate to put her sex appeal to work in order to attain desired objectives. J.P Clark's Ebiere entices her husband's younger brother into sexual relationship. The focus has always been on the physical, prurient, negative nature of women.
Nawal El Saadawi (1980) the radical feminist from Egypt is even more trenchant in her denunciation of most male writers who rarely find any redeeming grace in female characters in their works. She asserts that Tolstoy, for example, inspite of his towering literary talent, when speaking of women, he found nothing better than "woman is the instrument of the devil" whom Satan often "lends his head when she acts under his orders" (2007:521). Arab literature, Saadawi says, "is littered with the image of the she-devil possessed of many faces" (521). In The Hidden Face of Eve (1980), Sadaawi presents a gallery of Arab literary icons – Akkad, Tewfik El Hakin, Taba Hassan and Naguib Mafouz, who are seemingly united by their deliberate negative portrayal of female characters. For Florence Stratton (2009), this penchant for deliberate promotion of patriarchal ascendancy by male writers often finds expression in their presentation of female characters as either "mother-Africa figures, symbols of a fecund and untainted tradition or prostitutes, figures of a corrupted modernity and through a set of close reading puts her figure on the pulse of masculine literary responses to colonization via the discourse of tradition" (2009:191-192).
The above criticisms notwithstanding, many male writers have never pretended or even regarded it as their literary duty to write about women in their works in order to please the fairer sex. Excusing imperfections that sometimes rear their ugly heads in the guise of snippets of male chauvinism or prejudice, realism is, after all, colour and gender blind. In an interview with Mary David, Soyinka (1995:212) says:
But that is the role of women. I can't enter into the mind and body of a woman. No, but women should write about themselves, why should they ask me to do that?
The implication of Soyinka's submission is that possibly, only women are in a better position to write about women in a more realistic fashion. Stretched further, that it is only women who are better placed as "co-insiders", to tear off the veil of invisibility that the oppressive patriarchal system has dressed the typical African woman for years. Without possibly meaning to, Soyinka may have opened the floodgates of controversy here as we may not all necessarily be female psychologists in order to understand female psychology. Whatever the case, it is no gainsaying that surely, Soyinka's point is quite germane in the closed world of the Muslim woman. The "purdah" system in many Muslim and Hindu Societies where women are kept from public view by keeping them in a separate room in the house, or special clothing like the "hijab" to wear when they go outside testifies to this assertion.
The metaphor of the hidden face of Eve aptly describes the traditional Muslim woman living in a patriarchal Muslim society. Possibly, only another female insider can tell us realistically what exactly lies behind this hidden face. She may be better placed to be our guide in our imaginative voyage to the silent and anonymous world of the typical Muslim woman, for wearing the same shoe; she more than any other person, knows where it pinches. This paper, therefore, focuses on the realities of life of the traditional Muslim woman in a patriarchal Muslim society from the standpoint of another Muslim woman, Alifa Rifaat in her Distant View of a Minaret (1983).
The theoretical underpinning for this paper is understandably feminist. This is not to imply that everybody automatically knows and agrees with a common definition of the term feminism. In her introduction to Third World Women and Politics of Feminism, Chandra Mohanty (1991) admits the complexity inherent in defining feminism. This paper, however, subscribes to Adebayo (1996) who sees feminism, among other things as connoting the rights and privileges of women as well as challenging male hegemony in order to change the former's consciousness and recreate a positive self-perception to embrace progress.
Alifa Rifaat and the Silent Plight of Women in Patriarchal Muslim Society
Rifaat's Distant View of a Minaret (1983) consists of fifteen short stories which are set in provincial Egypt. These stories admit the reader into a hidden private world of the typical Muslim woman, a world not only daily regulated by the call of the Muezzin but which is often characterized by profound anguish and personal isolation. The collection of stories therefore, becomes a haunting metaphor for the unenviable lot of the traditional Muslim woman living in a patriarchal Muslim society.
In the first story which gives the collection its title, Rifaat presents men as callous, selfish and highly insensitive to the feelings of their marital partners. Sexual intercourse between husband and wife that is meant to be enjoyed thereby cementing the marital bond of love between the two has become a veritable ticket to the island of isolation and sexual disconnect for the woman. The husband in this story is only concerned about his own sexual urges and pleasures. To him, the wife's sexual satisfaction is simply out of the question. Attempts by the long- suffering wife in the past to express her desire for sexual satisfaction to her husband had been met with denial and anger. In his chauvinistic cockiness, the husband had even insinuated that he had had sexual experiences with other women. Little wonder that the wife has grown used to being uninterested, with deep-seated feelings of estrangement each time her husband makes love to her. To him, she is more or less a slave rather than a life partner.
In her autobiography, Rifaat advocates the need for man and woman to only participate in sexual intercourse when they are in a serene state, so that orgasm can be achieved, which she says acts to strengthen faith in God. Orgasm with its consequent benefits can hardly take place in the scene described in this story. And since sexual matters are not subjects for open discussion in this kind of society, we are forced to understand the silent pains and anguish of a woman whose silent cries for help are likely to remain unanswered until the grim reaper, death, intervenes. Solace of a sort for her therefore, comes in the daily call to prayers, ablutions and making tea, a ritual in which she feels more in touch with than the relationship with her husband. The lone minaret, therefore, stands for the solitude that the female protagonist experiences having resigned to this role. More importantly, it represents how far the men have distanced themselves from the ideals of Islam which protects and praises the status of women by recommending that they enjoy equal rights to those of men in everything; they stand on equal footing with men. (Qur'an Nadvi:11)
If the wife in "Distant View of a Minaret" complains of little sex from her husband, Badriyya in "Badriyya and Her Husband" has no sex at all with Omar, her worthless and lying husband. Badriyya has become a laughing stock in the neighbourhood on account of her husband's shameless philandering antics. As usual, the wife is the last to know of her husband's extra-marital affairs. This is why until concerned wives start asking her to wake up to her husband's shameless acts, she was still in a dream world where the first article in the marriage creed is faithfulness to one's wife.
Almost every night, Omar comes home in a state of exhaustion from drink and drugs. The few days he stays at home, Badriyya is made to buy him expensive Malboro cigarettes which he smokes with relish. His careless attitude towards the sexual needs of his wife has made the latter to be the equivalent of "a piece of land that has been prepared for sowing and suddenly left" (39). Virtually all the men in the collection are selfish and indulge in adultery. In "The Long Night of Winter", Zennouba recalls how her husband, on one occasion, had left her sexually high and dry in their bed only to find him making love to their servant girl on the stone bench above the oven. In the evening of that same day, she had discussed the matter with her mother who later replied calmly that "All men are like that" (57). Her mother, like many experienced women, has learnt over the years to take her husband's infidelity for granted. Rather than marry his own wife, Saleh in "The Flat in Nakshabandi Street" enjoys having a secret love affair with the Greek wife of one of his colleagues who inexplicably turns a blind eye to his wife's wayward behaviour. It is the lecherous advances of the adulterous Hindawi that drive the poor Mansoura with the rusted bangles to her death in the Canal in the short story bearing her name; Of course, Hindawi pays with his life later while hauling pipes from a bulldozer.
In virtually all the stories in the collection, all the wives have no option than to submit to the tyranny of their husbands. While this is unfortunately understandable in a typical patriarchal Muslim household, it is highly unsettling to know that this tyranny does not "proceed on leave", even for a few minutes during sexual intercourse. In the "Distant View of a Minaret" and "The Long Night of Winter", both husbands are disgusting and animal-like while having sex. Rifaat shows us the picture of a monster of a husband in "Distant View of a Minaret" during lovemaking.
His eyes were tight closed, his lips drawn down in an ugly contortion and the veins on his neck stood out (2). His counterpart, Hagg Hamdan, in "The Long Night of Winter" is even worse. Each time he makes love to his wife, it is with "violence and pain utterly unrelated to any previous experience she had had" (57). Rifaat tells us the silent pain and endurance of Zennouba, Hamdan's wife:
Since then it had been repeated hundred of times with the element of pain replaced by that of repugnance at the rough hands that kneaded her body and the evil-smelling breath and spittle of a habitué of the Blue smoke of hashish (56).
Hamdan's urge for sex knows no bounds as he does not care to sleep with all the girl servants that come and go in the house. In all of this, the hapless wife has no choice than to swallow her bitterness, hatred and anger, for according to tradition, "the husband was the master of the house" (57). Divorce being untraditional is simply out of the question. So also is single-parenting; and so, like Angelou Maya's caged bird, she must learn the traditional injunction which orders wives to obey your husband; make his happiness your main concern; on him your fate and especially that of your children depends. If you carry out all his wishes, you will have worthy and deserving children. But if you don't, then you must expect curses from heaven and the shame of giving birth to children who will turn out failures. (Aminata Sow Fall, 1979:27)
Thus, caught in this blackmailing crucible of an oppressive injunction, the woman finds herself between the desire to keep her home and to assert her own individuality. This precarious position of the woman is akin to being between a stone and a hard place. In this situation where marriage is like a continuous hellish nightmare Rifaat, like other progressive women writers like Mariama Bá challenges "the living-happily-ever-after myth of marriage" (Adebayo, 1996:45).
Hedged in by the unforgiving circumstances created by the oppressive patriarchy, the women in Rifaat's collection are forced to endure many restrictions. Their freedom and power only come at the sacrifice of their life, marriage and honesty. In "Mansoura", the only time Mansoura successfully fends off the lecherous Hindawi's sexual advances is when she falls into a canal and drowns. After her death, she attains a supernatural power and she crushes Hindawi beneath the arm of the bulldozer. True, Mansoura succeeds in getting her revenge but only at the cost of her own life. In "The Incident in the Ghobashi Household", the only choice open to Zeinat is to lie in order to protect her pregnant unmarried daughter and the family honour, and the money she gave to her daughter was the money she had kept secret from her husband. In "The Flat in Nakshabandi Street", Aziza controls the household and its finances but she has never had a husband, and she had never really explored her "freedom" as she leaves her apartment only for funerals.
Girls are strictly restricted from marrying young men of their choice as they are forced into marriage by their parents. In "The Kite" Widad is forced into marrying Ahmed rather than Mitwali, her childhood sweetheart. In "The long Night of Winter", Zennouba is married to her cousin Hagg Hamdan, "so that the land might stay in the family" (56). Love hardly thrives in arranged marriages. Little wonder, therefore, that many women endure rather than enjoy their marriage. The institution of marriage in this connection becomes an enslaving factor in many women's experience which they have to be with as it is a veritable means of self-definition for women.
Gender discrimination which tilts the scale in women's disfavour dominates "Bahiyya's Eyes" which is told from the perspective of an old woman speaking to her daughter after visiting a doctor about her loss of sight. The story deals with the painful matrices that characterize the lives of women. "Girl children", says Buchi Emecheta in The Slave Girl (1977), are not usually particularly prized creatures (18). In most patriarchal homes, the preference of male children to female children is often taken for granted. Contrary to the doctor's diagnosis about her loss of sight, Bahiyya, armed with patriarchal hindsight, tells us that her blindness "comes from the tears I shed since my mother first bore me and they … found I was a girl" (57). She goes on to relate how as a girl child, her brother was given preferential treatment only because of his sex. The lives of other girls in the village were not better, but she discovered that "they were able to take it and not care a hang and just laughed it off" (8), while for her, her response to the gender discrimination "wasn't the same and the tears were always running down my cheeks" (8).
The most tragic aspect of a woman's life, Bahiyya says, is that she has no control over her destiny. She says:
The fact is there's no joy for a girl in growing up, its just one disaster after another till you end up an old woman who's good for nothing and who's really lucky if she finds someone to feel sorry for her (8).
Through this story, Rifaat shows us the powerlessness of women as exemplified in the experience of Bahiyya. As a young girl, she was forcefully circumcised by tradition-wielding old women. Ever since, this painful act of genital mutilation otherwise called clitoridectomy has left a deep wound inside her; a silent pain she has learnt to endure. The politics of clitoridectomy has long assumed an international dimension. Suffice it to say however, that it is male-inspired women's inability to control their bodies that is not country-specific. Nnaemeka (2007:575) says that "abuse of the female body is global and should be studied and interpreted within the context of oppressive conditions under patriarchy". Sanusi and Olayinka (2012) have likened clitoridectomy and infibulations to female castration that render women perpetually and psychologically inferior to men:
If one should want to be fair, one should compare an excised and infibulated woman to a castrated male. A castrated male is one without the ability to express his masculine sexuality… porloined of his self-esteem. He is mere statistic and such is the woman who has been artificially deprived of her sexuality. Excision and infibulations ensure the subtraction of vital organs of self-expression from a woman's body that make her feel incomplete and unable to compete with men… This artificial recreation of the woman's physiognomy is done in order to enforce the myth that woman is less than man in every sense as preached by Aristotle, Plato, Darwin and Rousseau (199-200).
Men's control over Bahiyya continued when her father made her to marry a man she never loved. As she says, "who was I to say I wanted this man and not that man" (10). Marriage is seen here, not as an escape from andocentric oppression because she has just replaced one oppressor (her father) with another (her husband). No doubt, echoes of Florence Stratton's metaphor of the shallow grave as archetype of the African female experience reverberate here. According to her, African female characters
are enclosed in the restricted sphere of behaviour of the stereotypes of a male tradition, their human potential buried in shallow definition of their sex-silence, like the slave woman, by blows, either to their bodies is psyches – they are forced to submit to the necessity of conforming to the extremely-imposed requirements of their masculine societies. (1988:147).
The phallocentric constructs which form the very basis of the patriarchal society in which the collection is based is one that makes the female child to realize that her life is one of service to the ambitions of men. Ojebeta, Emecheta's mouthpiece in The Slave Girl shares her deep-seated thoughts:
Every woman, whether slave or free belonged to some male. At birth, you were owned by your people, and when you were sold you belonged to a new master; when you grew up your new master would control you (167).
A woman's place in the society, Rifaat asserts, is that of an anonymous servant. She lives in a closeted world where she is expected to be silent, dumb and completely accommodating and malleable forever in the service of men. The society-inflicted loneliness and anonymity become worse when she either becomes old or becomes a widow. In "Thursday Lunch," the protagonist and narrator who is fifty years old contemplates her failing marriage and her inability to communicate her marital woes to others. Her husband has become distant from her since she is now "old" and "clearly past her best" (27) after three children. Her children and the house servant live in a different world from hers. So, abandoned, she finds solace in crying all the time as a kind of catharsis or emotional purgation. Her mother, though a widow for the past twenty-four years, seems to have succeeded in managing her loneliness by living a detached existence that has no provision for feeling alienated. How successfully she has been in this can be seen in the fact that it is her daughter (the narrator) with a husband, children and a servant who ironically, experiences loneliness. When she waxes philosophical about old age and loneliness, we come face to face with the indispensability of creative communication in marriage.
One could approach the end of life and find that for all the people who were around him, there was not in fact anyone to whom one could go in for in time of crisis and unburden oneself; that instead of building up relationships with an increasing number of friends as time went by, we find ourselves collecting around us a small number of acquaintance some of whom we positively dislike, and at the same time make barriers between ourselves and those nearest to us, who was there to whom I could talk frankly about my problems? (17-18).
Alifa Rifaat's unusualness among Arab women writers among other things, arises from her exceptional artistic courage in writing this collection which "lifts the veil on what it means to be a woman living within a traditional Muslim society" (Johnson – Davies, 1987: VII). In this collection Rifaat destroys the myth of the silent suffering Muslim woman and in its place creates the image of a thinking woman whose frankness and intelligent observation remain with the reader long after reading. Since many of the marriages in these stories are arranged marriages where husband and wife are not in love before marriage, the feelings and desires of the latter are hardly considered by the former. Through her silently protesting female characters, Rifaat asserts that love should be the basis of marriage and that husbands should meet the emotional and sexual needs of their wives. But until this comes to pass, Rifaat shows us how the women in her stories cope with their silent pains and emotional anguish.
Managing Pains and Emotional Anguish
As deduced so far, marriage obscures a woman's self-identity and by her unobtrusive acquiescence, she unwittingly becomes an accomplice of the stultifying system. But even unobtrusive submission has its limits. The heroine in Nwapa's One is Enough bitterly declares, after her failed marriage, that she does not want to be a wife again. Similarly, in Emecheta's The Joys of Motherhood (1979), Adaku says that she is not prepared to remain in her marriage because she is not "prepared to stay here and be turned into a mad woman" (169). Maria Miles (1980:25) has averred that it is only when there is "a rupture in the normal life of a woman i.e. a crisis such as divorce, the end of a relationship etc. is there a chance for her to become conscious of her true condition".
Unlike the artistic world of West African female writers, divorce is simply out of the question with Rifaat's female characters as it is highly untraditional and unislamic. Many of the frustrated wives therefore, find emotional outlet in the daily religious rites like the call to prayer and other sundry religious practices that permeate the entire collection. In "Distant View of a Minaret", for example, the daily prayers are described as being like punctuation marks that give life its meaning. Many of the widows find solace in taking care of their children, a labour of love that constitutes a necessary distraction from brooding too much on the loneliness resulting from the death of their husbands. But then, the children soon get married and their mothers are back in the valley of loneliness and despair, for the children must grow up to live their own lives. This is the fate of the female characters in "Bahiyya's Eyes", "Telephone Call" and "Just Another Day". Not every woman is as lucky as the mother of the narrator, / protagonist in "Thursday Lunch" who, though still thinks of her dead husband, has managed to evince a creatively detached and unemotional life for herself. The widow in "The Kite", having realized that she is as defenceless and vulnerable as her chick decides to eschew arrogance to marry her childhood beau.
The experience of some of the women who are not actually widows but who lead lonely lives that resemble those of the widows is even more pathetic. In "Badriyya and Her Husband", Badriyya is married to a selfish womanizer and has not even had sex with her. Zennouba is worried about how to deal with her husband's constant affair with the servant girls in "The Long Night of Winter" while in "At the Time of the Jasmine" Hassan's wife has left him and now lives in her homeland of Turkey, and she basically leads a widow's life. Many wives, like the narrator in "Thursday Lunch" resort to crying as a therapy to maintain their emotional balance.
The sex-starved narrator/wife in "My World of the Unknown" finds sexual fulfillment in a fantasy world where she establishes a relationship with a snake. The snake tells her that their affair is not shameful because in the eyes of Allah the two of them are now married. In this connection, the snake represents what seems to be lacking in her marriage with her husband. Even so, the snakes shape renders it a phallic symbol and it indeed brings the narrator sexual pleasure. The narrator falls in love with the snake to the extent that she is willing to give up her husband in exchange for this single representation of sexual organ. By killing the snake, the husband of the narrator becomes the destroyer of beauty, for "perfect beauty is to be found only in a woman" (95). By equating the snake with the bringer of everything good to the narrator's life. Rifaat turns the myth of the snake as the bringer of man and woman's downfall in the Garden of Eden on its head. Rifaat's point in this short story is unmistakable: sexual pleasure and satisfaction are indispensable for a successful marriage. In Rifaat's estimation, since "all men seek is, pleasure" which ever way the women decide to take in order to ease their burden of frustration and emotional anguish in order to get some pleasure is all right provided" it remains within a strictly religious, even orthodox framework" (Johnson-Davies, (1983:VIII).
Rifaat's collection is highly significant in the history of feminist writings from North Africa. This is not only because of the boldness of the writer in thematising issues that are almost forbidden in her society but also because of the range of her thematic concerns. From her early preoccupation with romance (Eve Returns to Adam (1975), The Prayer of Love, 1983 etc.), Rifaat later graduated to the level where art becomes for her a means of "revolting against many of the norms and attitudes, particularly those related to woman and her place in society" (Johnson-Davies, 1983: VII). Her revolt however, is conducted strictly in an orthodox Muslim manner which does not advocate the rise of women against patriarchy. Her female characters do not quarrel with the Quranic precept that "men should be in charge of women". All that the women ask for is that the men should exercise their headship with a deep sense of responsibility by showing kindness and generosity to the womenfolk as enshrined in the Quran. Rifaat's revolt therefore, is not against Islam as a religion but against man-made interpretations and accretions that have come to be accepted without questioning over the years. In this wise Rifaat is different from other radical apostles of women liberation movement like Laila Baalbaki, Gada Samman, Hanan Shakyth and El Saadawi whose brand of feminism seems west inspired.
As stated earlier, Rifaat does not recommend adultery, divorce or a change of partner as these are considered unislamic. Therefore, her female characters must learn to take a resigned or begrudgingly accepting stance towards whatever hardships they may face in their marriage. Patriarchy must be accepted as a fact of life. For these suffering women, she asserts. The snag here however, is that this stance is not likely to help women's cause in Africa because this has often acted as a catalyst in women's oppression by way of making them accomplices to their own oppression by men. All her female characters seem solely trained to focus on marriage, procreation, keep the home, cook family meals and ensure their husbands sexual satisfaction in order not to rock the family boat of peace in the home.
Peace in the home is good but by immersing all her female characters into patriarchal ethos which dictates voicelessness among women Rifaat places herself among some fellow African women writers like Ka Maiga and Mpoudi-Ngolle often accused of compromising African feminist writing by dwelling in the periphery of African feminist emancipatory struggle. This attitude of voicelessness is rather unsettling.
In her biography, Rifaat relates that she cries out for complete and complimentary role in all her writings since all seek is pleasure. But given the docility of all her female characters, one wonders how this kind of "negotiation" will work in the face of the dominating men. This is the grouse of Awa Thiam (1986:13).
People have often reduced the problem of women to a problem of complimentarity. Who defines this complimentarity? This complimentarity has been systematized, giving excuses for all the forms of oppression and exploitation that the patriarchal system imposes on a woman by virtue of her sex, both in the family and in organized labour. Should this complimentarity not only be challenged but also redefined?
The above observations notwithstanding, it is credit to Rifaat's artistic sensibility for, by "daring" to write about women's condition and "the truth about their bodies" in a Sentient fashion as an insider, she contributes in her own way in expanding the frontiers of the women liberation struggle in Africa. In deed, we are grateful for enabling us to have a glimpse at the hidden face of Eve and her painful world with the hope that we might be able to help in making it better for her, for "as long as women remain silent, they will be outside the historical process" (Gauthier 1981:162).
Adebayo Aduke (1996). "Tearing the Veil of Invisibility: The Role of West African Female Writers in Contemporary Times" (Ed) Adebayo, Aduke Feminism and Black Women's Creative Writing. Theory, Practice, Criticism. Ibadan; AMD Publishers, (37-56).
Angelou Maya (1984). I Know why The Caged Bird Sings. London: Virago. David Mary (1995). Wole Soyinka: A Quest for Renewal. Madras, India: B.I Publications, (13-19).
Emecheta Buchi (1977). The Slave Girl. Glasgow: Fontana/Collins. _****______(1979).The Joys of Motherhood. London: Heinemann.
Gauthier Xaviere (1981). "Is there such a Thing as Women's Writing?" New French Feminisms (Trans. Marilyin A August. (Eds) Elain Marks and Isabelle de conitivion. Sussex: The Harvester Press, (161-164).
Johnson-Davies, Denys (1983). "Translator's Foreword" Alifa Rifaat's Distant View of a Minaret and Other stories. Essex: Pearson Education.
Miles Maria (1983/89). "Towards a Methodology for Feminist Research" (Eds) Bowles and Klein. Theories of Women's Studies. London/New York; Routledge, (117-139).
Nnaemeka Obioma (2007). "Bringing African Women into the Classroom: Rethinking Pedagogy and Epistemology" (Eds) Olaniyan T and Quayson A, African Literature an Anthology of Criticism and Theory. M.A. USA; Blackwell Publishing, pp571-577.
Nwapa Flora (1998). "Women and Creative Writing in Africa" (Ed). Nnaemeka O, Sisterhood is Global: Feminism and Power from Africa to the Diaspora, (89-99).
Rifaat Alifa (1983). Distant View of a Minaret and Other Stories. Essex; Pearson Education. Saadawi Nawal El (1980). The Hidden Face of Eve. London: Zed Books.
Sanusi Ramoni and Olayinka Wumi (2012). "Blind Devotion, Violence and Trauma in the Works of Ka Maiga, Bassek and Mpondi-Ngolle" Papers in English and Linguistics. Vol. 13, (183-208).
Stratton Florence (2009). The Routledge Encyclopedia of African Literature. (Ed) Simon Gikandi. Milton Park, Abingdon Oxon: Routledge. Senft Theresa (1995). "Writing (and) Independence: Gayatic Spivak and the Dark Continent of Ecriture Feminine" Women and Performance. Vol. 7(2) Issue 14-15, (275-280).
Thiam Awa (1986). Black Sisters, Speak Out: Feminism and Oppression in Black Africa. (Translated by Dorothy Blair) London: Pluto Press.
Cite this Article: Ogbeide OV, (2013). Behind the Hidden Face of Eve: Alifa Rifaat's Distant View of a Minaret as a Metaphor. Greener Journal of Agricultural Sciences. 3(1):027-032, http://doi.org/10.15580/GJAS.2013.1.111212259.

redpajama_set_name: RedPajamaCommonCrawl


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The ups and downs of sharing commercial kitchen space
Janet Forgrieve
(Image: Brendan Smialowski/AFP/Getty Images)
Shared commercial kitchen spaces and food incubators have become a growing force in an era when more entrepreneurial foodies are turning their food and beverage specialties into businesses selling direct-to-consumers and via retail and foodservice outlets.
The kitchens foster a sense of community that can result in lasting ties, which come in handy when something happens to break up the group. Sometimes a business is just ready to move into the next phase and grow into a bigger space. Other times, change is thrust upon them when the facility they're operating in closes abruptly, as happened at Pilotworks in Brooklyn, N.Y., last year.
As of 2016, there were more than 200 food incubators in 39 US states, a 50% increase from just three years earlier, according to a report by Econsult Solutions. Sixteen of those facilities were in the New York-New Jersey-Jersey City, N.J., market, including Pilotworks.
Pilotworks, which began life as Brooklyn FoodWorks, boasted 11 kitchens in 10,000-square-feet in the borough's Pfizer building. At its peak, the facility leased space to about 175 small companies that used the place for cooking, packing, storage and distribution.
The incubator grew fast, with plenty of venture capital backing, including a $13 million infusion last year, but it also grew overextended as it expanded rapidly to new cities including Chicago, Dallas, Newark, N.J. and Providence, R.I. Last October, the company suddenly notified tenants that the facility was closed and gave them about three days to remove their equipment and product.
The community shifted into high gear, organizing and helping each other connect with resources to help them find new digs and keep going.
"It's taken an interesting kind of turn since then," said April Wachtel, founder of cocktail mixer company Swig + Swallow. "All the chaos seems to have sorted itself out and people realized they were in charge of their own fate."
For some there was further disappointment after another company launched plans to acquire and reopen the space, only to scrap the idea.
"They started reaching out to the former people to see if we were interested in going back in," said David Roa, whose Superlost Coffee had been a tenant. "Then about a week [before it was supposed to open], they backed out. From then, I heard rumors of people trying to get together and see if they could rent the space."
Superlost was largely using the space for cold brewing and storage of its products before they were delivered to area retail outlets. The company had also been working with a coffee roaster in the Bushwick section of Brooklyn, and it had enough inventory on hand to serve customers through the transition. Now, Superlost is preparing to move into its own facility.
Similarly, many of the startups that were operating in the Pilotworks facility landed on their feet, with some finding other commercial kitchen space and others ready to open their own spaces, Roa said.
Shared kitchens, shared experiences
The Pilotworks story may be more the tale of a venture-backed startup that tried to grow too fast than an indicator of the state of food incubators and shared kitchens in general.
According to a May 2017 report by The Food Corridor and the Network for Incubator and Commissary Kitchens, 82% of US incubators had booked revenue increases over the previous three years and 76% were either breaking even or making money.
For the Pilotworks tenants, the connections made during their time working in the shared kitchens and their entrepreneurial spirits meant they wouldn't be down for long.
Wachtel found space with another company that has a facility in the Pfizer building, so she's near her old digs and she still sees some of the entrepreneurs she used to share space with, she said. She has also gotten involved in a group that offers mentoring services to other women entrepreneurs.
Both Wachtel and Roa shared some advice for startups considering going into shared kitchen space.
"Community is the most important thing," Roa said. "It's important to surround yourself with others who are doing similar things."
When the abrupt end came, that sense of community meant people immediately began sharing resources to help each other survive and figure out what came next, he said.
Typically, shared kitchens and incubators can be one of the best ways to get a new venture off the ground and form a network of others who are in similar shoes, Wachtel said.
"There are lower costs and access to professional tools and kitchens that are already approved by the Department of Health and the Agriculture Department, and it's also good being around other entrepreneurs and being able to talk things through."
For businesses that succeed, though, there comes a point when it's time to move on and move up, she said. Wachtel knew before Pilotworks closed that that time was fast approaching, and the abrupt end forced her to take that next step and move to bigger digs.
That particular kind of upheaval is unusual at most shared spaces, Wachtel said, but entrepreneurs have to be prepared for whatever comes.
"There will always be these moments of distress. In an ideal world, you have considered the alternatives ahead of time, so you're not completely shaken when it happens."
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Science has been politicized—not by the Right, but by the Left, which sees global warming, Darwinism, stem cell research, and innumerable other issues as tools to advance its agenda (and in many cases expand the reach of government).
When liberals trot out scientists with white coats, debate is supposed to be silenced. But many of the high priests of science have something to hide—from blind intolerance of religion to jealous guarding of their federally financed research budgets.
Luckily, science journalist Tom Bethell is here with the necessary and bracing antidote: The Politically Incorrect Guide™ to Science.
The Politically Incorrect Guide™ to Science busts myths, reveals hidden agendas, and lets you in on some of the little-known secrets about what's really going on in science. If you're tired of being hoodwinked by liberals who use science to justify all sorts of misbehavior, you need The Politically Incorrect Guide™ to Science.
Tom Bethell is a senior editor at the American Spectator. He has contributed to many publications, including the New York Times magazine, Atlantic Monthly, Harper's, Crisis, and National Review. He writes often on science. Tom Wolfe has called Bethell "one of our most brilliant essayists." Bethell was born and raised in England and graduated from Oxford University in 1962 with a degree in philosophy, physiology, and psychology. He lives in Washington, D.C.


You are a daughter, then a wife and maybe a mother. You go to school, get a job and do what you are "supposed" to do. But somewhere along the way you forget to be you. More often you don't even know who you are. Finding your authentic self is a journey and the first step is to be bold enough to decide to take that journey.
The word BRAZEN means being bold, unashamed and not apologizing for who we are. It is rooted in confidence that oozes when personality meets purpose.
Life happens, and living boldly while keeping our authenticity doesn't come naturally. Sometimes, it takes going through a steep learning curve and making a conscious effort every single day to master the required skills.
Wearing what makes you feel amazing and comfortable in your own skin creates an opportunity to use fashion and style as a tool to improve your boldness and ultimately; your individuality. Wearing an item every day that makes me feel remarkable adds a spring to my step and brings boldness and confidence a little closer. That feeling when you know that you know that you know you look good!!!
I know that I'm not the only one in this boat and this inspired my blog. I am on a mission to help women and every lover of style gain self-confidence one outfit at a time through my blog and Personal Styling Services.
I'm also passionate about women in business and their entrepreneurial journey. I love telling their stories, I believe this inspires other women to follow their passions and never give up.
I also help female entrepreneurs through my Image Consulting Services. This equips them with the ability to harness the power of non-verbal communication, create an impactful first impression as the face of their brand to increase visibility and success.
My name is Kemi Odesola and I am thrilled you are here!
I draw inspiration largely from my memories of growing up in the colourful West African beauty that is Nigeria to raising my beautiful family in the Canadian Rockies.
I am the wife of an awesome husband and mother to 2 wonderful boys. I am also spotting my natural hair (which is a journey in itself).
I can be an old soul in the comfort of my environment…. a trait which stems from spending my many years growing up with my seamstress grandmother who inspired my love for fashion.
I love unique and bold items that express style and personality. I love exquisite detail and can get a bit over the top with print, bright colours and accessories (hence my jewelry store Agatha and Helen).
Welcome and join me on this journey to living BOLD and BRAZEN!


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Scholarship winner overcomes epilepsy to study medicine
Alina Doodnath Created : 29 November 2017 Lifestyle
Not many people would look at Desiree-Anne Ramsaran, a bright-eyed, friendly young medical student and scholarship winner, and know that she battles with epilepsy.
The 20-year-old, who won an Additional Scholarship in Natural Science two years ago and now studies medicine at St Georges University School of Medicine in Grenada, remembers her first seizure and how it changed her life and that of her family forever.
"I remember I went for a sleepover at my cousins and didn't sleep much, I got maybe three hours of sleep (she would later find out that lack of sleep is one of her triggers). I remembered that I couldn't hold anything, and I dropped my breakfast, I had a headache and I felt like throwing up," she said.
Her parents, who panicked, called the doctor and she was put on sedatives. They sent her to neurologists and it was then they realised that she was epileptic.
"I was so young, I didn't really figure it out...my parents were like, 'how can we make this go away?' That was the hardest thing, realising that this isn't going to go away," she said.
Related article :T&T journalist sheds light on seizures
Ramsaran said she had to learn to create her own coping techniques in order to manage her behaviour to limit the number of seizures.
"I have to manage my sleep because lack of sleep is a major trigger, I had to learn to manage my time," she said.
She said at first, she missed a lot of time at school.
Because she didn't look ill, people had a hard time understanding what was happening.
"I would miss school a lot and people didn't really understand. I would say, 'I'm sick', and they would say 'But you look fine!'"
Ramsaran said that people need to understand that just because someone looks fine, doesn't necessarily mean they are.
"Just because someone doesn't look ill doesn't mean they aren't, you never know what people are going through, they might look like they're making excuses but you never know, so treat everyone with respect," she said.
Studying and coping with seizures
Because of her seizures, Ramsaran's study routine is thoroughly planned out but her main conflict is between studying and sleep.
"In terms of studying for exams, I had to ensure I got enough sleep because lack of sleep is a major trigger."
"I have a rule where I don't study the day before an exam to keep my stress levels down, and also because my seizures usually happen first thing in the morning," she said.
Ramsaran said she tries to maintain calm and focuses on self-care.
"Self-care is key, that's the biggest thing I learned. I tried to drink coffee one time, because I was trying so hard to do work, but then I crashed and got sick."
"You can't sacrifice your health, and I learned that lesson."
"People neglect themselves, they eat badly, they get sick. Public health care may not be the best but at the same time if you think something is wrong, let people know, don't hide it," she said.
Even with her challenges, Ramsaran not only succeeded but excelled, winning an Additional Scholarship in Natural Sciences and moving on to study medicine.
"I was disappointed at first, because I had gotten into a school in England, but my father said 'this is good, you shouldn't go too far'," she laughed.
Understandably, her parents have been concerned but continue to observe her from afar, calling regularly just to make sure she's ok.
"I think my parents are worried but they don't show it, they don't want to add to my stress, but if something is wrong I would definitely let them know."
"My parents have been so supportive, they've taken such good care of me, I really want to make them proud," she said.
Ramsaran says her choice to study medicine was not arbitrary. After learning of her illness, she is determined to pursue neurology to try to find out more about the causes and nature of epilepsy.
"50 million people worldwide suffer from epilepsy, but it's strange that there still so much about this illness that we don't know."
"That was my drive to do medicine…at first I wanted to be a pilot but obviously I can't do that now. It was so traumatic and exhausting trying to figure out how I got this, no one else in my family suffers from epilepsy. I would like to learn more about it."
"I'd like to study neurology and try to help others like me. Hopefully I can go on to specialise and eventually return to practice in Trinidad and Tobago. I want to help people," she said.
Ramsaran added that people with epilepsy can lead normal lives once they are given a safe environment and learn to manage their triggers.
"As long as they're not in danger and are managing their health effectively, then I don't see why not," she said.
"Once I take my medication, manage stress levels and keep calm, I know can do this."
"I can't have caffeine so motivation is my drive, it keeps me going. If you really want something you'll do whatever it takes."
"And for all those people living with epilepsy or chronic illnesses, there is nothing wrong with being sick," Ramsaran said.
Desiree Ramsaran
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Founded in 1989 and is now family owned by the Landeros family. The company originally started its operations under a 3,000 square foot building with 3 employees in the city of Santa Ana, Ca. At the start of the business we began offering glass and mirror stock sheets to the Glazing Industry. We slowly started offering fabricated Glass, Shower Doors, All Glass Entrance Doors and Beveled Mirrors. With the idea in mind to have the fastest lead times in the industry. For a period of 10 yrs all of our fabricated tempered glass was tempered by others. In 1999 we took the initiative to purchase our first tempering oven ("all in" like in a poker game) and now we have 3 tempering ovens. To this day PRL continues with the same vision and basic fundamentals as day one and that is to have the fastest lead times in the industry.
Founded in 1989 and is now family owned by the Landeros family. The company originally started its operations under a 3,000 square foot building with 3 employees in the city of Santa Ana, Ca. At the start of the business we began offering glass and mirror stock sheets to the Glazing Industry. We slowly started offering fabricated Glass, Shower Doors, All Glass Entrance Doors and Beveled Mirrors. With the idea in mind to have the fastest lead times in the industry. For a period of 10 yrs all of our fabricated tempered glass was tempered by others. In 1999 we took the initiative to purchase our first tempering oven ("all in" like in a poker game) and now we have 3 tempering ovens. To this day PRL continues with the same vision and basic fundamentals as day one and that is to have the fastest lead times in the industry. You our loyal customer have given us the opportunity to grow from 3 employees to 300+ employees and from 3,000 sq. ft. to over 250,000 sq.ft . It has been a dream for PRL and a great challenge to reach this monumental achievement, although let's not forget all the hard work and sleepless nights and sacrifices that it's taken us to get where we are today. PRL now offers over 20 complete products lines that we provide to the commercial and residential construction industry, as well as to the furniture manufactures. We look forward to continue to grow in the years to come and continue to offer the best service and highest quality in the industry.
The proven leadership and expertise of PRL and your support, positions us to be the fastest growing company in the Architectural Glass/Metal industry.
PRL, sends a very special thank you to all of our customers for given us the opportunity to service them for 21 years!
Our products are delivered in California, Arizona and Nevada in our 25 fleet of vehicles. We ship out to the rest of the country via common carrier. PRL is also now doing business in Mexico and other parts of the world.
The support from our valued customers has allowed PRL to expand its facilities as follows.
These 4 buildings are used as manufacturing facilities in city of industry, CA We are excited to have our new 90,000 square foot building completed by the summer. If you are area of Industry don't hesitate to stop by and take the nickel tour.


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Home / Travel / Your Guide to the National Parks, 2nd Edition
Your Guide to the National Parks, 2nd Edition
Your Guide to the National Parks, 2nd Edition is an award-winning guide. It is completely updated for the 2017 edition and includes more than 450 new photographs, 160 revised maps, and 50 hiking tables, making it the only guidebook you'll need to explore the United States National Parks.
An all new design with the same intuitive layout keeps the step-by-step itineraries, kid-friendly activities, and most popular ranger programs at your fingertips to help plan your next family vacation. Thousands of hotels, restaurants, and attractions beyond the parks and 11 suggested road trips make it the ultimate dashboard companion. Exhaustive activity information–including hiking tables, easy-to-find trailhead markers, outfitter details, and backpacking essentials–serves as blueprint for an adventure of a lifetime. With something for everyone, this is Your Guide to the National Parks.
Your Guide to the National Parks, 2nd Edition quantity
SKU: SR80675 Category: Travel Tags: guide, hiking, National Parks, outdoors, parks, trail, travel, travel guide
Your Guide to the National Parks, 2nd Edition is an award-winning guide. It is completely updated for the 2017 edition and includes more than 450 new photographs, 160 revised maps, and 50 hiking tables, making it the only guidebook you'll need to explore the United States National Parks.
An all new design with the same intuitive layout keeps the step-by-step itineraries, kid-friendly activities, and most popular ranger programs at your fingertips to help plan your next family vacation. Thousands of hotels, restaurants, and attractions beyond the parks and 11 suggested road trips make it the ultimate dashboard companion. Exhaustive activity information--including hiking tables, easy-to-find trailhead markers, outfitter details, and backpacking essentials--serves as blueprint for an adventure of a lifetime. With something for everyone, this is Your Guide to the National Parks.
First Edition Accolades
"Your Guide to the National Parks is quite frankly, amazing." ~ On Wisconsin Magazine
"In short, this is a great, almost encyclopedic, guide to help you prepare for your park visits." ~ Kurt Repanshek (nationalparkstraveler.com)"
"Oswald provides an amazing, almost overwhelming, amount of data on each place. ...a timely and useful reference." ~ Library Journal
"This gem of a travel guide is one of the most comprehensive and well-crafted books of its genre on the market." ~ ForeWord Reviews
Foreword Reviews Book of the Year Award Winner
Benjamin Franklin Award winner
National Outdoor Book Award Winner
Bill Fischer Award Finalist
Michael Joseph Oswald (born June 18, 1980) is an award-winning American travel writer. In 2003 he graduated from the University of Wisconsin-Madison with a degree in electrical engineering. After four years working in a corporate environment, he escaped to a more adventurous lifestyle only to be mugged in Colombia, South America. Injuries sustained required surgery, and failure to follow doctor's orders blessed him with a permanently prostrate pinkie. This unfortunate event resulted in prompt return home and pursuit of safer travel: kayaking, biking, and hiking across America's National Parks. The fruit of these endeavors is Michael's debut title: Your Guide to the National Parks.
When Michael isn't sleeping in his tent or converted bus, he lives and writes (typing with all nine functional fingers) at his parents' hobby farm in northeastern Wisconsin with their dog Cuddles and cat Magpie.
Stone Road Press
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Fastest man alive partners with Optus
BY Tate Papworth ON 28 January 2016 4 min read
Usain Bolt, the world's fastest man, has signed on to head Optus Australia's ad campaigns in the lead up to the Rio Olympics.
Optus acting managing director Ben White said Bolt was the perfect fit for the campaign, which centres around the theme of 'relentless improvement.'
"It's no secret that Usain Bolt competes to win. His hard work, fierce determination and unwavering commitment are exuded every time he hits the track," he said.
"He is relentless in his pursuit for excellence and it seems only fitting that we would engage with arguably one of the greatest and most renowned athletes in the world today," White said.
Bolt will replace British comedian Ricky Gervais, whose deadpan monologue-styled commercials received mixed reviews.
Gervais will continue to be the face of Optus' partnership with Netflix online, while Bolt will front the mobile and telecommunications campaigns.
In addition to the ads, the campaign will also feature a behind-the-scenes video series, which will include Bolt's family and hometown of Kingston, Jamaica and follow the Olympic champion as he prepares to defend his title.
The series will be shown online and on Optus' social media channels.
Bolt currently holds the world records for the 100-metre sprint and the 200-metre sprint, both achieved in 2009 – an effort that earned him the tag 'the fastest man alive.'
Optus will be hoping that the speed associated with Bolt's name will translate to its network, which currently reaches 90% of the Australian population.
According to results from the Commsday annual mobile test, Optus was the second best telecommunications provider in Australia last year.
Each year Commsday scores each telecommunications provider out of 100, and in 2015 Optus received a score of 78, a significant increase on its score of 61 in 2014.
The results had Optus just behind Telstra, who scored 85, however Vodafone is significantly making ground, scoring 72, a massive leap from the 51 it scored in 2014.
Bolt's campaign is slated to go live in February.
BY Tate Papworth ON 28 January 2016
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Executive Chef David Walzog is no stranger to steak, or steakhouses for that matter. As corporate executive chef at the Glazier Group, prior to joining the team at Wynn Las Vegas, he was in charge of Michael Jordan's The Steak House NYC, The Steakhouse at the Monkey Bar and three Strip House restaurants, all of which earned many accolades under his direction. Furthermore, Chef Walzog developed Michael Jordan's Steak House brand steak sauce and steak rub, and is also a published author, having penned his own cookbook, The New American Steakhouse Cookbook. Couple those achievements with the fact that Chef Walzog was mentored by such culinary luminaries as Alfred Portale and Mark Miller, and you know that you're in for an exquisite meal at SW Steakhouse. Just don't forget to try one of the side dishes; obviously, steak is a year-round eating enjoyment, but Chef Walzog's sides showcase his seasonal creativity. Service is lovely, although not as personalized as in a more intimate restaurant; servers could not have been nicer and were dressed as elegantly as you would expect at a fine dining restaurant. They take care of your every need. For an exclusive interview with Chef Walzog, please click here. For his biography, please click here. To try one of Chef Walzog's scrumptious recipes at home, in your own kitchen, please click here.
Specials: Golden Oscetra Caviar (served with traditional trimmings, brioche toast points and blinis, 30 grams, $200/50 grams, $325); Featured Oysters (Kumumoto, Humboldt Bay, CA - petit, buttery, briny, Skookum, Washington State - sweet, clean, crisp finish, six, $18/twelve, $36); Seafood Spectacular (a chilled selection of the ocean's finest, including Maine lobster, jumbo shrimp, east coast oysters, king crab, tuna tartare and lobster salad, $65); Heirloom Melon and Parma Prosciutto Salad (Buffalo mozzarella, aged balsamic, $18); Chopped Vegetable Salad (spring vegetables, grilled bacon, Roquefort cheese dressing, $16); Japanese Wagyu Beef (NY Sirloin, 7 oz. cut, $175).
Starters, Salads, Soups: Oysters on the Half Shell (cocktail sauce, red wine mignonette, MP); Cedar Roasted Oysters (Kumumoto oysters with pancetta, leeks, crème fraîche, $18); Wild Dungeness Crabcake (confit tomato relish, garlic aioli, arugula, $18); Chilled Jumbo Shrimp Cocktail ($20); Kobe Beef Carpaccio (frisee, mache, fried capers, grilled sourdough, sherry vinaigrette, $21); Foie Gras Hot, Foie Gras Cold (seasonally inspired, composed daily, $24); Porcini Mushroom and Sweet Corn Soup (blue crab claw, charred corn, tarragon, $14); Hearts of Butter Lettuce Salad (Cherokee tomatoes, sliced avocado, herbs, Dijon vinaigrette, $14); Caesar Salad (parmesan crisp, garlic-paprika crouton, classic dressing, $14); Red and Yellow Beet Salad (grilled Hen of the Woods, petite greens, aged goat cheese, balsamic, $16); Blue Fin Tuna and Yellowtail Tartar (cucumber, pickled vegetables, wasabi leaves, soy vinaigrette, $22).


Designed for every Kloosterman namebearer of the descendants of Jan Claesz, sheriff of Kapelle Biezelinge, 1579, 1583, tenant of 113 gem. 95 r. land in the Vroonland, where the Jerusalem cloister was located. His son is called Cornelis Jansz. op 't Clooster (1571-1627) and his son Mattheus Cornelisz. Cloosterman (1597-1660).
Do we have a Coat of Arms? That is one of the most frequently asked questions from people who are investigating our family tree. It comes immediately after the absolutely leading question: How many years have you gone back already?
Although I can trace my ancestry back to about 1530, I never found a Coat of Arms in my genealogical research, but in the Netherlands anyone is entitled though to bear a coat of arms, whether old or newly designed, in his own rights. Special permission from an official heraldic college or institute to bear a coat of arms is not required. This does not mean that one is allowed to take and bear any coat of arms one has chosen.
It is a good heraldic custom not to bear anyone else's coat of arms. The coats of arms of the Kingdom of the Netherlands, its provinces and municipalities, as well as the coats of arms of the Dutch nobility, however, are legally protected. They are conferred or confirmed by Royal Decree and further registered by the Supreme Council of the Nobility.
From 1971 onward at the Dutch Central Bureau of Genealogy in The Hague the opportunity exists on certain conditions to register a coat of arms by families borne in the Netherlands or by families of Dutch origin living abroad. Although it does not mean legal protection, registration and publication have a beneficial effect in protecting against heraldic interlopers in the Netherlands and other countries. In the Netherlands Coats of arms are related to a family and not to a individuals name.
"So, A Kloosterman Coat of Arms ?" No ! Yes ! Thumbing through my ancestor's history it became clear to me that there was no real nobility, they all were farmers and workmen. Always on the working side of life and never rich. It isn't surprising to find out we have no family crest, so in 2005 I decided to design my own family Coat of Arms, with the advice and help on the heraldic side of one of the national heraldic experts H.K. Nagtegaal, who is head of the heraldic department of the Central Bureau of Genealogy.
The Kloosterman Coat of Arms strictly follows the old heraldic rules and conventions and is officially registered at the heraldic department of the Dutch Central Bureau of Genealogy (CBG), certificate nr. 945, by the Director of the CBG, 08 august 2005.
From the order of St.-Victor in 1246 Wolfaard van Maelstede founded the nunnery "Jerusalem" in Biezelinge in the south-west region of Holland, Zeeland on four parcels of land. During 16th-century iconoclastic fury, in 1572 the nunnery was destroyed, probably by the Geuzen "Dutch protestant rebels" under command of Jerome Seraerts. In 1578 the prioress Cathelina Meskens after receiving permission from her Vicar-General sold the remnants. After this the land was leased out.
Those four parcels where called "het clooster"(the cloister). The first name in the Kloosterman history appears around 1550, in the name of Claes and his son Jan Claesz. Claes lived and worked those four parcels of land around 1550 – 1580 in Kapelle Biezelinge. In 1583 this was the place where Jan Claesz. lived and in 1618 Cornelis Jansz. op 't Clooster. In the neighborhood of the Cloister there was probably a farm. His descendants were known as Cloosterman and later Kloosterman (around 1750).
A "coat of arms" consists of several parts: the shield, the mantling, the helm, the wreath, charges, and the crest (note that not all arms have crests).
Normally no mention is made of the Helm in a blazon as it isn't part of the registered arms unless the armiger is a noble/royal personage when the type of helm is quite often specified, but not described, as different types of helm are used to denote a specific social rank.
The helm, is usually left to the latitude allowed Heraldic Artists when interpreting a blazon – that's also why the blazon is the most important piece of registered information.
The crest is the rising lion of Zeeland, because the roots of the Kloosterman family are in Zeeland.
The horizontally undulating bar on the Chief is Gules (red) because the Jerusalem Nunnery was destroyed during 16th-century iconoclastic fury by fire and sword probably by the Geuzen "Dutch protestant rebels" under command of Jerome Seraerts.
The Jerusalem Cross Or (gold) on the left stands for the foundation of the Jerusalem Nunnery in 1246 by Wolfaard van Maelstede and the Jerusalem Cross Or (gold) on the right symbolizes the Victorin nuns and the destruction of the cloister.
The Scallop Shell Or (gold) in the middle is a link to me, because I am living in a house called "Het Pelgrimshuys" (The House of the Pilgrims) and have traveled to far away places. The Pelgrimshuys was also called St. Jacobs House and was a hospice that gave shelter to the pilgrims during the journey to Santiago de Compostela in the Middle ages. St. Jacob was the patron and protector of all pilgrims and travelers, the shell is an emblem of safe travel and is found on the shields of many families during the time of the crusades. The Scallop Shell symbolizes also all the members of the Kloosterman family who emigrated like "the Pilgrim fathers" before them to America and protected them on their long journey. And last the Scallop Shell is also a symbol for loyalty which I find very important in live.
On the Barry wavy of six Argent and Sable (six black and and silver horizontally undulating bars). The black and and silver undulating bars symbolizes the sea and waves and the ongoing threat and struggle of the people of Zeeland against the water.
Below the shield the family motto "Sic Transit Gloria Mundi" meaning "So the glory of the world passes" because nothing in this world and live is permanent.
In this way the shield symbolizes the history of the Kloosterman family though the ages and leads back to the present and me, the 14e generation Kloosterman and binds me to the family members abroad.
This sign is also known as the Crutch Cross, the Jerusalem Cross, or the Crusader's Cross. This complex form is composed of a central cross made of four Tau crosses representing the Old Testament law. The Tau Cross (in the shape of the Greek letter "T"), was an implement of deadly torture used by the Romans in Palestine during the 1st century. This style of cross is believed to be the type used to crucify Jesus. The four small crosses are symbolic of the four Gospels proclaimed to the four corners of the earth, beginning in Jerusalem; the large cross symbolizes the person of Christ. Others have interpreted it to represent the missionary work of the church – spreading the gospel to the four corners of the earth. Still others have acknowledged the five crosses to represent the five wounds of Christ on the cross (hands, feet and side).
The Jerusalem Cross was first used as a coat of arms for the Latin Kingdom in Jerusalem. During the Crusades, it was referred to as the "Crusaders Cross." This is the cross that was on the papal banner given to the crusaders by Pope Urban II in the middle ages. The Kingdom of Jerusalem was established in 1098, when the members of the First Crusade captured Jerusalem and elected Godfrey of Bouillon, duke of Lower-Lorraine, as king of Jerusalem. The city was taken back by the Muslims in 1291.
The scallop shell is one of the most widely used heraldic symbols in all countries. Before the days of heraldry the symbol was the emblem of St. James, the patron saint of pilgrims and consequently the escallop became a badge worn by all pilgrims attached to hook or hat. The scallop shell symbol found its way into as a badge of those who had been on the pilgrimage to Compostela.
The scallop design symbolizes the many European starting points from which medieval pilgrims began their journey, all drawn to a single point at the base of the shell, Santiago de Compostela.
The escallop was introduced into armory to signify a soldier who had made long journeys or voyages to far countries, borne considerable naval command, or gained great victories. It is an emblem of safe travel and is found on the shields of many families during the time of the crusades. Because its shells, once separated, can never be rejoined, the escallop is also an emblem of fidelity.
Designed in june 2005 for every name bearer from the descendants of Claes, Jan Claesz en Cornelis Jansz op `t Clooster from Zeeland.
The shield is designed by Cees Kloosterman with advice and help on the heraldic and aesthetic aspect by H.K. Nagtegaal. who also designed the crest, helmet and mantle.


My journey began in October 2014 when I first visited the store to search for "the dress". I am plus size so was massively nervous but as soon as I met Zoe she put me at ease and made me feel so comfortable; I only tried on two dresses and fell in love with the second!
All the staff at Naomi Hilton, particularly Amanda, were absolutely excellent. I had such brilliant support and help and the encouragement I had was phenomenal . If ever I could recommend a store it would be Naomi Hilton and I would encourage all brides to go there before anywhere else . Fantastic lovely wonderful people who only want the best for their brides.
Debbie chose Naomi Hilton Bridal for both her own dress and her bridal party. Debbie's dress was from our exclusive to us range, and her bridesmaids were by Amanda Wyatt.


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Pluang Receives Over US$3M in Funding Led by Go-Ventures
Pluang (https://Pluang.com), a fintech startup that provides digital micro-savings for Indonesians (formerly known as EmasDigi), officially announced today its US$3 million Series A funding led by Go-Ventures. Currently, Pluang has launched one product, its gold savings product, but with this fresh capital, Pluang plans to launch other products, including US dollar savings and fixed return products.
Amongst 167 fintech startups in Indonesia, 38% exist in the payment sector and 31% in lending. Pluang is one of the few fintech companies trying to solve the difficult problem of improving savings in Indonesia, which Pluang believes is important to tackle the problem of financial inclusion in Indonesia.
Through its mobile application, Pluang provides users with the convenience of investing and saving with the most competitive and transparent pricing. At present, Pluang's gold savings product allows investments starting from 0.01 grams (equivalent to roughly USD$0.50) and users can choose to either pay periodically or in installments. With this product, Pluang hopes to revolutionize gold investing by providing simple and transparent pricing. Additionally, Pluang provides instant liquidity as users can sell back the gold in real time, from denominations of 0.01 grams. Pluang also provides its customers with peace of mind as the gold is kept in a government-backed institution through the official Indonesian commodities exchange.
Pluang's ultimate mission is to democratize financial products for all Indonesians. The company will use the fresh capital from Go-Ventures to further this mission by improving its application and expanding the reach of its financial products to more users.
Aditya Kumar, Go-Ventures VP of Investments, asserts "Indonesia is the fourth most populous country in the world, and over 50% of that population does not have a bank account. Even fewer have access to formal investment and savings channels.
"We are strong believers in Pluang's mission to democratize access to financial services in Indonesia. We are impressed by the team's unique ability to create innovative, and fully compliant micro-savings products for all Indonesians and are excited to be part of Claudia and her team's journey"
Claudia Kolonas, Founder of Pluang, explains "In terms of investment solutions, Indonesians are underserved, and there is a lack of access to financial products that have people's interest at heart. Financial solutions that are convenient, safe, reliable and stable remain elusive; and Indonesians often feel like they don't have a choice. We want to help Indonesian consumers see that better possibilities exist for growing their savings."
"We believe that Indonesia needs a financial revolution, which will ultimately democratize access to the best financial products. Whether coming from privilege or from the base of the pyramid, everyone deserves access to a better savings product that can bring a brighter future."
As a new disruptive financial platform, Pluang provides a smarter way to save for Indonesians. With just 3 taps on the phone, users can safely access curated financial products, without having to worry about hidden or exorbitant fees.
With a friendly user interface, Pluang aims to bring the power back into the user's hands. The company ultimately believes the key to empowerment is to create less intimidating products and build conviction amongst Indonesians that good financial products are not only for the privileged.
Pluang is a brand owned by PT PG Berjangka, a licensed entity regulated by the BAPPEBTI. Pluang is committed to democratizing investing and savings in Indonesia, and work closely with regulators to achieve this goal.
Go-Ventures is a venture capital fund that aims to invest in early stage companies with demonstrated traction in their target markets. It aims to support, promote and expand technology ecosystems and in turn improve the lives of citizens of emerging markets. The fund is backed by a number of notable private equity firms, venture capital firms, global technology businesses, regional conglomerates, and highly regarded technopreneurs. The fund's cornerstone investor is Gojek, Indonesia's leading technology company.
SOURCE Pluang
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Are your fish oil supplements doing you any good? According to a new study, it all may depend on your ancestry.
In the world of nutrition, there are very few foods that are free of controversy. As IIN founder Joshua Rosenthal explains, nutrition is the only science where two studies can prove diametrically opposing points of view. No one debates the law of gravity, but there are thousands of contradictory opinions about the healthiest way to eat.
Lately, this uncertainty has even extended to omega-3 fatty acids. At least 10 percent of Americans regularly take fish oil supplements, and chances are you've heard about the benefits of eating salmon, flaxseed oil, and sardines.
That's because it has been long believed that the omega-3 fatty acids in these foods have powerful anti-inflammatory properties and can prevent heart disease.
This is largely based on observations of Inuit populations in the Arctic, who have historically consumed enormous quantities of fish, whales, and seals. Despite eating so much fatty meat and very little fruit, vegetables, or grains, their rates of cardiovascular disease have been quite low. Researchers concluded that the omega-3 fatty acids in fish were protective.
While at least two dozen studies since 2005 have concluded that there's no evidence that fish oil reduces the risk of heart attack and stroke, sales of fish oil supplements continue to skyrocket.
So what gives? A recent study shows that it may all have to do with what we call bio-individuality here at IIN.
Researchers believe that with so much extra omega-3 in their diet, ancestors of Inuit populations evolved genetic adaptations to metabolize the fat and bring their blood levels back in balance. Looking at the DNA of 191 Greenlanders whose ancestry was 95 percent Inuit or greater, the researchers found genetic variations on parts of the genome that regulate metabolism and different fats in our body.
People with two copies of the Inuit gene had different blood levels of fatty acids than people without it and were also on average an inch shorter and 10 pounds lighter.
"The same diet may have different effects on different people," the author of the study concluded. This may explain why omega-3s haven't been the panacea everyone has hoped for.
Similarly, this explains why many people of Northern European and East African descent are able to digest milk throughout their lives, while many other people tend to be lactose-intolerant. It's a genetic adaption that arose in populations that domesticated cattle thousands of years ago and depended heavily on dairy to survive.
How fascinating is that? That's why there's truly no one-size-fits-all diet and it's all about which foods work best for your body. Your age, gender, unique preferences, and genetic makeup all determine which diet is right for you.
What do you think of the findings of this study? Do you have any experience being able to tolerate foods that are unique to your specific culture or ethnicity? We'd love to hear – let us know in the comments below!


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It was a pleasure to have an interview with one of the reporters of the journal La Jornada Latina. In this interview I talked about my first steps in music and who influenced me to study music. It is also a great thing that Butler County's Mayor organized "Rock the Block" festival, every Summer, intentionally to promote cultural diversity thru expression of music.


Over 130 highly satisfied participants took part in the International Software Quality Institute's International SPICE Days from 23rd to 25th June in the capital of The Czech Republic, Prague. 'I would like to congratulate you on a successful event' and other such participant feedback was given to the organiser, iSQI.
Running parallel to the SPICE Days 2008 tutorials was this year's intacs General Meeting. The 16 intacs members and their guests took part. The intacs Boards und Working Groups reported on the activities and progress of the last 12 months. For instance, that the intacs scheme has been successfully established in Japan and in the USA. For the first time, both intacs certification bodies, iSQI and VDA-QMC, released statistics on the number of registered assessors and exams carried out. The Meeting Minutes will available soon in the download area of www.intacs.info.
The International Spice Days 2009 were held in Stuttgart from June, 22nd to 24th with great success and with more then 190 conference participants! Conference Chair in 2009 was Hans-Jürgen Kugler, Adjunct Professor at the University of Limerick, Lero – the Irish Software Engineering Research Centre: "This year's conference is proved that SPICE is effective in application. Globalization, specialization in application domains and industrialization are keywords that mark the rapid development in the field of software-based systems. Will SPICE be able to keep up this pace and help the users transform the threats and risks of this development into solutions?" During conference this question was discussed intensive and then clearly answered with "Yes it can"!
Intacs announces the new web platform, based on Joomla technology. This technology opens the possibility for registered members to supply written information.
Check the forum link to learn how you can register and add articles by yourself.


Cornell has a system of campus governance that involves all the members of the campus community in making decisions that impact life at the University. Shared Governance includes the Faculty Senate, the Student Assembly (undergraduate), the Employee Assembly, the University Assembly and the Graduate and Professional Student Assembly. http://assembly.cornell.edu/SA/About. All of these Assemblies are voted in by their peers and have a seat on the Board of Trustees.
The Student Assembly is the undergraduate student government at Cornell University, and deals with quality of life issues for students, making sure that student issues are heard and addressed. The assembly has legislative authority over the policies of the Office of the Dean of Students and the Department of Campus Life, and establishes the undergraduate Student Activity Fee and guidelines for its distribution. Every Cornell student has the opportunity to voice concerns during the open microphone period held at the beginning of each meeting.
The Graduate and Professional Student Assembly brings together Cornell's 7,000 graduate and professional (M.B.A., J.D., D.V.M.) students to address non-academic issues of common concern. Drawing upon the strengths of our diverse constituencies, we work with the university administration to improve the quality of life at the University. The GPSA engages the needs and concerns of its constituents, communicating these directly to the University administration. They also appoint graduate and professional students to university committees, where they have a direct voice in decision-making processes.
The University Assembly is rather unique in higher education in that it is constituted by members appointed by the constituent assemblies (except for 2 members elected by the undergraduate students directly to seats on the UA), and has the authority to "examine matters which concern the welfare of a substantial segment of the campus community and may make recommendations thereon to the President or other appropriate officers of the university; and is tasked with representing and voicing the interests of faculty, staff, graduate, and undergraduate students." Thus, there are four undergraduates and two graduate/professional students on the University Assembly representing the student voice on any such matters.
Cornell is one of few universities in the country with two students as full voting members on their 64-member Board of Trustees.
The EA consists of nineteen members committed to providing employees with a means of continuous involvement in the governance of the affairs and life of the University. Working closely with members of the administration, the EA encourages a higher visibility for employees as community members, more equal participation with faculty and students in the policy-making process, and an increased sense of community among all constituencies through shared responsibilities.
The Board of Trustees is the institution's highest governing body, and all staff (including non-supervisory staff) elect 1 full-voting member to that body.
Senate has the following specific powers: (1) to select its officers; (2) to approve or reject nominees presented by the Nominations and Elections Committee for election by the University Faculty; (3) to approve or reject the list of members and chairs presented by the Nominations and Elections Committee for appointed committees; and (4) to adopt,amend, or repeal bylaws or other procedures relating to the conduct of its business and the duties and functions of its officers and committees.
They are elected by their peers and have a seat on the Board of Trustees.
There are a variety of internal protocols regarding areas of shared campus-community interest - and when appropriate related voluntary contributions, specifically related to housing, infrastructure, public schools, health care, environment, economic development and diversity.
Many of these contributions are captured in this link, engagement initiatives in the attached. We meet regularly with government, non-profit and business leaders, and the public at large.
CR serves as a liaison between Cornell and the community, and assists students, staff and faculty on various town-gown topics, challenges and opportunities. Collectively, staffers serve on several campus and community boards and committees.
CR meets regularly with local governments, schools, non-profits, businesses, and special interest groups, and holds monthly "office hours" in municipalities around Tompkins County. Staff produces and hosts a weekly radio show, the award-winning "All Things Equal," and writes a twice-monthly column. "East Hill Notes," for Tompkins Weekly.
CR has oversight of Cornell local investments that provide measurable outcomes and benefit Cornell and the community-at-large, or addresses a specific issue essential to the university's core mission. This mission includes maintaining a vibrant community that aids in recruitment and retention. Critical areas and strategic priorities tied to that priority include housing for students and employees, economic development, pre-K-12 and educational services, health care, infrastructure, environment, and access to quality air and bus service.
CR manages Cornell's high-profile campus United Way campaign that raises approximately 40 percent of the county's campaign total on an annual basis.
CR produces an annual economic snapshot that features data tied to payroll, purchasing, visitor and student spending, construction and other key points.
CR staff regularly serves on project teams involving Cornell initiatives, including the new Maplewood graduate student housing project, the Cayuga Lake Modeling Project, East Hill Village and others. Its role is essential in municipal approval processes.
CR organizes the annual Cornell Town-Gown awards - which recognize community-campus collaborations and key leaders, and is hosted by Cornell's president – as well as the University Relations' Campus-Community Leadership Award that recognizes a graduating senior.


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Richard A. Wisniewski
Author of Pearl Harbor and the USS Arizona Memorial: A Pictorial History
Includes the names: Editor Richard A. Wisniewski
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Works by Richard A. Wisniewski
Pearl Harbor and the USS Arizona Memorial: A Pictorial History 64 copies
The Rise and Fall of the Hawaiian Kingdom: A Pictorial History 36 copies
Hawaiian Monarchs and Their Palaces (A Pictorial History) 21 copies
Hawaii: The Territorial Years 1900-1959 (A Pictorial History) 6 copies
Hawaii: the Territorial Yeaars, 1900-1959: a Pictorial History 1 copy
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Dr. Casscells practices general orthopaedics, excluding spine. He specializes in arthroscopic surgery of the knee and shoulder and joint replacement surgery of the hip and knee. He has a Doctor of Medicine from University of Virginia and a Bachelors in Science from Yale University.
Dr. Casscells practices in Wilmington and Newark Delaware at Casscells Orthopaedics and Sport Medicine.


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'It won't be 30 years until our next title' - Solskjaer aims dig at Liverpool ahead of Man Utd clash
Goal.com 19 October 2019
Manchester United boss Ole Gunnar Solskjaer has taken a swipe at Liverpool ahead of their meeting on Sunday by insisting his side will never go 30 years without a title like their great rivals.
The Merseysiders have not been champions of England since 1990, though they hope to end that long drought this season.
Jurgen Klopp's side are five points clear at the top of the table and are chasing a record-equalling 18th successive Premier League victory when they head to Old Trafford on Sunday.
Should they end the season as champions they would also draw level with Manchester United once more on 19 league titles.
A 20th league championship seems like a distant prospect at present for United, who have struggled this season under Solskjaer.
The Red Devils have won just twice in the league and go into the game in 14th place, 15 points behind Liverpool.
Solskjaer, though, insists that United's struggles are only temporary and not the start of a long period in the wilderness.
"I'm sure we will bounce back and win the league and sure it won't be 30 years until the next Premier League that we do win," said the Norwegian.
"For this next game, you never take a draw when you're at Man United. I want to go out there and get three points. We need to start winning games, it doesn't matter if you're playing Liverpool, Manchester City or Brighton.
"A good performance and result can change the players' and mood and perception of themselves. Maybe they haven't believed they are good enough and when you lack confidence you think twice instead of acting on instinct. Because I know these players are good enough, no worries about that."
Sergio Romero Manchester United 2018-19
Solskjaer also insists he has no concerns about Sergio Romero's ability to step up in the expected absence of David de Gea.
De Gea is doubtful for Sunday's game with a hamstring injury suffered on international duty with Spain in midweek.
"Of course, you first think 'Oh, David' when he's sat on floor, but that quickly turns to 'Sergio is ready," added Solskjaer.
"Sergio has trained really well and really benefited from the work he's done. I see a fit and fresh Sergio. He's already played a couple of times this season and proven he's ready."
Dembele: I'm staying at Lyon
What it's really like to work with the Formula One team


Experience the charms and wonders of Ireland's Wild Atlantic Way. Towering cliffs, medieval castles, charming towns, villages, authentic Irish experiences and stunning views. All this beckon you to Ireland's western coast, captivating you and drawing you back to return again and again. Over six full days we cover the stunning Connemara to Dingle and the Ring of Kerry. Experience some of the best Ireland has to offer!
Day 1 - Arrival at Shannon Airport, Lough Gur and Great Stone Circle, Bunratty Castle and Folk Village, Welcome dinner.
Day 2 - Scenic tour of Connemara region and Galway City including Kylemore Abbey, Cong and Clifden.
Loads of fun and treasured memories!